When Mercer Ellington decided to keep his father’s orchestra alive, after Duke Ellington’s demise, he chose the word ‘Continuum’ for the title of the outfit’s first post-Duke recording. This is the word that constantly comes to mind, when I think of Vincent Gardner and Belinda Munro, who are touring Australia these days.
Has Alice Coltrane ever been more relevant? Maybe in the ’70s, when she set up on her own journey, practically inventing the harp as a jazz instrument, while creating her signature modal/spiritual jazz sound. Spiritual jazz is, of course, the sub-genre du jour, at the moment, largely thanks to the unbelievable popularity of Kamasi Washington, who owes much to the Coltranes. But any DJ worth their turntables have been pointing to Alice Coltrane for the past decade or more, discovering the worlds that exist in her intricate weavings and sonic textures.
Jonathan Dimond said, “Tripataka is the playing field, the tester of protypes, and the practical vehicle that balances the theoretic research into the nexus between Western and intercultural composition and improvisation that I have been exploring since my earliest years of music-making.”
Legendary jazz drummer and bandleader John Pochee OAM will receive the Distinguished Services to AustralianMusic honour at the 2017 Art Music Awards on Tuesday 22 August.
Blow the man down uses the traditional Lieder opera style to explore themes of loneliness, longing and the miraculous mundanity of human existence. Hues gift for perceptively illuminating the everyday, combined with Olivers heartfelt and fully alive singing, makes for a show that is a rare and shining experience.
It’s been a long time between drinks but musical expat Michael Pigneguy is extremely excited to return to Melbourne with former and new musical collaborators to perform at the Paris Cat
“When I’m performing, I feel like I’m smiling from the inside. I feel a sense of bringing people together and there is nothing more wonderful in human nature than feeling connected and feeling you a contributing to that connection.”
“I wanted to push myself to present something different, something that echoes not only mine, but so many other guitar players’ rite of passage, listening and copying Wes”.
Sandy Evans was inspired by these images of reality and reflection, so she started composing what turned out to be musical responses to them. “I like to think of harmony in relation to colours”, she says, describing her approach. “Other times it was the structure of the photos that I reacted to. There are certain mirror images, so what I did was take some melodic ideas and reverse them”.
Playing with the Vampires on this album has pulled some startling performances out of Loueke and, in kind, the band rise to his fire one catches oneself thinking they sound the best they ever have; then you realise the Vampires always sound this good.