” I always have to have an emotional connection to the song, otherwise I don’t feel I’ll be able to do a good job. I’ve never been good at pretending, so it has to be honest and real”.
From the infectious rhythms of Cuba, through large scale orchestral pieces, to stunning jazz vocals and virtuoso artistry, the Festival promises something for everybody
“In no way did any of us want to honour or glorify the concept of war, so we were quite burdened with the seriousness of the task at hand: honouring historical happenings and putting a voice to these concepts and people’s experiences from this time”.
Collectively known as Berardi /Foran/Karlen (BFK), Hope In My Pocket is a musical exploration through the powerful experiences and emotions contained throughout the archived written correspondence of ANZAC history.
His sound is dark and it has a grain and an edge, except when he plays in a soft burble or croon. It can bark and crack with a brittle edge, yet all of it is done with tone, with timbre. His lines are full of invention, expressed in melody and in abstract shapes.
‘…it was a bribe from my music teacher that got me singing jazz, as he said I could only sing with the Jazz Combo if I played sax in it too…’
In 2009, extempore journal spoke to five Australian jazz musicians, asking them all the same set of questions… Kristin Berardi, Vince Jones and Katie Noonan […]
2012 Bell Awards announced
‘The challenge when singing standards, I think, is to be respectful to the original tune and then do your own thing with it.’