“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.”
“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.”
“While we are both very different players, I think we both are similar in the fact the we like to approach improvisation with honesty and aim to be ourselves at all times. We are also both drawn to the same kind of repertoire and inspired by similar artists.”
“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.”
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.
“My Dad’s music was a statement against dictatorship, injustice, intolerance, and against the destruction of democracy. The music remains relevant to our time and current administration. That’s why it continues to be important.”
“Charlie Haden is a significant figure in 20th Century music and has been a huge influence on me throughout my career. The theme of songs of protest that we are presenting at the festival also fits well with Haden’s music we will be performing – LMO music inspired by the Spanish Civil war and the Cuban revolution amongst others, as well as some Australian songs of protest by the likes of Midnight Oil and Archie Roach.”
“Music is a healing force for those of us battered by the harsh realities of inequality and oppression all over the world.”
“It’s an endless competition; you’re always competing for gigs, and competing to play in different bands or going for the same awards; and there are always people out there trying to judge you; it’s a fact of life and a fact of the music scene. People are going to be judging you and the best way to go is to be yourself. I can’t do more than that.”
This strange sense of yearning and of trying to capture the essence of a memory and understanding that memory is fallible and you can never really re-experience something as it was, I was interested in that and interested in the way that music can communicate that gradual decay of memory. So the piece is kind of about patterns and the decay of patterns, it’s about memory and the beauty of decay.