Andrea Keller’s piano is central to her Transients trios, a thing of wonder that binds together these conversations with her fellow musicians.
Elly Hoyt has harnessed the power and beauty of music, not simply for its own sake, but to give voice to those we have heard far too little from.
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The 17th annual Australian Jazz Bell Awards acknowledged and applauded excellence of creativity, recording, performance and presentation of jazz in Australia.
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“I love sitting in the middle of Darryn and Kim when they talk about musical experiences theyve shared from times before I was born, soaking everything up like a sponge, to the point that it feels like I was there too!”
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“I didn’t set out to have a band with two basses. It was funny that it didn’t occur to me until a while in, that I’d run the Andrea Keller Quartet for 13 years as a bass-less ensemble and now my next major ongoing adventure as a bandleader involves an ensemble with two bass players!”
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In a series of performances in partnership with the Melbourne International Jazz Festival, the NGV comes alive after dark with the eclectic sounds of jazz during this season of NGV Friday Nights. The late-night art and music series runs alongside the NGVs Melbourne Winter Masterpieces exhibition MoMA at NGV: 130 Years of Modern and Contemporary Art from 15 June to 5 October 2018 at NGV International. T
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Genius pianist Barney McAll dominates the shortlist, being featured in four categories with his visceral masterpiece, ‘Hearing the Blood’, while brilliant newcomer saxophonist Evan Harris follows with three nominations, each representing a different generation of Australian jazz.
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Acclaimed jazz pianist and composer Tom OHalloran has received the Jazz Work of the Year award for Now Noise, an album composed for his group Memory of Elements (Moe), at the 2017 Art Music Awards
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And that from anguish to giddy silliness, and everything in between is the scope of [A]part. It is a massive piece in every way: challenging to the ear and the mind, highly original (as we know Kirkwood to always be), often cerebral and abstract, all the time threatening to be too much to take in in one sitting. But what saves it from possible overwhelm is that Kirkwood never loses the emotional thread in the music; it is human music and it consistently makes you feel. Sometimes, as with all valid contemporary art, those feelings can be baffling or even plain uncomfortable, but you do feel them deeply.
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“We’re seeing more women artists in jazz, but perhaps not at the rate we’re expecting. I think one of the biggest challenges is to encourage young players to pursue music at a tertiary level and beyond.”
