A crash course in the history of the saxophone, by jazz master Andy Sugg
Each year, the Australian Jazz Museum receives hundreds of hours of music left behind by the switch to online – recordings by giants of Australian jazz not to be found on iTunes or YouTube, locked away in gradually decaying vinyl and plastic
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Considering how much of my life I had devoted to listening and learning this music, and believing it was the greatest music in the world, I was truly shocked when I got to high school to realise that throughout my entire high school years there was hardly any mention of Jazz or the great men that contributed to this music.
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Jenny Eriksson: “Elysian Fields have several Scandinavian connections. Matt Keegan studied in Sweden, vocalist Susie Bishop sings fluently in Swedish and bass player Siebe Pogson is 1/8th Swedish. We’ve been doing covers of Scandinavian jazz artists almost from the start. Since Susie Bishop joined us we’ve added some Swedish folk songs. We’ve given Matt McMahon honorary Swedish citizenship, so he does not feel left out!”
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We don’t really have a pressing feminist agenda or anything. To be honest, we are just flat out actively rehearsing the music, putting the gigs and promotion all together and dealing with the week-to-week practicalities of coordinating a 16 piece organisation, and haven’t had much time for any meaningful discussions!
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From the ’20s to the ’60s, St Kilda venues ranged from grand ballrooms and dance halls to cabarets, coffee lounges and clubs. Some of the buildings were stunning examples of architecture, reflecting periods of Melbourne’s social and cultural wealth. They hosted major international artists of the era, as well as providing a hub to showcase local musicians and foster the emergence of new jazz styles.
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Bennetts Lane Jazz Club version 1 was born on November 27th 1992. It upgraded to two rooms on the 14th of January 2000. And it closed on June 15th 2015. During its almost 23 years in the service of live jazz performance it helped usher in a new environment for musicians to bring their art to their community. […] The experience and insight we learned through mistakes, discussion and respectful negotiation have largely been retained in Bennetts Lane version 2.
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“It will be great to reunite with one of my earliest musical collaborators, Steve Newcomb. On that night, the performance will be like two old pals catching up after a few years, each one filling the other in on what they’ve been up to (in this case, musically) in the intervening time.”
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“did you define love john coltrane when you wrote ‘one up, one down’ even years ago when your raw aggression first trauma’d my ears i wondered. or did you define it later with ‘a love supreme’ your perfectly balanced love chant perhaps you got it right at rainy newport, where you spoke of stormy balance …
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Visions, Fantasies and Dances Music for String Quartet by Yitzhak Yedid A Reflection by Arjun von Caemmerer Yitzhak Yedid remarks that during a synagogue service the congregants may chant and sing in quasi-unison alongside the cantor, thus spontaneously and intuitively generating heterophonic variations from the monophonic melodies of traditional prayers and Piyyutim. My response to …
