20Up sees the AAO return to the place of its first concert: the Malthouse Theatre in Melbourne. A total of twenty-five musicians will perform a range of works from Ringing the Bell Backwards, the first work written for the AAO by Founding AD Paul Grabowsky which premiered at Malthouse in 1994; Passion, which is the AAO’s take on Bach’s St Matthew Passion; Testimony, Sandy Evans’ extraordinary tribute to Charlie Parker; Struttin’, Eugene Ball’s impressionistic take on Louis Armstrong, and a brand new commission from young composer, Austin Buckett called Virtuoso Pause.
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Over the 10 day duration of the festival I’d encountered orthodox jazz rhythms, experimental jazz and music that you could argue was not jazz at all. Had I selected a different schedule of artists, I may have had a totally different festival experience altogether, such was the variety of shows on offer.
From their newsletter (sign up here… melbimprov.com) Facebook event: https://www.facebook.com/events/597635853653649/?context=create&source=49 Venue: Uptown Jazz Café, Brunswick St, Fitzroy 8pm doors open uptownjazzcafe.com 8.30pm – 11pm music $10 […] Read More
‘…his trio has played together intermittently without homicidal incident since 2011.’
Rhythm. Heat. Lines. Movement. Energy. Since 2010’s ‘The Singularity’, The Sam Bates Trio have naturally progressed into the force of nature that we hear here.
‘Another thing I came to realise when I had to spend a few years really lost in my film and unable to practise music, is that when singing, because the breath is really focussed and controlled over a period, it has a meditative, almost yogic quality that is incredibly good for health and mind.’
Ultimately, the questions, the searching and the transformation that results is connected to the Art Orchestra’s aim not just to reconstruct something… it’s to find a new way of making music with the Young Wägilak Group.
Most musically interested people who have but glanced in the direction of Western contemporary composed/notated music will have encountered the name, Sylvio Gualda.
The overwhelming aesthetic is eclectic though this style-laden environment is anything but imitative other than when tongue-in-cheek, and in this some humor is brought to bear. This imaginative trio explores a clearly etched ethos; one I perceive of as trajectories within trajectories; a process of creating layered textures.
Subjects on whom Howard Mandel might have chosen to write could have been drawn from a wide range of outstanding American improvising musicians. Why he chose Miles Davis, Ornette Coleman, and Cecil Taylor seems to be uncomplicated: he’s utterly passionate about them.