I first met flutist Erica Tucceri at a music awards function, a few years ago. It only took a few minutes of conversation to realise she was easily the coolest person in a room filled with coolness. I was already aware of her Bella Wolf project, a collection of addictive jazz grooves, and I have been waiting for her next big step. Fast forward to today: Erica has cemented her reputation as a creative force in the Melbourne music community, her flute lighting little fires in a series of recordings, ranging from straight ahead jazz to deep house. As for that next step, it now looks more like a big leap, thanks to the Melbourne International Jazz Festival, and the extremely valuable Take Note leadership program, promoting women and gender diverse artists. Erica spent the past few months leading improvisation workshops at high schools across Victoria, inspiring the next generation of Australian jazz, while at the same time, developing a new work, premiering at the Howler tonight.
What would you say to a total stranger to make them come to the Howler
Your life needs more flute in it! Come have fun!
What are your expectations from the audience?
This band is sending a lotta love out with this music, so I hope the audience are ready to embrace those vibrations.
How did you recruit the band for this project? What were you looking for?
Camaraderie, energy, chemistry, trust. A band is a whole eco-system, and you’re always looking for the right balance.
The strings were actually the first players I locked in for this gig, and I was so excited when the Invictus Quartet said yes! I wanted to work with an existing quartet, to be able to tap into that existing camaraderie — you can’t replicate it! I knew Invictus would be the perfect fit– they have a great attitude, and are super savvy to exploring tone and techniques through a contemporary lense.
I’m also over the moon to be sharing the stage with some of my old school collaborators, a few of whom have been based overseas for the last few years. This work represents my first foray into long-form composition and writing for an ensemble of this size, so it feels very special to be sharing this with them — it feels very full circle.
If this project was a movie soundtrack, what kind of movie would that be?
Some sort of journey movie, but with a cool modern/retro aesthetic.
How has the Take Note experience been for you?
I definitely took on an ambitious project with this one, and it’s always more work than you think it will be! The Take Note experience has been a multifaceted opportunity, and I am really grateful to have been able to both give and receive as part of this process.
Something that I really like about Take Note is the opportunity for cross-generational learning and connecting. The Take Note leader runs a series of high school workshops, as well as being able to connect to other musicians and have the opportunity to work with and learn from networks that I otherwise wouldn’t, and I in turn have the opportunity to spread that love to my own musical peers and the next generation of musicians via the high school workshops.
As they say, “if you can’t see it, you can’t be it.” Industry backed platforming and support is critical to all artists.
What was your first experience with the flute like?
Dizzy! The flute uses so much air! To be honest, I always wanted to play all of the instruments, but my primary school let me borrow a free flute. So, as they say, the rest is history!
How did you find your voice as an artist?
The flute isn’t the most common instrument in improvised music, so as much as I have always had a strong love and interest in jazz and improvisation, it took me a while to figure out how I could fit in. You are always drawn to what you love, so one way or the other — if you stick at it and follow your instincts, it will find you!
What inspires you the most?
Long walks — with no head phones on.
What makes you dance?
The band tells me I pull some great moves when I conduct, so I guess you’ll have to come along and see!
Which tune best describes your current state of mind?
‘Tomorrow’ from Annie.
