“It was never my intention to recreate or imitate my dad’s playing, with Zawinul Legacy; in essence there is only one Joe Zawinul, and I let the music do the talking.”
‘Comes Love’ is a snapshot of what you’ll hear at one of my gigs, favourite songs sung with two of my favourite musicians; there was no theme in mind other than sharing some lovely songs in a natural way, and I believe that’s how it sounds.
“I grew up looking up to musicians like Andrea Keller and Sandy Evans, because I could see that they had their own bands, were writing their own music and were totally accepted and respected by the jazz community. I saw that it was possible to have a career in music.”
“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.”
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 […]
” 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.”
“While studying jazz at the Victorian College of the Arts in Melbourne, this made me feel quite inadequate, but there was a point when I stopped comparing myself to all the great bebop singers and embraced my own way of making and enjoying music”.
“As far as music goes, I reckon I sound like me, and no one else, that’s really what I feel good about. I have a long way to go still, plenty more to explore and learn, but having your own sound and being recognised by it is surely what I feel is most important, other than not sounding like shit. “
“I came to better understand Coltrane; he often sounds like a preacher. I aspire to have this effect on people, than just show off my chops”.