Festivals

Barney McAll: “Music is a guide for society”

“I am presenting this music with a great amount of respect, because the thing that I realized is that there are really magnificent composers who only write for the church and are thus not really known – particularly Doris Akers is a very strong composer in different styles and few people in Australia has heard of her,” says Barney McAll

Harry James Angus talks about his soul-jazz-gospel album project on Greek mythology

“To me, Theseus and Minotaur is a story about masculinity and a story about a cycle of fear and anger and rejection that fathers pass on to their sons that perpetuates bad things in society, like sexual abuse and violence. I see the Minotaur as a classic example of a child who wasn’t given the tools to be a good person in life regardless of the fact that he had the head of a bull.”

One question for Brenton Foster, composer of ‘Love As We Know It’

“I sent Christopher some sketches and he sent me some poems reacting to my music and we both worked from that. I don’t know how much experience he has in matching words to music, but I was really impressed when I got his words back. Everything kind of fit together so quickly and naturally, and they allowed me to make some strong musical statements.”

Steve Sedergreen reimagines Duke Ellington’s Far East Suite as a connecting force for diverse musicians

“I’m interested in all sorts of music and looking for brothers and sisters outside the jazz area to work with, using the suite as a connecting force,” says Steve Sedergreen. “We are not going to reproduce the Far East Suite but we’re certainly going to play in the spirit of the Far East Suite.”

Claire Cross: “I love Bjork’s ability to get mileage out of her musical elements”

“For this project I felt like it wouldn’t be fulfilling for the audience or musicians if we just attempted to play Bjork’s music the way she has produced it, especially for a jazz festival! There has to be something fresh, intriguing, experimental or risky involved for it to make sense to me. I guess this is what we will strive towards presenting some amazing music that we all know and love with a new perspective and sound and room for everyone involved to get their individual voices across.”

The Chelsea Wilson guide to the 2018 Stonnington Jazz Festival

“Festivals are great opportunities to create different kind of experiences,” Chelsea Wilson explains. “A lot of jazz venues in town do not have the stages or infrastructure to be able to do something like that, so were very fortunate to have Chapel Off Chapel as a festival hub this year; it has lots of space for the bands to explore.”

2018 Melbourne International Jazz Festival: the Modern Masters step in

Terri Lyne Carrington, Christian McBride and Branford Marsalis share some common traits. They are all adept at both ‘straight jazz’ styles and the urban r’n’b-infused sub-genres, easily stepping in and out of these worlds, blending elements, mixing things, creating new music. By doing so, they all helped redefine jazz and keep it relevant.