It’s been a long time between drinks but musical expat Michael Pigneguy is extremely excited to return to Melbourne with former and new musical collaborators to perform at the Paris Cat
“We decided to record this performance because we felt it was a good time to document the work we’ve done so far, and also because the musicians are so good. We’ve been very lucky in Melbourne to have worked with great players; it’s a great privilege to have your music played by such fantastic musicians”.
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The roster does real justice to the ‘international’ part of its title, as it features musicians from four continents: Europe, Africa, Asia and, of course, our own little corner of the world.
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“I think the best kind of award is the one you can’t give. It’s the one that you get from being intimate with music. The award comes when you listen and the hair on the back of your neck stands up, your skin shivers with ecstasy, you cry because there can’t be anything more beautiful than this right now. Anyone who can hear is capable of winning that award, all they have to do is listen.”
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What you can also hear is Daniel Susnjar’s easy dexterity and his knack of playing right inside the music.
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Our new podcast is up with a distinct WA focus. “Our third podcast. The Perth International Jazz Festival apparently ‘went off’, which translates to ‘a jolly good time was had by all’. In this show we cornered the super-busy and very generous Graham Wood. Graham artistically directs the PIJF, is Associate Prof at West Australian …
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‘… a mood of striking conviviality.’
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U.nlock is interesting instrumentally because of the absence of chordal instruments. ‘We also realised at some point that neither of the melodic instruments are of a fixed pitch…’
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Oehlers’ original compositions call to mind late night smoky jazz sounds, with focus on sultry ballads, forthright melody and Coltrane-esque moments.
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“The chromatic scale is not the easiest thing to do on a harp.”
