After playing some we retired to the kitchen, a cup of tea, another long rave, and finally off to sleep.The following day, Saturday September 4, we played for hours. Our musical communication, as with our verbal communication too, showed absolutely no signs of having drifted apart over the intervening years, as many as these were.
The Melbourne weather may have been cold but my spirit was made as warm as toast by these two remarkable musicians and their music-making. I await with patient anticipation, our next opportunity to play.
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Most musically interested people who have but glanced in the direction of Western contemporary composed/notated music will have encountered the name, Sylvio Gualda.
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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.
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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.
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It’s an interesting task to collect my five most significant jazz experiences of 2010. I can revisit my memories easily enough through my blog (CanberraJazz.net), which is as much a record for me as reports for others, but the selection is the hard part. These are my most intense memories as I scan through my …
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Matt McMahon is a composer/pianist/improviser who has performed and recorded with many artists including The Phil Slater Quartet, Vince Jones, Greg Osby, Bobby Previte, Dale Barlow, Guy Strazz, Joe Tawadros, Steve Hunter, Dave Panichi, Katie Noonan and Jazzfolk. He was the winner of the National Jazz Award in 1999 and the Freedman Fellowship in 2005. …
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The music was alive and active and taking me places. Breathless and totally engrossed, I was in the moment and yet excited about what would follow. When the high point came (for me), it instantly recalled Stephen Magnusson’s playing during the Tim Berne’s Adobe Probe Melbourne gig during the 2009 Melbourne International Jazz Festival.
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My favourite live performance experience of the year was ten minutes spent in a small wing of the Art Gallery of NSW. During the October long weekend the gallery played host to an astounding gathering of indigenous artists from around Australia.
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It’s something of a well-kept secret just how alive the Canberra jazz scene is at the moment. This is in large part due to the current crop of students, teachers and recent graduates at the ANU School of Music.
