On the eve of an Australian tour and a UK tour, pianist-composer Alister Spence spoke to Phil Sandford about his influences and approach to music.
It can all shimmer and ripple like an ambient cloud, underpinned by a deep oscillation from Zwartz’s bowed bass under trills and pings from Dewhurst’s guitar, before bursting forward with irresistible momentum.
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On the eve of the 2013 Kinetic Jazz Festival (22-27 January) Phil Sandford spoke to two of the artistic directors, Graham Jones and Jepke Goudsmit, about their background and their vision for the festival.
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‘That’s the thing about this music,’ Nock adds, ‘you can’t just write it without the musicians. It’s who you’re writing for. One of the things that I am really trying to do with the piece is to show that it is a living music in that it depends on the people playing it.’
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He remains only interested in musicians who ‘slam their heart down on the table, and go, “There I am!”‘
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In an Arts scene that’s eternally struggling with funding constraints and the drudgery of applications to funding bodies, the idea is seductive: take control of your own funding and free yourself from that disempowering application / rejection cycle you’re forced into via the more traditional funding rounds.
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A sudden noise that wakes you in the night. A shadowy movement glimpsed down a darkened alley. The sensation that there might be someone in the room with you. Waiting. Conjured into life by Tamara Saulwick’s riveting solo performance and Peter Knight’s visceral score.
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‘…we might fall on our arses once or twice, but it’s often when you’re searching that the best things happen…’
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‘Three bands on the same street?’ he says excitedly of the string of gigs stirring along the road as we speak. ‘It’s like 42nd Street or something. It’s fantastic.’
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Marc Hannaford releases two digital recordings – a quintet release called ‘Ordinary Madness’ and a trio release ‘Sarcophile’. We ask him ‘why digital?’ and talk about the music…
