“My first thought when I took over the role was that I want people who think they don’t like jazz to discover it in new ways, in new formats”.
“I am very grateful for the opportunity each day to create music and I would love to keep on writing because the more I do it, the more I can discover my own musical voice and it will help me evolve and develop as an artist. Change doesn’t happen instantly. It happens gradually and I want to strive to honing my craft each day”.
“Charlotte Mclean is one of the best emerging vocal talents on the Australian jazz scene. A beautiful tone, great expressive range and an adventurous improviser”.
Albert Dadon is very ambitious about Bird’s Basement, expressing the certainty that it will become “one of the best clubs in the world”.
“It’s very appealing to have the songs stripped down to essentials and realize that they’re still working.”
Angela Davis: “It has always been a dream of mine to record with strings – some of my favourite albums are ventures in jazz with strings; Art Pepper’s Winter Moon, Lee Konitz Strings for Holiday and Paul Desmond’s Desmond Blue. To me there’s something profoundly beautiful about the timbre of the alto saxophone blending with a string section.”
“I think the best kind of award is the one you can’t give. It’s the one that you get from being intimate with music. The award comes when you listen and the hair on the back of your neck stands up, your skin shivers with ecstasy, you cry because there can’t be anything more beautiful than this right now. Anyone who can hear is capable of winning that award, all they have to do is listen.”
” I think it’s important to know that you’re good enough as you are, exactly how you’re feeling, on and off stage, and to be honest about that. It certainly makes things more interesting! “
From the Ritz ballroom in Brisbane to the Copacabana in New York (via Singapore) and from the London Palladium to the legendary Johnny Carson show to touring with Duke Ellington, the highlights of Wilma Reading’s career in song are a nostalgic reminiscence of a golden era of showbiz. Of course, she is much more than …
Mustafa’s sound is a coalescence of classical and jazz sounds, two passions which he has cultivated over a number of years. Listening to large orchestral music, particularly Romantic era works, Mustafa loved the way that the parts of the orchestra worked together (and he further explores this in his jazz writing) “It comes back to the fact that I love textures and instrumental colours. I think that is reflective in my playing as well”, he says.