“I feel lucky to have wandered into the position of doing a job that I enjoy and find rewarding, and to do it for so many years. The highlight has probably been having the chance to work with so many musicians who I hold in such high regard ; to propose or develop projects with them ; and then to see it all come together onstage, to be met with such generous approval by the audience.”
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.
The line up includes Paul Grabowsky, Barney McAll, Bob Sedergreen, Andrea Keller, Julien Wilson, Sam Anning, Eugene Ball, Tamara Murphy, Phil Noy, Geoff Kluke, Maddison Carter and Margie Lou Dyer.
With influences including American icons such as Billie Holiday and Sarah Vaughan, alongside less known but no less luminous talents such as Carmen McRae, Roberta Flack, former Supreme turned balladeer Mary Wilson, and New Zealand expat Bridgette Allen, Mama Alto’s sound remains idiosyncratic and unique, partly due to her luscious and gender transcendent voice which has drawn critical acclaim and audience admiration.
Big Band Swing evolved during 1930s and ’40s wartime – a time of great oppression. It served to lift the spirits of those at that time, troops and civilians alike. Today too, Big Band Swing shouts an anthem call to all who are weary; Weary of war, worry and woe. So, as B# keeps Big Band Swing alive and live, people from ‘Gen Y to Gen Wartime’ smile, embrace and dance to re-feel their aliveness. And in the depths of their being, the ‘boom, boom, boom’ of today’s ‘modern bombs’ are again drowned by the joy of swing, the joy of life.
Sydney and New York should consider themselves lucky to share an artist of the caliber of Philip Johnston. The inventive Jazzman divides his time in […] Read More
Utilizing listening, demonstration, discussion and practical application, attendees gain insight into transferring relevant techniques to their band room. In Essentially Ellington’s rich 19-year history, JALC has distributed more than 120,000 charts to more than 4,200 schools, reaching over 504,000 students.
The music is located somewhere to the north-east of jazz but definitely south-south-west of European art music. The quartet grew out of Daley’s larger ‘Sanctuary’ project, yet retains that ensemble’s unique breadth of vision, and intricate interweaving of composed and improv elements.
” It’s our intention to make this yearly event a flagship for Queensland Vocal Jazz by providing significant career opportunities, job creation and promotion of jazz artists. We want to celebrate the diversity of the jazz vocal art form which encompasses everything from original works to original reinterpretations of jazz standards – mainstream and contemporary as well as jazz vocal improvisation.”
“The internet has made the world really small. ‘Two Cities’ could really be called ‘Three Continents’ (maybe doesn’t have the same ring to it), because it was made all over the world. It was written and recorded in Australia and America, mixed in Australia, mastered in England and manufactured in Germany.”
