In this episode I’m talking to Scott Tinkler, one of the most exciting and formidable trumpet improvising musicians in the world.
Helen Svoboda is a double bassist, vocalist, composer, improviser and nature enthusiast. “With a deep awareness of extra musical concepts that shape inventive improvisation, and great art” (Steve Newcomb, AUS), Helen draws influence from vegetables, flowers and the genres of minimalist neo-classical music, folk and experimental jazz.
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In this episode I’m talking to Georgia Mooney,one of Australia’s foremost singer-songwriters
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When the decision was made to move to an all-online mode of delivery, the Festival reached out tokey organisations across the nation. What came back was unreserved enthusiasm, generosityand drive to make things happen.
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“Whilst I certainly do have my share of punters coming up to me after shows and expecting me to care about whatever topic they’ve decided we are now going to talk about, it’s probably better than the common alternative that women face of that same bloke giving me a full, unprompted critique of my personal appearance. So, I guess that’s good. It’s also pretty nice having crew/tech not just assume I have no idea what I’m doing.”
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In this episode I’m talking to the dynamic duo – Linda May Han Oh and Fabian Almazan
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In this episode I’m talking to multi-instrumentalistBrian Krock.
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“We immediately moved an initially serviceable, hired, upright piano from the cellar beneath Bill Ross’ parents’ home to the new club; but, because we managed to drop it from about halfway down the stairs to the bottom, it was then deemed no longer serviceable by its owner. “Written off” – and therefore now rent-free – the piano was actually in reasonable shape. It held its tune reliably; and it never left the Cellar until the club finally closed its doors in the early ’70s.”
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In this episode I’m talking to jazz composer and bandleader Adrian Kelly
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“I think my music is on the whole quite accessible to people who aren’t avid jazz fans, yet also has many elements of that flying, dodging and dextrous complexity that jazz aficionados and myself have come to love.”
