“I did not expect the music that came out of me to be political, to be conscious jazz. I thought I would write a beautiful lovely AABA jazz standard that could swing.I didn’t realise that I was so angry or desperate.I didn’t realise I was so opinionated.”
“This might sound silly, but as a kid my parents gave me this dumb quote on a bit of wood to go on my shelf. ‘The best way to get something done is to begin.’ This sickly phrase actually sits really well with me, and has totally been a call to action for me many times. For me creativity requires action.”
“One negative aspect of being a male jazz musician is that sometimes people will hire you just to fulfil a quota of males that they think they need to have in the group (usually 100% is the quota). I think people should be hired based on talent and merit rather than on the basis of their sex, and it kind of sucks when you realise you’re only in the group because you’re a bro.”
When the decision was made to move to an all-online mode of delivery, the Festival reached out tokey organisations across the nation. What came back was unreserved enthusiasm, generosityand drive to make things happen.
“Whilst I certainly do have my share of punters coming up to me after shows and expecting me to care about whatever topic they’ve decided we are now going to talk about, it’s probably better than the common alternative that women face of that same bloke giving me a full, unprompted critique of my personal appearance. So, I guess that’s good. It’s also pretty nice having crew/tech not just assume I have no idea what I’m doing.”
” We don’t confine ourselves to particular genres, or traditional interpretations of genres, and we don’t pre-determine too much about the music. All of us love pop, and have listened to loads in our time on the planet. And Brazilian tunes creep in because I find it hard to omit these from any setlist I’m involved in! Aside from that, Stoneflower creates a very gentle, magical sonic palette that doesn’t attempt to prove anything to listeners.”
Elly Hoyt has harnessed the power and beauty of music, not simply for its own sake, but to give voice to those we have heard far too little from.
There were over 70 performances to choose from, so even without the big international names in the line-up, it was outstanding value for pass holders. The tightly packed schedule meant catching complete sets was the biggest challenge.
Fast, barely moving, through thick ensemble textures and spare, you can hear the strings of Tamara Murphy’s double bass vibrating. This is very good recording, but it is also very strong playing, striding right on through.
