If you are in Canberra, make sure not to miss the Street Theatre’s latest production. Creswick (a.k.a. Liam Budge) presents In His Words: Voices of […]
The Adelaide Jazz Festival is a weekend-long program of live performances leading up to UNESCO’s International Jazz Day on 30 April. Presenting a broad range of jazz genres across city venues, its aim is to surprise, inspire and delight audiences by discovering new musical experiences.
What makes Ally Hocking Howe’s EP ‘The Feather Came First’ a great listen is not the music itself, but the promise it carries: the promise of a great composer, and a great musician, who can mover through genres and blend elements from all sorts of sources to create something new
American jazz songstress Madeleine Peyroux returns to Australia as she brings her Careless Love tour to Brisbane, Sydney, Melbourne and Adelaide in March 2023. Tickets on sale now
“I believe the melody is one of the most important things and I want it to always be significant. When I think the composition has reached a good level of complexity without sounding pretentious, then I am happy.”
“Morgana was a positive force in my life and gave me a lot of purpose”
“I’m very much a bassist in the sense that for a long time I’ve been in that supportive role, playing for a variety of artists of different genres. And with that I’ve had the good fortune to travel to different parts of the world, and live in The US. That exposure to different people and different sounds I think are what I consider to be some of the highlights.”
I first met Mina Yu at a Fem Belling performance; I was instantly blown away by her playing, her crisp sound, and the way that […]
Everything Bob played was a melody of its own. The way he would weave the notes through the harmonics of a song somehow keeping the integrity of both melody relevance and the critically important harmonic notes, was something to marvel at.
As a matter or fact, all the ballads in the album have a high charged emotional density, without ever turning into melodrama — this is probably due to Libor Smoldas’ earthy lyricism, Jakub Zomer’s ability to create haunting sonic undercurrents, and Sacha Kloostra’s carefully timed explosions, not to mention Ingrid James’ masterful control of her instrument.