Andy Fiddes’ writing shines as bright as Tinkler’s playing. The range of colours, the breadth of ideas – so many audacious chances taken, chances that all work beautifully – the mastery of the idiom: pushing the big idea of The Big Band forward while deeply knowing its traditions (you can hear echoes of the history all across Fiddes vs Tinkler).
“As far as music goes, I reckon I sound like me, and no one else, that’s really what I feel good about. I have a long way to go still, plenty more to explore and learn, but having your own sound and being recognised by it is surely what I feel is most important, other than not sounding like shit. “
“When you’re playing with someone you admire, you might be worried if they’re enjoying what you’re playing – or if you might not live up to their expectations”.
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.
extempore and the Wangaratta Festival of Jazz and Blues have collaborated with National Jazz Award winners from every year of the festival since it began. The result is this eclectic set of souvenir postcards from some of our most creative musicians.
The Foundry 616 Harris & Mary Ann Streets, Ultimo, Sydney. 3 September 2014 Review by John Clare Walking from Glebe to the relatively new jazz club, The Foundry, I am tracked by various familiar resonances. Ultimo was once full of huge warehouses and bond stores, and across from the club itself, in a brick and …
I leave them alone in the set break and write in my notebook ‘They make more of their own collective and individual history every time they do this.’ When I read it back the next day I wonder what the hell I was thinking.
I’ve been listening to improvised music for over a decade and I still don’t ‘get it’. Musical friends say I don’t need to ‘understand’. They say I just need to listen. Over the years, that’s exactly what I’ve learned to do. I’m always learning to do it again!
These magical buoyancies rise from a persistent, intricate conversation of remarkable cohesion and purpose. Propositions are advanced and tested, sometimes at the same dynamic level, sometimes breaking into sensational bursts of energy. And for long stretches it all moves beyond conversation as if three lines of counterpoint are being written simultaneously by a single composer.
Exhilaration does not fade for those who are listening rather than assuming. It builds as the bricks seem to be stacked more rapidly to form more complex percussive patterns. Or are thrown one by one through the air.