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.
Slater’s voice is a perfect choice for the Trio and Stephenson’s songs. Bell-clear, it is a fluid thing, like smoke or drifting water, avoiding any grating blues edges or forced earthiness. It is this instrumental quality a hallmark of all valid jazz singing that fits so neatly with the modern angles and curves of Stephenson’s compositions
“I want singers to dig deep into their potential, to strive to be the greatest musicians they can be, to sing with integrity, unapologetically into the world”
“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.”
Keller’s harmonic sense throughout seems to have its own logic, following its path to places, once arrived at, are just where we want to be. Like all valid jazz writing, her compositional language seems to suit the soloists just fine, too.
Sydney’s Jazzgroove association fifth Summer Fiesta was spread over three venues in Ultimo: Foundry616, Lord Wolseley (I was judged too declassé to admit here) and APRA (I can’t understand it, but I failed the audition, or am I thinking of NIDA?) from Jan 16 to 18. In fact the cross section of bands that was …
Still Still (Which Way Music) Gian Slater Recorded at Headgap studios June 27-28 2011 Review by Leon Gettler Gian Slater is every vocalist’s dream. Her voice has a pristine, almost child-like, purity. She approaches the voice like an instrument, a vehicle for conveying lyrics. She started out emulating instrumentalists, horn players when she studied at …
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.
The judges, Chris Cody, Andrew Gander and 2003 Freedman Fellow Phil Slater, deliberated late into the night. In a group statement, they said of their decision ‘We had four very strong musical identities and it was a most difficult choice. In the end, we chose Aaron Choulai, a very exciting young musician, a risk-taker, a very clear musical personality. Aaron already has a great deal to offer and we are sure there is much more to come. We congratulate all the candidates. They make Australia a very strong country for jazz’
From the media release The Freedman Jazz concert will be held on Wednesday 20 of August at the Sydney Opera House Studio at 7:30pm. Tickets: $35/$30 Bookings: www.sydneyoperahouse.com The Music Trust today announced the four finalists for the 2014 Freedman Jazz Fellowship, Australia’s premier award for excellence in jazz. 2014’s contenders for the annual scholarship …