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 …
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‘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!
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“I was first inspired to learn the saxophone from listening to hard bop, in particular John Coltrane and Wayne Shorter so I guess it was only a matter of time when I would put together a project like this.”
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Mod jazz helps to simplify an art form that – to the untrained ear – can be very complicated. Yet it allows the skilled musician to play without having to ‘dumb it down’ for people without a bachelors in jazz. Its inspiring to songwriter, the musician, the producers and to the purchasers. And most importantly… It’s a big ol’ bag of fun.
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would recommend enjoying this book and the music this way. Remind yourself of the rich history of the music listening to one of the greats. Immerse yourself in Yusef Yomunyakaa’s poetry. This will set you up to luxuriate in one of Sandy Evans’ rich compositions played by Sydney’s best. No that’s an understatement, they are among Sydney’s, and Australia’s greatest, including some of the voices we are no longer able to enjoy live- Bernie McGann’s unique alto, and Jackie Orzaczky’s gravelly intonation.
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Jazz came to me via Kim Bonython on ABC radio when I was a teenager in Brisbane. It’s still a big part of my life more than fifty years later.
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I leave them alone in the set break and write in my notebook ‘They make more of their own collective and individual history every time they do this.’ When I read it back the next day I wonder what the hell I was thinking.
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Being a musician has helped build a stronger connection between the dancers and the musicians on stage at Latin gigs. People overseas are often surprised when I jump off stage at a Latin gig and bust out a few moves on the dance floor. I managed to convince a few dancers to visit jazz clubs and have new musical experiences.
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I’ve been listening to improvised music for over a decade and I still don’t ‘get it’. Musical friends say I don’t need to ‘understand’. They say I just need to listen. Over the years, that’s exactly what I’ve learned to do. I’m always learning to do it again!
