“There’s a focus with jazz drummers that when they’re experimenting with new ideas it has to be able to work in a standard song-form context. That’s something I’ve thought about a lot and felt that I was willing to let go, and see if it can just be music for itself.”
This story was commissioned for – and appeared in – the Wangaratta Festival of Jazz & Blues 25th anniversary program. Photo of Enrico Rava provided by the festival Allan Turnbull anecdote was not printed in the program. — He’s a familiar sight around Melbourne jazz venues – and beyond. In fact Adrian Jackson is hard …
Magnusson describes his latest project, Kinfolk (with Tim Neal on Hammond organ, Dave Beck on drums and Frank DiSario on bass), as ‘kind of rootsy’, reflecting the fact that he grew up playing the blues. ‘It’s not like I’m trying to start a blues band, but I love the colours of those sorts of grooves,’ he adds.
So by the time he turned 20 his palm was etched with a future as both player and composer, as jazz artist and classical. This puts Isaacs in a very select company – Don Banks, Bruce Cale, Phil Treloar, Mike Nock and Paul Grabowksy come to mind – of Australian artists whose work has been taken seriously in both idioms, and he sees the twin careers as being mutually beneficial.
‘I hope you understand how much you were loved, particularly by musicians perhaps, around this country. Each time a new young hopeful appears on stage, my friends and I nod sagely and say, ‘She’s okay, but not in the same class as Kerrie Biddell.’ For some of us, no one ever will be!
Concepts aside, one of Grabowsky’s most significant contributions to creative music has been to popularise the pooling of players from different Australian states. Common enough in the 1960s, the practice had waned until Grabowsky did it with the Wizards of Oz, the band he co-formed with saxophonist Dale Barlow in 1986.
Bertles remains imposing, and perhaps it was always a big man’s absence of timidity – a crash or crash through mentality – that made his playing so compelling
He went backstage at a Miles Davis gig in LA to say hello to Dave Holland and Chick Corea. When they started talking about Scientology to him, he had Miles Davis wink at him and say to the others, ‘You’re not telling a grown man that shit, are you?!’
Article by John Shand Banner image Harry Sutherland Trio with guest Jessica Carlton. Photo: Scott Burgess. To say he polarises people could be a lame pun on his ethnicity. To describe him as bullish is to invite an analogy that Sydney’s jazz scene was sometimes a china shop. But by nature we like ‘what if’ …
Few players besides Pochée have been members of six pivotal Australian jazz bands: in the ’60s the Heads (subsequently the Bernie McGann Quartet); in the ’70s the Judy Bailey Quartet and the Last Straw (which continued into this century); in the ’80s the Bernie McGann Trio (and Quartet, both also running into this century) and Ten Part Invention (ditto); in the ’90s the Engine Room. Furthermore Pochée led the Straw, the Engine Room and Ten Part, the latter involving the Herculean task of keeping a 10-piece band together for three decades.