After a resounding success, Big Jazz Day Out is back on Saturday 21st March, bringing a roster of amazing acts to Melbourne’s (jazz-deprived, but that’s another story) southeastern suburbs. Hosted at (and organised by) the Monash University Performing Arts Centre, the festival is the brainchild (soul child?) of Chelsea Wilson, soul-jazz powerhouse vocalist and live music producer extraordinaire.
A restless champion of live music, Chelsea is in charge of The Count’s fabulous weekly jazz program (after making a name for herself at the stunning Stonnington Jazz Festival – RIP) but it’s her vision for Big Jazz Day Out, that is bound to shape her lasting legacy in the Melbourne jazz community.
A day of performances, ranging from the familiar and comforting to the avant-garde, spread throughout five performing spaces of varied capacity, all taking place at the relaxed, sophisticated (and family-friendly) environment that is the Monash Uni Clayton campus. What else could anyone ask for?
What aftertaste did the inaugural Big Jazz Day Out leave you?
I have a lot of very clear, vivid memories of the inaugural Big Jazz Day Out. Dancing at The Count’s until the late hours to Jazz Party was a standout — it was a raucous show, the political commentary was slightly dark and quite hilarious, (it was an election day) and their sensational vocalist Loretta was in top form.
I remember dancing in the Count’s courtyard to the Horns of Leroy, jumping up to do some backing vocals with my gal pal Fem Belling, and swinging about with a bunch of small kids — that was a real highlight.
Another special moment was witnessing members of the audience sing with a big band on stage for the first time with the Mordialloc Jazz Orchestra. There was such a strong sense of community in the room, with audiences celebrating and cheering for local performers. Watching brave people make their big band debut was heartening and joyous.
What did you try to do differently this time round?
This year, we’ve introduced a special opening gala concert where we invite all audiences to come together to kick off the festival.
We’ll begin with Aunty Narweet Carolyn delivering a Welcome to Country, followed by a performance from Vince Jones and Paul Grabowsky with the Monash Sinfonia.
Last year, with so many stages running simultaneously, there wasn’t really a moment where everyone could be together. This year, we wanted to create that shared experience — to begin as a collective before people branch out and choose their own adventures across the festival.
If you could only catch one of this year’s acts, which one would it be?
This is a really hard question, because I’ve had the privilege of shaping the lineup and truly believe every act is worth seeing. I’ve also structured the schedule so that, if you’re motivated, you can catch at least a bit of almost everything.
If I had to choose, it would depend on your mood.
If you’re curious about music and collaboration, I’d highly recommend Aaron Choulai and Roman MC with the Monash Art Ensemble. It’s unlike anything else, fusing spoken word, hip hop, art music, and improvisation.
I’d also recommend The Cloud Maker, an evocative, powerful, genre-blending performance inspired by stories of Country and mythology, brought to life through improvisation and virtuosity.
What would you say to a total stranger to get them to come on Saturday?
I’d say: life is short, and opportunities to truly connect are rare. This is a chance to step away from distractions, put your phone down, and allow yourself to be immersed in creativity.
We’ve all lived through a time not so long ago when we couldn’t gather, couldn’t experience live music, and couldn’t be with our friends. Being able to come together again — moving freely between spaces, hearing music from Brazil, Latin America, Cuba, New Zealand, the US, and Australia — all in one day, is something special.
You don’t need to be a jazz expert to enjoy this festival. You’ll feel the passion, the energy, and the joy in every performance. It’s about discovering what resonates with you in the moment and having the freedom to follow that.
Which performance would you recommend…
…to a family of four?
Head to The Count’s courtyard to see Dany Maia with the Brazilian Ensemble. The music is uplifting, joyful, and transportive — perfect for all ages.…to a couple on their first date?
The Shuffle Club with Rebecca Barnard at The Count’s courtyard. They’re hilarious, irreverent, and full of charm — a great conversation starter and perfect for a dance.…to a Monash Business School student?
Go to the Alexander Theatre and see Mildlife. Their psychedelic funk-jazz fusion is the perfect escape from thinking about global economics.…to someone starting fresh after a big life change?
I’d suggest wandering — letting instinct guide you. But Cloud Maker would be a powerful place to land. It’s immersive, expansive, and speaks to transformation and possibility.…to someone who says they don’t like jazz?
This is exactly the festival for them. There’s so much stylistic diversity — funk, soul, latin, hip hop, experimental work — that they’ll almost certainly find something that shifts their perspective.
What is your idea of a great festival?
I think a great festival is a great experience which combines a great vibe, considerate crowds, well-informed crew, excellent music and a stunning location. It’s also about presenting new work and collaborations that you wouldn’t encounter in a regular gig setting.
This year, we have several special premieres that I’m thrilled about. Vince Jones and Paul Grabowsky’s performance with the Monash Sinfonia is a new work building on their 30-year collaboration, with new arrangements written by Paul for a 20-piece string ensemble of Monash students and staff.
The Monash Latin Ensemble will perform with Cuban double bassist Yunior Terry and pianist Vashti Sivell. Dany Maia’s collaboration with the Monash Brazilian Ensemble is another highlight, as is Aaron Choulai and Roman MC with the Monash Art Ensemble — pushing the boundaries of what jazz can be.
These kinds of collaborations and premieres are what make festivals unique.
What is your most cherished jazz festival memory or experience that you were not involved in?
One of my most cherished festival memories is actually seeing a jazz artist in more of a rock environment — Gregory Porter singing at Glastonbury Festival.
It took me 90 minutes to walk to his stage, through the slop and the crowds, as I was performing on a stage miles from where he was. It was unforgettable — hearing this incredible rich soul-jazz vocalist surrounded by festive cider-drinking Brits. Just being in that environment, surrounded by history, culture, mud, and music was strange, wild and memorable.
How do you keep ‘Chelsea Wilson, singer’ separate from ‘Chelsea Wilson, live music producer/programmer’? How do these two identities influence each other?
In many ways, I don’t separate them — and I don’t think I can. I will always be, first and foremost, an artist. My personal creative practice is different in that I have full creative control and vision. When I’m composing or producing my own work, every decision is mine.
In contrast, producing a festival is deeply collaborative. Even as Artistic Director with creative oversight on the program, I work closely with artists, producers, technical teams, marketing, front of house and venue staff, and make hundreds of collaborative decisions. It’s a huge, complex puzzle that requires attention to detail across every layer — from artist experience to technical requirements to audience flow.
Being a musician absolutely informs how I program. It shapes how I listen, what excites me, and how I think about presenting artists in a way that aligns with their creative identity.
If you could song-bomb any act on the festival roster, which song would you jump on stage and sing?
This is a funny question! I’d love to sing ‘Rainbow Cake’ with Paul Grabowsky and the Monash Sinfonia — I heard it in rehearsal and it was so beautiful it made me teary. It’s been in my head for the last 10 days straight.
Anytime I can I jump up with The Shuffle Club for something fun like ‘Caravan’, and of course, singing with a big band like the Mordialloc Jazz Orchestra — ‘Take the A Train’ or ‘Caravan’ — is always a thrill.
Which tune would you choose as the Big Jazz Day Out theme?
I’d choose ‘The Magnificent Moon‘ by Mildlife.
It feels fitting – there’s something expansive and majestic about it. I really do feel that all of the artists, and the festival itself, have that same sense of scale and possibility. It captures the spirit of a major day out celebrating jazz in all its forms.
