From the ’20s to the ’60s, St Kilda venues ranged from grand ballrooms and dance halls to cabarets, coffee lounges and clubs. Some of the buildings were stunning examples of architecture, reflecting periods of Melbourne’s social and cultural wealth. They hosted major international artists of the era, as well as providing a hub to showcase local musicians and foster the emergence of new jazz styles.
Bennetts Lane Jazz Club version 1 was born on November 27th 1992. It upgraded to two rooms on the 14th of January 2000. And it closed on June 15th 2015. During its almost 23 years in the service of live jazz performance it helped usher in a new environment for musicians to bring their art to their community. […] The experience and insight we learned through mistakes, discussion and respectful negotiation have largely been retained in Bennetts Lane version 2.
“It will be great to reunite with one of my earliest musical collaborators, Steve Newcomb. On that night, the performance will be like two old pals catching up after a few years, each one filling the other in on what they’ve been up to (in this case, musically) in the intervening time.”
“I could see why Dave was welcome here. He was, from an early age, a riveting, passionate and adventurous alto saxophonist. The room, which held about 50-60 people, filled up quickly, and the audience loved the music”.
“did you define love john coltrane when you wrote ‘one up, one down’ even years ago when your raw aggression first trauma’d my ears i wondered. or did you define it later with ‘a love supreme’ your perfectly balanced love chant perhaps you got it right at rainy newport, where you spoke of stormy balance …
Visions, Fantasies and Dances Music for String Quartet by Yitzhak Yedid A Reflection by Arjun von Caemmerer Yitzhak Yedid remarks that during a synagogue service the congregants may chant and sing in quasi-unison alongside the cantor, thus spontaneously and intuitively generating heterophonic variations from the monophonic melodies of traditional prayers and Piyyutim. My response to …
I started getting concerned that popping up unexpectedly but repeatedly at Necks performances in European jazz clubs might have given me the appearance of a stalker.
It was a bloody cheek really – I didn’t know James Morrison from a bar of soap except I knew he played trumpet better than your average cleaning agent.
by Mick Paddon Over the years, in different places and in a variety of capacities, I have been involved in a number of initiatives aiming to give jazz a more permanent home and visibility. The most expansive and optimistic wish lists for these imaginings would go something like this – a purpose built, contemporary building …
‘I hope you understand how much you were loved, particularly by musicians perhaps, around this country. Each time a new young hopeful appears on stage, my friends and I nod sagely and say, ‘She’s okay, but not in the same class as Kerrie Biddell.’ For some of us, no one ever will be!