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.
I love guitar, it has the ability to convey an incredibly rich range of textures and sounds, and has a history of amazing players. However, when I choose collaborators, it is often based on the individual: Lionel Loueke and Kurt Rosenwinkel are both unique voices on their instruments, and aesthetically, I felt they were a great match for the respective projects I was working with.
When he takes out his flute to play ‘It ain’t necessarily so’, he turns it into a hard-grooving soul-jazz anthem and when he plays an actual 60s soul-jazz anthem, like ‘Mercy, Mercy, Mercy’, he does it with a free spirit and a post-bop sensitivity.