It was a bright and starry night, one of mirth and celebration and camaraderie. It was the night that artists and supporters, musicians and afficionados, […] Read More
Category: News
“Henri Matisse once defined Jazz as “rhythm and meaning”. Jazz means music at its most creative, its most free. Jazz means diversity at its most […] Read More
Elly Hoyt never shies away from letting her talents – and her amazing vocal range – unfold: one minute she sings the blues with a visceral quality, her voice rooted to the ground; the next, the same voice ascends to the sky.
The agony and speculation is over. The nominees for this year’s Australian Jazz Bell Awards have been announced. Among them appear, naturally, some of the […] Read More
I have come late to the amazing playing of Sydney’s Michael Griffin. Walking into an Andrew Dickerson Quintet gig off the street I was floored […] Read More
Live (Jazzhead) Paul Williamson Quartet Review by Samuel Cottell Trumpeter Paul Williamson has an incredible ability to create diverse musical landscapes with other performers. His previous album, […] Read More
‘If you’re going to do anything in life you just have to say, “Well, I’ve just got to make my little patch of garden over here”, and if I’m improvising, try and be faithful from one moment to the next. That’s all I can try and do, otherwise you go crazy.’
Instead of perpetuating the importation of American models of jazz, James McLean went and soaked up the ideas and attitudes of someone who had stepped out from that giant shadow decades ago; someone who might help him find his own path into the music – Phil Treloar.
“…like all good modern art it asks to be listened to on its own terms. Yet it does not push away but creates a place for the listener to go and to explore as it happens. Unlike too much ‘experimental’ music, it includes; it does not exclude.”
The ishs/Allen Project has moved in a texturally tougher direction, bringing in electric bassist Paul Bonnington and brass player Ee Shan Pang. Yet this toughness gladly doesn’t bruise the music; it largely serves to add energy to the inherent exuberance of ish’s and Allen’s music.