Phil Treloar takes it from there, his playing a way to clarify things, put them in order and into perspective.
Tag: Phil Treloar
Perhaps the most exciting aspect of the tour is the premiere of Treloar’s new composition Prashantarutasagaravati, inspired by Treloar’s Buddhist faith.
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Instead of perpetuating the importation of American models of jazz, James McLean went and soaked up the ideas and attitudes of someone who had stepped out from that giant shadow decades ago; someone who might help him find his own path into the music – Phil Treloar.
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Phil Treloar recently contacted us here at AustralianJazz.net, asking if we would post this video of a piece he’s written and dedicated so his dear […] Read More
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Phil Treloar has contributed to past issues of extempore and his work can also be found on the Kimnara website. When we asked Phil if he’d like to contribute to our Top 5 | 2010 highlights, he instead sent us five new pieces from his Recollections series…
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After playing some we retired to the kitchen, a cup of tea, another long rave, and finally off to sleep.The following day, Saturday September 4, we played for hours. Our musical communication, as with our verbal communication too, showed absolutely no signs of having drifted apart over the intervening years, as many as these were.
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The Melbourne weather may have been cold but my spirit was made as warm as toast by these two remarkable musicians and their music-making. I await with patient anticipation, our next opportunity to play.
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Most musically interested people who have but glanced in the direction of Western contemporary composed/notated music will have encountered the name, Sylvio Gualda.
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The overwhelming aesthetic is eclectic though this style-laden environment is anything but imitative other than when tongue-in-cheek, and in this some humor is brought to bear. This imaginative trio explores a clearly etched ethos; one I perceive of as trajectories within trajectories; a process of creating layered textures.
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Subjects on whom Howard Mandel might have chosen to write could have been drawn from a wide range of outstanding American improvising musicians. Why he chose Miles Davis, Ornette Coleman, and Cecil Taylor seems to be uncomplicated: he’s utterly passionate about them.
