There’s no shortage of jazz festivals in Australia, but not many can boast having the iconic status that Wangaratta Jazz & Blues has enjoyed for more than 30 years. Beloved by audiences and artists alike, Wangaratta Jazz & Blues has been a staple on the national jazz calendar (first weekend in November, in case you forgot), but not everything has been rosy. It’s no secret that it’s been through some tough few years (even before COVID), and its recent editions have only been possible through the persistence and unyielding effort of a handful of true believers. Just when we thought it was over for good, Serge Carnovale stepped in to serve as the Festival’s new artistic director, bringing his expertise and know-how from running Paris Cat, the longest-standing jazz club in Melbourne’s CBD.
How did you decide to get involved with the Wangaratta Jazz and Blues festival?
I was approached by Andrew Nunn, the chair of the new board, along with some really enthusiastic boards members who were keen to see it continue. I was invited to have a venue tour and discuss the possible re-birth of the festival. I was saddened to see the great festival slowly fall away in recent years and I was keen to help it survive, for the people of Wangaratta and the Australian Jazz Scene.
What is your aim with this year’s program?
For it to feature an all-Australian premier and diverse line up, with a strong component of youth and up-and-coming Jazz & Blues acts.
Why is this festival important to you?
Nik, you’ve known me for a long time, It’s not in my DNA to see gigs go — except for Jaspers.
The scene relies on three components:
1. GREAT MUSICIANS — Australia has plenty.
2. An AUDIENCE — We love our live music in this country, and festivals have been a big part of our music culture. When you have great musicians, you’ll always have an audience.
3. GIGS — This is the sector that is struggling at the moment. These are challenging times for venue owners and festivals, and the cost of doing business and putting on these events is extreme now.
We have to work on developing a sustainable and supportive model for a strong future. If we lose the gigs we lose the scene.
This is a 34-year-old festival, it should be heritage listed. It has provided so many wonderful gigs and moments. It’s a feature regional event on the Australian live music calendar and it provides many pathways and platforms for so many Jazz and Blues musicians.
What was the main challenge you’ve had to face while putting the program together?
Putting the program together has been great fun with everyone involved really excited to see it happening again. This is a venue-based model with approximately 40 shows being featured across a number of venues in the region. As you can imagine, all the venues have different infrastructure and requirements but all in all, things have gone very smoothly.
How has your experience with Paris Cat informed your approach to this job?
The Paris Cat moves into its 20th year next year, and in that time we’ve made mistakes, but also have made a great impact on the Australian jazz scene. Meeting and working closely with artists on projects has been great and helpful in programming WJBF. Passing on my business knowledge to venue owners has been well received. Liz, my wife and programmer for the Paris Cat, has been a wonderful support and set of ears in the process.
Wangaratta Jazz & Blues has been through a few tumultuous years; how are you ensuring that its future is steady?
Yes it has. To be blunt, it ran out of gas.
My focus will be to encourage venues to invest in infrastructure like audio and PA equipment, and encourage them to not only be part of the festival but to put gigs on all year long. I want the region to be a music hub for touring artists and I will brand it that way.
I also want to cut back on wasted funds and drive forward with an energetic team prepared to take it into a new direction.
Historically, Wangaratta Jazz & Blues Festival has brought quite a few international acts to Australia, and also featured many interstate artists; in comparison, the 2024 program’s scope seems smaller. Was this deliberate?
I agree, but this is a smaller festival as we have got nowhere near the funding received in past years. As you can imagine, the touring costs of flying over international acts in a re-build year is just not viable. An all-Australian line up is a great way to relaunch and hopefully we can attract some larger funding applications next year and beyond. If you care about it, please come along.
What is your main aspiration for the festival?
To see it survive.
Which tune reminds you of your favourite Wangaratta Festival memory?
Jon Cleary – ‘When you get back‘
Which tune best describes your current state of mind?
Billy Joel – ‘New York State of mind‘
