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 […] Read More
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The horn unison passages have the extraordinary unity – bright and seemingly electrically fused – that characterised the famous pairing or alto saxophonist Ornette Coleman and trumpeter Don Cherry; while their solos are freely melodic, somewhat in the Coleman vein.
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on ‘Brother Sykes’ – The band play around each other here, as if conversing, exchanging their grief – the feeling is one of a wake, funereal and puffed-out. It is a nod to the complete musicianship of Alex Boneham that the bass dominates here, expressing so much in answer to the gray-blues and watery mauves thrown at him by Rose and Garbett. All seems to happen underwater, beneath a heavy lid of mortality.
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I have never heard jazz like Marc’s – the intricate rhythms are mesmerising, the improvisation continually surprises, the blend of heritage and innovation full of wit and amazement. This is a true musical mind finding its own new path.
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APRA (Australasian Performing Right Association) and the AMC (Australian Music Centre) are proud to announce the finalists for the 2013 Art Music Awards, an event which celebrates the outstanding achievements of composers, performers and educators in the dynamic fields of contemporary classical, jazz and experimental music.
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The maker-or-breaker of course is in writing for the small ensemble. With such a limited musical palette of timbres and instrument capabilities, every decision has to count. Done badly, it can be turgid or insipid. To hit the sweet spot that is the intersection of composition, knowledge and vision, it helps to be a hell of a player, listener and thinker.
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‘a strange and beautiful world conjured among the bricks and grime, the litter and the 7-11 stores’
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The Freedman Jazz Fellowships provide Sydney audiences with a mini-festival each year that features music by artists hoping to bring their exciting projects to life. We talked to the 2012 finalists about their projects and what the Freedman means to them and to the broader jazz scene in Australia.
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With some colourful street art as a backdrop, The Vampires give a dimly-lit alleyway and a small group of passers-by a special performance of ‘All […] Read More
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“Compass succeeds on its combination of strengths, technical and compositional, yet as a saxophone quartet what sets it apart and makes it so listenable is that each player has quite a contrasting approach to tone and articulation.”
