Peter Wockner: Last year during a speech for the Society for Neuroscience Conference you stated that in that past month you had played 30 concerts in 28 cities from Maine to Hawaii. That busy performance schedule is not that unusual for you. With so much live performance and inherent improvisation in your music how do you avoid the traps of repetition? There is a kind of mythology that surrounds the word Improvisation as viewed from the outside of this general area of music that sometimes gives it a kind exalted status that doesn’t really match up with the realities of what happens on the bandstands of even the best improvisers. Each of us has a vocabulary and a range of fluency that depending upon the material at hand has perimeters that can almost be measured as you go along. Of course we are all constantly working to expand our vocabulary and our fluency and are forever pushing against those perimeters, but over the course of 100 or so gigs, we are where we are for the most part. I often talk about this with musicians who join me along the way. There is a certain kind of thing that happens if you do 10 to 20 gigs, a very different thing emerges as you get into the 30 to 100 gigs and then yet another kind of energy (and the required discipline/awareness that comes with it) needs to be there for gigs 100-200 or so.

PW: How do you judge the success of a live performance?
There are the obvious things about how well you are able to deal with the material at hand and so forth, but honestly I would say that I am not sure I would ever be able to bring any real objectivity to that question - especially 50 years or so in. My personal connection to music is very hard to express outside of the syntax of the music itself, so any thoughts I might be able to bring in the form of judgement would almost have to be expressed in music itself.

PW: The quartet line up for this tour including Linda Oh and Gwilym Simcock and of course your long-time collaborator Antonio Sanchez, sounds like it will be one of the most anticipated concerts for Australian audiences for years. How important is it for you that both Linda and Gwilym having a historical affinity with your music, and what are your expectations for this tour?
Gwilym shares something with another one of my favorite piano players, Brad Mehldau, in that both he and Brad claim to have been very inspired to take up this music from hearing some of my records as young kids. Gwilym has a really deep understanding of the sensibility of what my thing invokes and requires. But beyond that, he is just an fantastic overall musician. Piano is an odd instrument to me in general - for the most part I have always kind of preferred a very open environment where the melodies express the harmony in an intrinsic way. But with the right player and the right sensitivity, guitar and piano together can be a fantastic combination. Like Gwilym (and Antonio too actually) Linda comes with a real deep knowledge of my thing from her early days as a musician. She told me she came of age listening to my trio record with Dave Holland and Roy Haynes, Question and Answer and she really understands that area as well as the other things I have done over the years. Besides just being the total badass that she is, that makes her especially a great fit for this. These days it actually isn’t that hard for me to find younger musicians who know the tunes and the fundamentals of how to play in the general zone of my thing. Actually the thing that is hardest for me to find in musicians is the ability to play simple. I can find many people who can do all kinds of tricky stuff and have their cute/hip arrangements of standards in 15/8 or whatever - there are dozens of folks on all instruments like that. But to find someone who can do all that and also play really really simple…I can almost count them on one hand.

PW: You also mentioned during that speech for the Society for Neuroscience that you have kept a journal for the past 35 years of every concert performed. Can you describe the kinds of insights of your own musical character that you reap over such a long period of time by dedicating yourself to such a practice?
I always encourage folks to write things down. Musically and otherwise. There is a certain kind of gravity that accompanies the act of going to the trouble of documenting something that I have found quite useful. Sometimes you have a feeling about something. By engaging in the act of writing it down you can get a bit closer to the specifics.

PW: What importance do you place on the academic analysis of historical periods (eras) of improvisation in jazz. To elaborate, in what context can such analysis be meaningful when improvisation is unique to an individual rather than a period in time?
Honestly, I don’t think I have ever once heard anyone play authentically in a “historically” correct period style of some previous era. Given the nature of what this music demands, I simply don’t think it is possible. That is a big part of the beauty of this music - it only happens once. That said, it is absolutely incumbent on all of us to understand in as much detail as possible the way the language has developed over the history of the music.

PW: In what ways has the artistic community in the USA responded to the Trump presidency?
Sadly it reveals to the world what most of us in this community already knew. But we are going to continue the fight that has been going on from the beginning.

PW: If you have some down time in Australia between concerts how are you looking to spend that time?
One of my daydreams is to move to Perth. I love that place. But honestly, on the road my focus is on one thing and one thing only - what can I do to make the gig as good as it can possibly be?

Previous interview - 10/9/2014

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Peter Wockner: You started playing music at the tender age of six. Do you recall the moment when you realised that you were improvising on the piano and can you describe how that made you feel? Stefano Bollani: I don't, actually. But I guess I started improvising immediately, as any other child would do in front of all those keys. PW: The trumpeter Enrico Rava has been such an important mentor to you. Can you describe the influence he has had on you and what are his qualities that endears him to so many jazz fans?

SB:

PW: What are the key elements of your music that allows it to communicate with the audience?
SB: If I knew the key elements, that would be really boring for me. No idea.

PW: You’ve been known to say that music for you has no boundaries and proof of this was your performance on grand piano in a favela in Rio de Janeiro. Can you describe the reaction by the people to this performance and inspiration you must have given them?
SB: That was great. Everybody seemed happy to be there. That' s what I' m longing to see in any kind of concert: joy and happiness

PW: Unfortunately some people still like to put music and musicians into pigeon holes as a convenience to their marketing strategy or whatever. Has this been a help or a hindrance to you over the years?
SB: I never felt in a pigeon hole so I can't say anything on the subject. Anyway, as far as I can say, being held or kept somewhere has never been particularly useful in somebody' s life.

PW: In the marketing of the Stefano Bollani product what 21st century mechanisms to you use to sell yourself. For example is social media all important or is it just part of the strategy?
SB: I love marketing strategies, as soon as I' m not involved! Life is not that long.

PW: Your current album “Joy In Spite of Everything” sort of sums up the role of music in today’s world. It would seem that quite often it is the only thing positive happening on the planet. What is the role of music today and has its role changed over the expanse of time?
SB: Music can relax an incredible amount of your brain and stimulate other parts which are usually blocked.
Music can help you develop the feeling you're entwined to the Big Spirit. Music can let you spend the most wonderful time you can imagine. Who could ask for anything more?

PW: You are one of the modern collaborators in jazz. Which of your musical collaborations has given you the most satisfaction?
SB: nrico Rava. We started playing together in 1996 and never quitted.

PW: What can Australian audiences expect in terms or repertoire from your forthcoming tour?
SB: I think they should not expect anything but having fun. Hamilton and me, we never decide the songlist or the atmosphere we're gonna set. It happens on stage. He' s a fantastic musician and a totally cool human being: you' re all gonna be bandolim' s fans after the concert.
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As part of the 2015 Capital Jazz Project, Queensland trio Sean Foran, Kristin Berardi and Rafael Karlen premiere their ANZAC Centenary commission Memory & Emotion drawing on sounds from jazz and folk music and themes from ANZAC letters; Peter Wockner: Your new project entitled ‘Memory and Emotion’ draws its inspiration from ANZAC letters. How was this idea conceived and what support have you received?

Kristin Berardi: It was conceived by Sean Foran who approached Rafael Karlen and myself to join him in this journey of creating a musical output tied directly to the ANZACs. This is being done through studying letters of correspondence throughout the war and sitting with those words and concepts explored in them and to then through written music, words and improvisation and interplay between us, depict these emotions and experiences.

PW: These compositions derive themes of hope, fear, separation, loss, love, and conditions of war. There’s quite a broad range of emotional palette to portray here. Can you tell us about the compositional process for this project and the collaborative aspect with Rafael and Sean?

KB: We have been to the State Archives, the State Library in Brisbane and also looked through the online archives from the War Memorial Museum in Canberra, and found letters that have resonated with us personally; not always from those at war writing home, but from family members left behind, or those too young to go to war, begging to be allowed to serve, or from people writing to government offices requesting information. We have then sat with these letters alone, coming up with musical ideas and sketches for them. We keep meeting together to make sure we aren’t coming up with the same sounding material, and also encouraging one another in this very delicate process. We are also meeting together to co-write some works also, and to hopefully, in the recording process, be able to come up with some interplay which is improvised, which is something we all do and would like to include on this album, if it works on the day ?

PW: More broadly, what role do you believe music can play in pacifying cultures or society?

KB: I think music is a very healing tool. It is something which can reach beyond people’s race, beliefs, preconceptions, culture, language…..it is for all people because it connects us at our core – at our emotional core, if we are willing to be vulnerable. I think music can soothe but more importantly allow us to feel what we need to feel, if we allow it to. Which is perhaps why, at this time of the ANZAC centenary, this project can hopefully be of some significance and comfort to some people.

PW: On the face of it, there must have been some intense thought and consideration on a number of levels with a project of this nature. Firstly the idea of maintaining the entertainment factor of the music for the audience while dealing with such tragic themes but secondly assuring that the project does not glorify war or that you are seen to be capitalising on the centenary. Describe how you deal with these balancing acts?

KB: Indeed - I know I have been talking to Sean and Raf, and also close friends about these exact matters. For me, I just hope that we can perhaps put a different slant or focus on these terrible events through acknowledging what has gone before, paying respect to it, resting in it, and learning from it, drawing what hope we can, and empathy for others who have been or are today being affected by some of life’s worst circumstances. But yes – even at this late stage in this project I am still grappling with these issues, which is a good thing that is still at the forefront of our minds. It keeps us treading respectfully and lightly, remembering the most important aspects of a project like this.

PW: Will there be a recorded life for this music beyond the scheduled live performances?

KB: Yes. We are recording the works as an album, as well as touring it around the country this year.

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Peter Wockner: The idea of music as a sanctuary is, I dare say, a common theme for many people. A place where one can find peace and harmony. I can certainly relate to that. It wasn’t however the reason I first became interested in music, that was through the influence of my father. How did you become interested in music and how did your involvement develop? Gary Daley: My first impulse to play an instrument came after hearing the piano accordion on TV. I was around 8 years old and was instantly hooked by the colour and sound of this instrument. My parents fostered my interest, bought an instrument and enrolled me in lessons. It was my grandfather, however, who showed the most enthusiasm for my musical development. He was an amateur musician, completely self taught with loads of natural ability. I guess he could see in me the possibility of achieving something he never could. His commitment was central to my development. PW: Given the compositions on ‘Sanctuary’ were written during both times of personal stress and elation, there must be qualities of pleasure and pain in this music.

PW: What particular qualities in your accompanying artists you’ve chose for this project were you looking for?
GD: I'm drawn to the idea of the marriage of disparate musical traditions. This in turn leads into bringing together performers from different traditions. The Sanctuary band is eclectic and features performers with backgrounds in classical , jazz , bluegrass/roots and world music genres. They are a diverse group of musical personalities and I deliberately chose them for this reason. My listening, practise and study of music ranges widely and I hope this naturally feeds into my music, however, the genre hopping does come with risks and dangers regarding finding a workable synthesis. The common denominator with the artists in the Sanctuary band is improvisation and an eagerness from each performer to work with people from other traditions.

PW: You’re talents span across both piano and piano accordion. Do you have any particular preference for either instrument or does it depend upon other factors such as the type of material you’re performing?
GD: I don't in think terms of preferences regarding the accordion or piano. The piano of course is the most flexible of instruments but I'm constantly surprised at how the accordion can insinuate itself in so many musical situations with surprising results. I try not to limit the possibilities or make hard and fast decisions about repertoire and instrument choice. Notwithstanding, there are significant differences between accordion and piano ie one is based on percussion and the other reeds and air with no sustain and this does sometimes affect ones choices. In the previous question I talked about marrying different traditions and players in unexpected ways & I have a similar approach with the instruments I play.

PW: Ultra high fidelity is gaining some traction in the market, possibly as artists discover a niche against the contrast of mediocre mP3 sound quality. What was your primary motivation to record this way and how would you describe the tangible differences a listener can expect from a recording made with ultra high resolution?
GD: Recording Sanctuary was a collaborative exercise between myself, engineer Ross A'hern and musician/producer Ben Gurton. Their company, Mir Creation, is focusing on high res, surround sound recordings. I am attracted to the idea of representing every possible nuance of sound and creating an immersive experience for the listener which can be achieved recording at 24bit/192khz. They and I strongly felt the Sanctuary project ideally suited this approach. In addition I became very excited about finding a space which in affect could become an active participant in the process. Almost like another instrument . We found this in the beautiful Cerretti chapel in Manly NSW. The acoustic nature of the instruments were perfectly suited to the acoustic of this space and the intent was to capture the ensemble sound in as natural way as possible. One of my ideas in this music was to create an ensemble sound which to me is the sonic embodiment of a Sanctuary ie a harbour or safe place. The marriage of this concept with a physical Sanctuary such as the chapel and surround sound presented a tantalising opportunity to more fully realise the concepts behind the music.

PW: What plans are in store for the future of this project beyond the CD launch?
GD: In collaboration with Mir Creation I am hoping to release a surround sound version of the recording in the near future. More performances are planned as well. In addition I'm working on another project for the Sanctuary band. I believe it is a unique ensemble on the Australian scene.

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Peter Wockner: Can you mark the moment in time when you decided to seriously pursue singing as a career? Sarah McKenzie: I heard Oscar Peterson play Night Train at the age of 13 and something in me resonated with the music. In that moment I thought, if I could copy Oscars playing exactly note for note I could be a great world class musician! That was a little naive in my thinking, but not so far from the truth... Transcription is one of the best ways to learn the language of Jazz.

PW: What or who turned you on to jazz?
SM: My Australian Rock and Roll piano teacher Peter Thompson and Oscar Peterson.

PW: Who do you count as the major influences on your singing style? Are they necessarily vocalists?
SM: At first my love of singing came from my love of the piano players; Oscar Peterson, Gene Harris, Kenny Barron and Bill Evans. Now I count my singing inspiration from musicians like Shirley Horn, Sarah Vaughan and Dianne Reeves. They were masters of the voice, just as much so as any instrumentalist. They worked on their voice every day. Singing is a craft.

PW: You were successful in winning the Best Jazz Album in the 2012 ARIA awards. How important is this kind of recognition?
SM: It is an honour to be recognised for any body of work, and I certainly worked hard to bring 'Close Your Eyes To Life' It is an honour and it is very important. It is also important to keep growing and learning, and acknowledging that music is not about winning awards. It is a deep journey.

PW: What are the most important elements for you in interpreting a song?
SM: Technique - having the freedom to artistically get the notes you need to interpret the song Since coming to America I practise long tones/scales/arpeggios/studies 45 minimum every day so that I can rely on my instrument.
Colour - the voice uses the breath so many different colours of sound can be created. Nasal, glottal, breathy, clean etc. These are tools at a vocalists disposal. What kind of colour will best deliver the meaning of this phrase?
Phrasing - Which words will you emphasise in a phrase to convey the meaning you are trying to get across? "I am a fool in love" for example, I would have 'fool' elongated, made slightly breathy so as to really make you believe I am that fool in love. You have to make people believe.
You cannot rely on a 'voice' alone. For the truth, the real 'voice' is in the mastery of the artist.

PW: Can you describe the process for you when writing a song? Is it lyrics before melody or does it come out hand in hand?

SM: My songs are usually written from my tiny apartment in downtown Boston. I have a keyboard that looks over a parking lot. But it's a nice parking lot! I always let the song come to me. I never write the song. If it does not come, I do not write.
I usually hear the melody and chords first and almost at the same time let the words fall from my mouth. Writing is the one time I don't over think anything. Writing and drawing.

PW: I know some songwriters who work and re-work the bones of their material over long periods of time? Does it come easy to you?
SM: Songs usually come in a burst of inspiration. That doesn't mean they are complete. These days I will have the song within an hour or two. Then, it becomes like a building. You have all the elements, the inspiration is gone, and now you have to construct and work to make the sentences tell the story in the most logical and beautiful way you can. That is the art of it that takes a little more time. It's like having an editor look at your work I guess. For me there is a difference between the two. The inspiration and the construction. Inspiration is fleeting, construction is how it will last.

PW: What is your take on how jazz is perceived generally by your generation?
SM: Ha! Probably a whole bunch of notes strung together with a funny sounding beat! Well, that beat is called Swing.
I think Jazz is just a word really for 'freedom of expression'. It is a genre that crosses age boundaries and because it is ultimately about expressing yourself freely, there will always be people feeling mysteriously drawn to it despite their age or generation.

PW: What can we expect from your Sydney Sound Lounge performance?
SM: A lot has happened to me during my last two years in America. So, as a result a lot has happened to the music. It is most important that I connect with audiences and really tell the stories I am bringing to life in a deep and authentic way. Audiences can expect a performance steeped in tradition, but with a fresh approach to the stories of my life.

PW: Despite the prevalence of female jazz singers, jazz on the whole is a very masculine art form and is still very much dominated by males. This seems to be changing albeit very slowly. How do you feel about that? Do you ever encounter anything but equality on the bandstand?
SM: I am very passionate about equal rights. I guess you could call me a feminist too, but ultimately all I want is to see everybody treat each other in an honest and respectful way. Only in embracing each other and celebrating our unique differences will we ever truly be equal.
On the bandstand I only ever want to connect to my audience, my band mates and something that is much greater then myself. Those are my only encounters on the bandstand.

PW: You are now based in Boston. Do you have any medium term goals for your career?
SM: Search for a deeper connection in my music. At the moment I'm reading Ralph Ellison and studying other Black African American literature to get a deeper understanding of the music I am identifying with. The blues is a big part of my sound and I want to make sure I am being authentic and really understanding the pain and the place from which it came.
I always have several projects at the one time so as to not get bored. I am also about to research the life and Music of Shirley Horn from a concert series next year and I am also talking to an arranger for some POPs Orchestrations.
In the short term I will be flying between Boston and L.A to meet with different labels and also a legendary producer I cannot reveal yet. Many great adventures in the pipeline.

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Peter Wockner: Your Grammy Award winning album with Charlie Haden ‘Beyond the Missouri Sky’ remains a definitive album in my collection. You went way back with Charlie Haden to the point of sharing the cover of Downbeat in August 1992. Respectfully, with the recent passing of Charlie Haden, can you reflect on his passion for music despite his physical condition and his influence in your musical relationship? Pat Metheny: This is a difficult subject for me to talk about. Charlie and I were best friends to each other for more than 35 years and shared a connection that was really deep on many levels. I think the music that we made together says more than I could ever explain in words. PW: You mentioned in that interview that ‘combination of Charlie and Ornette (Coleman) playing together is one of the magic combinations in the world today’. You also share some musical history with the legendary Ornette Coleman, can you describe from your perspective what makes Ornette’s music so unique?

PW: You have a frequent tendency to redefine your music and your sound like a Miles Davis. A case in point could be your 2003 album ‘One Quiet Night’ and then 2009’s ‘Orchestrion’. Philosophically as an artist, are you intent on redefinition or is it in your case exploratory or evolutionary?
PM: For me, music is one big thing. Although there certainly are distinctions between conceptions of this band or that band or this record or that record, each setting is a variation on my personal sense of what music is and what it means to me.
In many ways, my main occupation over all these years, even before being “a guitar player” has been that of bandleader. Coming up with a concept for a band or a project, finding and hiring the right people and then writing music for it and finally getting it to become a viable live performing unit have been the consistent elements of my focus over all these years regardless of whatever context the music winds up in. Because I have also been the primary composer of the music that my various bands have played, I have always had specific needs to fill to get that particular set of music to sound the best that it can. In a lot of ways, I see the whole thing from Bright Size Life until now as one long trip, one long record, one long composition with a varying cast of characters that come and go to create a kind of exposition on the evolution of the basic premise that I laid out a long time ago on that first record.

PW: I’d imagine with the rapid advancement in technology the world has experienced that making music in the 21st century is now pretty much limitless in its possibilities. What are the most exciting inputs and outputs for you in the way music can be created and shared these days?
PM: Each era has unique musical opportunities that often juxtapose themselves in interesting ways with what the culture demands at the time. Over my life as a musician, there has been a revolution in terms of what music technology can offer - this has to be the best possible time in history to be a musician in terms of tools. That said, a good idea is a good idea - and, it must be said, the inverse is also true - and that happens in the timeless and rather unforgiving reality that there once was a musician like Bach (for example) who with much less “tech” wrote the best notes of all time. Whether music shows up in this guise or that guise, and whether it is modern technology or a kazoo is pretty much beside the point - if you have a really great idea, it will work hi-tech and super lo-tech. To me, I am pretty happy playing an acoustic guitar just by itself or inventing entirely new ways of presenting music using the revolutionary technical opportunities of the time - but good notes are always the priority.

PW: Its hard to believe but there are only 4 guitarists in the Downbeat Hall of Fame. How does it feel to be one of those with names like Charlie Christian, Django Reinhardt, and Wes Montgomery before you?
PM: I have gotten some really nice awards and honors over the years, but that is in a very different category. It was very special also since I have been reading Downbeat since I first started. When there is some kind of recognition along the way, I really try to appreciate it, and I do. There are certain honors like that one that are unbelievable to me, that I never would have anticipated or expected in a million years. At the same time, because I do live my life playing so much, I could say it like this; on a Tuesday, I played a gig and I played some stuff the best I've ever played it. I finally got to the point on that solo on that fourth tune that I'd been hoping I'd get to all tour long. I finally did it. Then the next night is Wednesday, and it doesn't matter what I played on Tuesday. The people that are coming for the Wednesday gig don't care what I played on Tuesday because they weren’t there and tonight it is Wednesday and I've got to play that fourth tune again and I hope I don't mess it up.
My whole life is geared to enjoying stuff while it's happening and then moving on. If you come to my house you're not going to see one award or anything on the wall. I really appreciate it. I feel honored and humbled by it all, but my thing is, "Okay, tomorrow is the next thing," and really, that's the only thing for me - what’s happening next

PW: The Unity Group that you are bringing to Australia is really an all-star band and its latest incarnation with Chris Potter and Antonio Sanchez has some serious traction. With the calibre of talent seemingly at your fingertips, can you tell us how you go about choosing a group like the members of the Unity Group?
PM: I can’t really say enough about Chris Potter - he is one of the greatest musicians I have ever known and every second I have been on the bandstand with him has been an absolute pleasure. Besides the incredible level of musicianship that he possesses, he is one of the most professional players I have ever been around. There is no drama or insecurity - just music all the way. And he is one of the few musicians I have ever been around who has the same kind of work ethic that I do - he gets there early every night and works on music for hours in preparation for the gig. There are some musicians who are talented and see themselves as some kind of natural geniuses or something because of a certain amount of natural ability - but that is often rarely the case over the long term. I would always contend that talent is an element, but over the long run, ultimately a minor part of it all - it is mostly hard work. Chris is a perfect example of that.
By the same token, I can’t say enough about Antonio. As I often say, he is the drummer I thought would never be born. He has certainly been my most important collaborator over these past 15 years or so. I feel like he can contribute to almost any project I launch. And again, his personal maturity and lack of personal drama is a huge thing for me - he shows up to play every night.
Ben Williams came onto my radar thanks to Christian McBride. Ben is the perfect complement to this band - he brings a youthful spirit and dimension to the band. And he continues to get better and better. He is fantastic person too, which makes it all the better.
Regarding Giulio Carmassi, after the success of the Unity Band record, to do what I wanted to do - to take the basic idea of what that quartet implied to a whole other place - I knew I wanted to expand the palette by adding another musician. However I didn’t want to alter the incredible dynamic of the quartet. What I really needed was a good musician who was kind of like a session musician, someone who could play a lot of parts that I wrote out for them to play. I needed someone to kind of fill out the sound of the band as kind of a utility musician, I didn’t really need another soloist or creative force, especially with Chris Potter standing right there, but I did need someone who understands the language that we are dealing in and can contribute in a textural way and give me another voice to write for. He is doing fine in that role for this band.

PW: What form of recognition do you appreciate the most and why? Live audience, record buyers, critics?
PM: As much as I try to be aware and considerate of the audience as individuals and as a whole, my main focus is always on the music from my own personal point of view. I have found that it is impossible to guess what people are hearing, what they think or even what they expect. The only thing I know for sure is what I love about music and what I hope to achieve in sound through the ideas that come up at a particular moment in time. I follow whatever that is pretty faithfully.

PW: You’re an artist that has accumulated numerous milestone achievements over a lengthy career. What lifestyle regimens do you adhere to ensure the fire keeps burning inside?
PM: No real regimens other than to try to really enjoy each day and each moment in it as much as I can. I try to stay loose and relaxed. On the road I need to spend a lot of time warming up before each performance, sometimes 2 hours or more - that is an important part of each day.

PW: What are the names of the next wave of jazz guitar talent and do you think it is any easier for them?
PM: I like the usual suspects - Kurt Rosenwinkel and Gilad Hekelsman and Mike Moreno all are favorites for me. Music is never easy for anyone.

PW: What can PMUG fans expect for the forthcoming Australian tour?
PM: This is one of the strongest bands I have ever had and I am so happy we are getting the chance to come visit you all.
As much as I am proud of the records, the live presentation is always something way more and this is especially true this time. Of course the core is this crew of exceptional musicians, but one of the goals I had this time was to integrate elements of the Orchestrion project (musical robotics) into this band in a way that is pretty unique and that stuff will be with us there too. And it won’t be only about the newest projects - this band can truly play anything; we are covering a huge range of things from all over my career as a musician.

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Peter Wockner: Collaboration is such a common word to describe jazz projects but your musical relationship is much more. Stemming from a 1972 Berlin concert, you and Chick come close to reading each others minds. Can you describe how surprising that must have been to discover such musical kinship?

PW: Notwithstanding the obvious rapport, it takes someone of great taste to recognise it and package it to an audience. Can you describe the role Manfred Eicher of ECM has had in the success of your duo with Chick Corea?
GB: Manfred talked us into making the first record. We thought it was too esoteric – I mean, who would want to listen to a whole hour of just piano and vibes? But he was persistent, and some months later, we were in the studio. Even then, we thought the record would barely get noticed. Another surprise, it was a big success. Manfred was key to the individual success of both Chick and myself during the 70s, and he certainly pointed us in the right direction as a duet.

PW: What approach do you take to repertoire that might be unique when dealing with a duo performance?
GB: We are always looking for pieces that seem to be well suited for our duet. That means pieces that can be fully played with just our two instruments, and that also challenge us as players. We have a lot of originals by Chick, plus more standard pieces by musicians such as Thelonious Monk, Duke Ellington, Dave Brubeck, Antonio Carlos Jobim, etc

PW: In a way you’ve set the standard for the jazz duo. Do you have a particular album that you believe resonates as the definitive Corea Burton recording?
GB: Most of our fans would probably select the first, CRYSTAL SILENCE, as the most important, and I can easily agree with that. I also favour our live ZURICH CONCERT recording from 1981, and our latest, HOT HOUSE. Frankly, I think all of our collaborations are among my most important records out of the 65 or so that I have made in my career.

PW: Of course you’re a prolific recording artist and Grammy Award winner in your own right having had a stellar career from the time you won Downbeat’s Jazzman of the Year in 1968. How has your approach to your own music changed over the years? What were your priorities in the early years compared to now?
GB: My priorities in the early years were mainly to stand out from the crowd, to have something original and unique to offer, and that led me to several things. I was encouraged to expand the technical possibilities of the vibraphone, including playing with four mallets, developing certain dampening techniques, and also using the vibraphone in different settings than were usual up to that time (playing tango music, classical music, country music, solo performances, duet performances, etc.). Over the years, I have kind of settled into a stylistic niche of my own, based on a broad range of types of music, but geared toward lyrical and expressive music. I also search far and wide for compositions that meet the highest standards.

PW: You’re also a dedicated teach mainly at Berklee College of Music. Communication is a common denominator both in performance and in successful teaching. Obviously both are very dear to your heart but can you nominate what moves you most, is it performing, recording a great album, composing or teaching?
GB: Obviously, if I had to choose only playing or only teaching, I would choose playing. But, teaching is very rewarding, and I have been teaching in various settings since 1971, the year I started at Berklee. I retired from Berklee in 2003, but continue teaching an online course in improvisation for Berklee to this day, which I enjoy immensely. It is correct to say that both teaching and performing require high communication skills. The challenge is that, playing skills are not the same as verbal skills. Some musicians can play wonderfully, but have no gift for explaining it. Others are good at teaching, but so-so at playing. I have been fortunate to be a successful player, and to have a natural talent for discussing and explaining and demonstrating what takes place in the act of performing. Seeing that this is something not every musician has a knack for, I have always had a sense of commitment to continue teaching to the extent that my schedule allows.

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Peter Wockner: You’ve always had a spiritual connection with music. The notion of the mysticism of sound and the idea of searching for ones inner voice. The Greek Project sees you collaborate with vocalist Maria Farantouri. How close are you now to finding your holy grail of sound? Charles Lloyd: I am still searching, mining deeper. The closer I think I am getting, the deeper I have to go. The longer you live, the more experience you have in life, and you find the more you have to give.

PW: You grew up in Memphis with great musicians like Booker Little, Harold Mabern, George Coleman and Phineas Newborn. What are your abiding memories of those days?
CL: Like the soil of the Mississippi Delta, Memphis was a very fertile place to grow up in. I was surrounded by the great geniuses and progenitors of the Blues. Howlin Wolf, Johnny Ace, BB King, Bobby Blue Bland. And then there were the jazz greats like Duke Ellington, Cab Calloway, Count Basie, Lionel Hampton who came to town to perform at the major Black venue in Memphis, the WC Handy Theater. Phineas Newborn was my mentor, and steered me to study with the great Irvin Reasson, Booker Little was my best friend in high school and George Coleman was a few years older than and was like a mentor as well. Despite all of the racism that existed at that time in Memphis, it was also an amazing period to grow up there within the context of the developing jazz music.

PW: In 2016, you and many others will be celebrating 50 years since the recording of the million selling album Forest Flower in 1966 at the Monterey Jazz Festival. Are there any plans to mark that event in a special way such as reforming the quartet with Keith Jarrett?
CL: I will be performing at Monterey this year for 3 nights with 3 different configurations; Sangam with Zakir Hussain and Eric Harland, a duo with Gerald Clayton and my New Quartet with Jason Moran, Reuben Rogers and Eric Harland. I am taking it one day, one year at a time.

PW: In 2006 you talked about your 1965 album Of Course, Of Course, saying that you and other members Tony Williams and Ron Carter were modernists and that you ‘had a need’. What do you feel your ‘need’ is at this stage of your career?
CL: My ‘needs’ are few at this stage in life. Inner peace and to find the perfection of that one “note” that could say it all. Then I could put my horn down and go back into the woods.

PW: You’ve always been flexible enough to deviate from the structural pillars of jazz having worked with the likes of The Doors, The Beach Boys and Jimi Hendrix. Indeed you’ve told the story of how Carlos Santana stood at the front of the stage at Fillmore yelling to you “Free the People Charles, Free the People”. When you look back on such a stellar career, how have you measured the level of your success?
CL: I don’t have the skills to measure what you call a “Stellar career”. I am still searching and trying to sing my song with freshness and relevance.

PW: How were the seeds of the Greek Project sewn? What is it about traditional Greek music that you find compelling?
CL: The first seeds were planted in my home town of Santa Barbara in November 2001 when a Greek friend of mine sponsored a concert with Maria at the University of California Santa Barbara. When I heard her sing with such depth and beauty, I knew she was the real deal. We met after the concert and the next summer when I had a concert in Athens I invited her to join me on stage. A beautiful friendship developed and over the next decade we shared music and ideas with each other, always with the idea of one day sharing this in a major concert setting. This came to be in 2010 with our concert at the incredible Herodion at the foot of the Acropolis. It was an amazing experience to stand on those stones that have been polished smooth over the centuries by the great actors and musicians who also stood on them to perform for the city of Athens.

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PW: After a 16 year tenure and 15 albums for Blue Note, in 2008 you launched your own record label ‘Inner Circle Music’. How has this turned out for you and is the direction you’re heading in changed over the last six years? GO: It was the best decision that I could have made. Having complete control in every stage of the production of my releases is best for me at the moment. Of course, running a label requires a great deal of time and energy, but the end results feel much more satisfying when we get good responses for our efforts, knowing that no compromises were made in the process. PW: Jazz or improvised music is one of the most purist forms of personal expression but with that, comes a certain vulnerability because each night you’re putting everything on the line in a very public way. I’m thinking that it would be easier for you to deal with criticism these days given your success and stature as an artist but how did you deal personally with criticism in the early days when critics might have had negative opinions on your jazz-rap fusion?

PW: How does it make you feel when you see the younger artists such as Jason Moran or Sara Serpa whom you’ve given significant opportunities to, become such successes in their own right? Would you say this approach stems from the opportunities you received yourself from artists such as Jack DeJohnette?
GO: The success of younger artists whom I've hired is exactly what I was planning for when I hired them. It validates my reasons for hiring them when no one else would. The entire point, by design, is for our successors to so well and hopefully, go farther than we have. I've always done, and will continue to do everything that I can to insure that anyone who passes through my bands or studies with me will succeed. I will give them all of the information and guidance that I'm able to provide. I'm obligated by the laws of the music to guide them as I was guided by the elders before me. That's the way it is. Touring in Jack's band for 6 years provided me with a great model for leadership and organization.

PW: The world lost one of the great modern jazz guitarists in Dec 2013 in Jim Hall. You made a lot of great music with Jim Hall. What is your lasting memory of the great Jim Hall?
GO:Aside from being one of the greatest human beings and artists that I have ever known, I learned a great deal from Jim about space, balance, phrasing, colour, dynamics and good decision making. Not to mention that he was also very funny, warm and incredibly thoughtful.

PW: In 1993 you were on the cover of Downbeat with Lester Bowie under the title of ‘Jazz Rebels’ Would you consider that title still appropriate to your approach to music? If not what would your preference be?
GO: That was an unfortunate and inappropriate caption for that magazine and article. It was an obvious ploy designed to incite and to sell copies of their publication, and is entirely why many artists are distrustful of the media. We were not advised of that decision. There is nothing rebellious at all about being determined and staying true to your mission as an artist. What is there to rebel against?

PW: You have on a number of occasions written for Downbeat with interviews of artists of the calibre of say Ornette Coleman. While some artists prefer to let the music speak for itself, you obviously feel it is worthwhile providing verbal insight from the artists perspective. What are your thoughts on that?
GO: Much that is written and covered about music comes form the perspectives of frustrated and unqualified individuals, many who feel empowered by their positions as journalists. I feel that it is very important that artists not continue to allow their work to be recklessly defined by others, many of whom have hidden agendas or are covering work only by assignment and not out of passion. Failure of artists to state their relative cases results in their music being mis-categorized or classified by ridiculous terminology, like 'Bebop." I do not believe that the definition of creative works should be relinquished to the authority of persons who are not in tune with the complete intentions and aspirations of the artists themselves. This is why I chose to write articles for publications myself or to make regular postings to my blog.

PW: In Sydney and I assume in Perth you’ll be performing with pianist Matt McMahon, one of our most consummate and lyrical players. What type of approach can audiences expect to witness with this collaboration?
GO: They will enjoy a healthy collaboration between artists who are hopefully, in pursuance of similar goals.

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Musician Wouter Kellerman is widely considered to be South Africa's foremost flautist. Kellerman started playing the flute at age 10; becoming the principle flautist of the South African National Youth Orchestra and in 1981 he appeared as a soloist with the Johannesburg Symphony Orchestra. He went on to feature in several South African orchestras, scooping musical accolades along the way. Among these was winning the ‘Perrenoud Foundation Prize’ during the 1997 Vienna International Music Competition. Kellerman’s flute can also be heard on the soundtrack of the Emmy Award-winning film Eye of the Leopard.

Peter Wockner: One of the first things that stood out from your album Two Voices was the influence of Irish music on you and the way you blended the sound with African rhythms. Where does your Irish influence come from?
Wouter Kellerman: I have always listened to a wide range of music - particularly African, Classical, Irish, Tango and Flamenco music and when one starts writing your own music those influences show themselves in the results. Somehow there is a connection between Irish and African music, which I have enjoyed exploring..

PW: While the flute is traditionally an orchestral instrument, there is also (along with whistles) a very grounded or folk feeling to the instrument and not only in the sound but the fact that it is virtually as portable as the human voice. What is it about the flute that attracts you?
WK: I like the idea of using breath to express myself, and I think that makes it more accessible to the listener. The flute is also a very versatile instrument – one can make a beautiful classical sound, a jazzy or funky sound, use extended techniques like beat boxing, using the sound of the pads as percussive elements and more – there is a huge palette of colours available to you.

PW: Your latest release Two Voices allows you ample opportunity to improvise on your instrument. Do you take any inspiration from jazz artists in your playing or composing?
WK: Not particularly, but I suppose there are some influences there.. I try and keep the music simple and to speak from the heart and not to intellectualise the music.

PW: What can Australian audiences expect from a Wouter Kellerman performance?
WK: Joining me on tour shows is the Senegalese singer and percussionist Lamine Sonko, the South African bassist and vocalist Phresh Makhene and guitarist Ben Hauptmann. Audiences can expect a fusion of African, Irish and Tango influences and exotic elements like talking drums and water percussion.

PW: Your album Two Voices won the South Africa Music Award for Best Instrumental Album. In South Africa what impact does an award such as this have on your career?
WK: There is quite a lot of media attention that goes hand in hand with the award, so it does help to introduce the music to new audiences. The award is very much respected among musicians, and I think winning also plants the seeds for future collaborations.

PW: I’ve never particularly like the term ‘cross-over’ artist but I can understand how a term like this might describe a sound such as yours that encompasses elements of pop, folk, world music from various continents. Can you recall some real life audience reactions to your music that might best portray that your music indeed knows no cultural boundaries?
WK: Yes, we’ve performed very widely in the last few years and I am always amazed at how well the music is accepted by very different cultures. In particular we performed in Shanghai in October last year and we were very encouraged at how appreciative the audiences were over there. We’ve found that music can indeed cross cultural and colour barriers when it comes from the heart!

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Peter Wockner: How did the idea of a tribute to Kind of Blue come about and what has the level of interest been to date? John Hardaker: I had been doing arrangements of 3 of the 5 tunes from the album already in my band – The John Hardaker Direction – so I thought it would be cool to do the remaining 2 and perform the whole thing in order. The arrangements of the pieces are my expression of these pieces, not facsimile performances or even purely “jazz” performances. I have tried to express the pieces through the prism of Miles’s attitude and influence, so they take in funk, reggae, blues and psychedelic rock. Definitely not for the purists! (I have always found it amusing that purists will co-opt Miles Davis who was definitely one of the great purist-baiters of our time). The level of interest has grown as the Kind of Kind of Blue shows have grown. We are onto our fourth one now, and the audiences have grown each time – and so has the band! We are up to 14 pieces and it sounds great.

PW: We are talking about probably the definitive jazz album of all time, how difficult was it to choose the artists for this tribute?

John Hardaker: It hasn’t worried me that it is such an iconic and almost holy work in jazz history. As I say, I have messed with the tunes and not been precious about it at all – I feel it would be arrogant to try and replicate the pieces closely to the originals; the inference being to try to improve on or even match their brilliance, which of course would be impossible. I have taken them as 5 absolutely wonderfully realised entities and reworked them. Like Beatles tunes, they can stand anything! That said, it was very important to grab strong soloists for the project. Since it is a Miles Davis thing, a really good trumpet soloist was essential and I am very glad we have Eamon Dilworth with us for this show. Anyone who has heard him knows how deep his roots go in the tradition of jazz and yet he is a free and modern thinker. I really am looking forward to hearing him fly on these pieces. We also have the effervescent Harriet Harding, from the fantastic Sirens Big Band on tenor and sopranino and Justin Buckingham who has played with me before, on alto – a really soulful player.

PW: As the guitarist and leader in the group who have been your major influences in jazz?

John Hardaker: For attitude and vision, Miles Davis obviously, who like all the greats, is a universe. For guitar playing, Pat Martino, John McLaughlin, Larry Coryell, Joe Beck and Barney Kessel – all guys who didn’t mind mixing it with rock or blues.

PW: What is your musical ‘ethos’ when it comes to paying tribute versus unfettered originality in music?

John Hardaker: Because we are playing original arrangements of the Kind of Blue tunes I am not as bugged by the ‘tribute’ tag as if we were doing straight covers. In jazz, what is original? Is a 16 bar Cole Porter head followed by 128 bars of improvisation still a Cole Porter tune? Jazz uses compositions as musical material for blowing, in the main. Grist for the soloists’ mill. I didn’t compose So What but I compose my solo over those 2 clever chords as I play. Even though I have composed a few pieces, I also think that there are so many wonderful, rich compositions out there it is an arrogance to think you can add to the canon unless you really have the gift.

PW: What was it about the album Kind of Blue that captured both critical and popular appeal?

John Hardaker: It’s a mystery, really. And, as with all great art, that’s what makes its popularity fascinating. It is of course the one album that people who don’t like jazz always have. On one level, it is non-confronting, non-brain scrambling music which keeps the lid on throughout, holding itself to a cool dynamic area on all the tunes. But of course, on another level, it is very deep stuff, quietly revolutionary, a work that changed music forever, a flower that keeps unfolding the more you listen.

PW: What can Miles Davis and Kind of Blue fans expect from this shows?

John Hardaker: They can expect a skronkin’ 14 piece band with a bunch of hot soloists giving them Miles, Miles and more Miles – all the tunes from Kind of Blue as well as a bunch of Miles-flavoured delights – Bitches Brew, Stuff, In a Silent Way and more. Also great support from the very cool jazz vocalist, Crystal Barreca. What they should not expect is a pale, academic reading of these pieces – iconic as they are. It will be very different; which is why we call it Kind of Kind of Blue.

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At last... a world class tribute to one of the greatest and most influential jazz-rock fusion groups, Weather Report. When bandleader Miles Davis spearheaded a musical revolution in the late sixties, by fusing jazz sensibilities with electric rock instruments, two of the key contributors both as players and composers were Austrian-born keyboardist Josef Zawinul and American saxophonist Wayne Shorter. In the early seventies, Joe and Wayne formed Weather Report to further explore and expand the fusion of jazz, funk, rock, latin and world music. With an evolving line-up of virtuoso musicians, the innovative quintet succeeded in enthusing both jazz and rock audiences. Weather Report’s seventh album, “Heavy Weather” was an international best-seller and is regarded as one of the greatest and most accessible jazz-fusion recordings. With its impeccable groove, melody, harmony and dynamics, it even included a ‘hit song’, Birdland, which has been covered by numerous jazz and pop artists. The band’s new recruit on fretless electric bass guitar, Jaco Pastorius, introduced a dazzling array of new techniques such as harmonics, intricate rapid-fire runs and complex chord voicings. Coupled with his unpredictable, flamboyant showmanship, Jaco is widely considered to be the Hendrix of electric jazz bass and is one of the most influential bassists of all time.

Peter Wockner: How did the idea of a tribute to Weather Report come about and what has the level of interest been like to date ?

John Prior: After jamming together at blues legend Beachhead’s recent wake, my good friend since primary school Dale Barlow and I formed Mysterious Travellers as an excuse to improvise with mates and light beer while there was still time. We grew up on Weather Report, especially their 1977 album Heavy Weather released in our mid-teens, so this is common ground for us.
Chris Richards at The Basement thought a Weather Report tribute was overdue, he said we’ll never see the real thing again, and he was right because the response has been tremendous.

PW: How difficult was it to choose the artists for this tribute show bearing in mind the very individual voices in the original band Weather Report?

JP: I made three phone calls to enlist the four most brilliant musicians for the gig, Dale Barlow, Bill Risby, Phil Scorgie and Fabian Hevia. They all love Weather Report religiously, so I only had to ask four times and they were in before I could hang up.

PW: As the drummer in the group who have been your major influences in the jazz/rock genre?

JP: My brother Rob and school friends introduced to me to Miles Davis, Mahavishnu Orchestra and known subsidiaries including Weather Report, Billy Cobham, John McLaughlin, Jan Hammer and Jeff Beck. We used to attend Friday evening concerts at the Sydney Con featuring students and teachers led by Don Burrows, who was at Bondi Beach Primary School with our dad Bob in the thirties. These concerts, and seeing bassist Phil Scorgie with Crossfire and Dale, Chris Abrahams, Lloyd Swanton and Andrew Gander with The Benders, were memorable yardsticks in my formative years.
More recently, I’ve been inspired by the current local jazzgroove scene with Guy Le Claire, Hamish Stuart, Steve Hunter, Sean Wayland, Tal Wilkenfeld, James Muller… and so many more!

PW: Cindy Blackman has just released a tribute to Tony Williams called “Another Lifetime” and a number of other especially American artists are starting to ‘re-discover’ if you like the ‘fusion’ sounds of the 1970’s. Are you noticing a renewed interest in the music?

JP: I’ve always had a growing interest in fusion, but it’s difficult to compare the veracity of my passion with others because some may have lapsed privately for a while.

PW: What was it about Weather Report that captured both critical and popular appeal?

JP: Weather Report was a holistic fusion of so many cultures, they’re world music sex symbols.

PW: The idea of masterclasses prior to these performances is a great idea? What format will the tuition take? Is it going to be specific to the music of Weather Report

JP: We discuss, rearrange and perform Weather Report compositions together, demonstrate individual instrument techniques, answer questions and giveaway products from our sponsors Fender, Tama, Sabian and Birdland.
Dale teaches at the Sydney Conservatorium, bassist Phil Scorgie and percussuionist Fabian Hevia teach at JMC and pianist Bill Risby is one of Australia’s foremost jazz exponents, so I’m really hoping to learn something useful.

PW: Some purists might question the idea of a tribute, but you won’t be simply trying to re-create the music will you? What can Weather Report and fusion fans expect from these shows?

JP: Weather Report fans, fusion fans and even discerning jazz purists coming to a Mysterious Travellers show can expect to experience Australia’s foremost improvising musicians (and me!) performing some of the most inspiring jazzgroove music ever composed, plus exquisite food in historic venues with excellent acoustics and production.

http://www.mysterioustravellers.com


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Founded by trumpeter/composer Laura Kahle and pianist/arranger Steve Newcomb, the 10-piece West End Composers Collective began in 2003 as a monthly gathering of Brisbane’s creative improvising musicians, composers and arrangers to workshop original works at the Tongue and Groove café, West End. With the success of these monthly gatherings, the growth in repertoire and a grant from Arts Queensland, they launched their debut album “Downstream” in February 2004. This launch supported internationally acclaimed artists Ingrid Jensen (Trumpet) and Jon Wikan (Drums), on tour from the USA. Since the collective’s inception, it has appeared at Brisbane’s more established venues such The Zoo, Jazzworx Club, Rics Café and held a regular monthly performance at the Milk Bar in Paddington. In late 2004 they were guests at the Melbourne Women’s International Jazz Festival, a performance broadcast live on ABC Radio National. The group was featured in concerts of original music written by saxophonist Rafael Karlen at the Metro Arts theatre, The Brisbane Jazz Club and the Jazzworx club throughout 2006-7.

Peter Wockner: Six years down the track performing at Festivals and Brisbane venues and two albums later. What was the initial motivation for the collective and at what stage in its development did you collectively realise that there was some good music worth recording or presenting?

Steve Newcomb: At the time of the group starting out, there was a talented pool of improvisers around and a small restaurant in West End had a basement bar that seemed like a perfect place for informal music making to take place. We started meeting once a month and repertoire grew. Laura Kahle was one of the driving forces with the music for the band in the early stages and receiving an Arts Queensland grant to record her music as well as originals by Isaac Hurren and Kristin Berardi (who were in the band at this time) led to the ensemble becoming more ‘serious’.

PW: Has the group or the concept ever had a particular inspirational figure eg is it’s instrumentation based upon any particular band?

SN: When I was in New York around 1999-2000 I saw a small big band at a club called Smalls. Jason Linder was the pianist and this group progressed to becoming the Jason Linder big band, which somewhat inspired the idea to start a small big band ‘collective’ in the basement of a restaurant in West End, Brisbane. Mike Nock had been working on a similar project in Australia, and the Mingus Big Band is another inspiration for the open/workshop type vibe to the music creation, as well as the Brian Blade fellowship which is a wonderful band that explores a mix of genres and styles, with an instrumentation that uses guitar and keyboards in a non-typical traditional-jazz way.

PW: The new album ‘Driving Hat’ contains the compositions of saxophonist Rafael Karlen. What special compositional qualities does Rafael bring to the table and can you describe the difference in mood with the collective’s first album ‘Downstream’?

SN: I think there is a link in sound between the two albums, perhaps the instrumentation and soloing personalities achieves this, but at the same time, Rafael and Laura (primary composer for 1st CD) were able to put their stamp on the music for their respective albums. Rafael has explored varied colour in the band through instrumentation (flute, alto flute, and voice as instrument writing), and has played around with varied forms in a more composition ‘theme development’ kind of way. Laura has a way of really building on the improvisational strengths in the band and perhaps prefers an organic ‘group’ approach to the process.

PW: This Sydney concert becomes an important performance for the collective as it’s your first date here. Have you found the Sydney scene difficult to break into? What have been the main barriers?

SN: I don’t think it’s a case of the Sydney scene being difficult, more that getting the resources and motivation together to tour with a 10-piece one of the main obstacles. Most of the players in the band have played in Sydney in other groups or under their own name, but we are really excited to be playing there as a collective for the first time.

PW: You personally have a background as much involved in Classical music as jazz. Both genre’s borders are becoming increasingly blurred especially in Europe and Australia and possibly to a lesser extent in the US. Do audiences need to be more educated to appreciate the music today?

SN: I think audiences are more educated today than in any other generation, largely due to things such as You Tube and Myspace, which has put a great deal of music and art on an even keel as far as accessibility goes. The blurring of genres has probably enabled audiences to ‘join up’ so to speak, which I think is a great thing. I like to think that my music can be appreciated by anyone, and it is certainly an aim to make it reach people regardless of their knowledge about either tradition.

PW: WECC has been careful to include some fine vocalists on both albums to date. Does this inclusion necessarily assist in keeping your music more accessible?

SN: I don’t think the inclusion of vocals is a marketing choice of any kind. Personally, I like the sound of the voice within instrumental music where it blends with other instruments (music of Kenny Wheeler, Pat Metheny for example) so that has been one motivation to include it. However, it just so turns out that the vocalists we have been able to work with have also been keen composers and contributed largely to the repertoire, and in the case of Kristin Berardi and Hannah Macklin, the arranging duties as well. It is fair to say though, that the inclusion of lyrics adds a layer of accessibility for audiences who don’t necessarily listen to instrumental music all the time.

PW: What thoughts or emotions would you like Sydney audiences to go home with after WECC’s performance?

SN: I’d like Sydney audiences (and this would be the same for any audience) to walk away feeling uplifted from the inspiring solos they have witnessed, and the fresh original arrangements and compositions they’ve heard, created by our country’s own. I like to think that the band and our music embodies characteristics of the great things about Briz-vegas .. a quirky sense of style and a unique mish-mash of influence, balanced with an enthusiasm towards reinvention.
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Mark Isaacs is one of Australia’s most distinguished musicians in jazz and classical music. He has toured the world and collaborated with some of the most famous names in international jazz. Following tours in Asia and around Australia in 2007/08 the 5-piece Resurgence Band is touring nationally in May to celebrate the release of their new CD Tell It Like It Is by the ABC. This exciting band features some of the very best talent in Australian jazz including award-winning guitarist James Muller and saxophonist Matt Keegan. The original tunes by Mark feature memorable melodies with blues, soul and gospel grooves and some classical threads. Not to be missed! Mark Isaacs – piano James Muller – guitar Matt Keegan – saxophones Brett Hirst – bass Tim Firth – drums. Peter Wockner: This must be the group’s third tour together? How has the group developed from being an accomplished gathering of recommended artists into a cohesive band greater than the sum of its parts?

PW: How difficult is it for you as a leader to be able to recognise when to ‘direct’ the sound of your band and when to allow the dynamics of the group, the freedom to take it to places that maybe you never intended it to go?
MI: I tend to direct in rehearsal more. In performance I don’t consciously direct, but inevitably what I play might direct the band in itself. But what they play directs me too. Some of it is verbal, some visual and some subliminal or just pure sound. I don’t think about it so much. Whatever it takes. If it needs more direction I’ll give it, if I need to pull back in order to let it breathe I’ll do that too. It’s rarely “difficult”, mostly a joy.

PW: You’re new album ‘Tell it Like it is” was captured live at the Sound Lounge in 2008. How do you think the night ‘played out’ in relation to the idea of ‘direction’ and/or ‘freedom’?
MI: It was a night that pretty much played itself. I can hardly remember it so it‘s great to have the CD! It happens so rarely that a truly inspired night is documented. And this truly was an inspired night for the band.

PW: What in particular about the pattern of instrumentation in this group that appeals to you? For example, how does the saxophone suit your compositions better than say a trumpet or trombone ?
MI: Saxophone has the right combination of lyricism and brawniness for my music, particularly mixing tenor and soprano. I haven’t heard the need for trumpet or trombone in my small group music to date, and there aren’t any brass players that have inspired me in terms of my own music apart from Kenny Wheeler who I have already toured and recorded with. But what appeals to me most about the instrumentation is the combination of sax and guitar as frontline, in particular the guitar of James Muller. This is the fourth CD with James in that instrumentation.

PW: You’ve always been committed to the idea of touring whether it be solo, trio or in a group. What do you take away as some of the special rewards from the ‘tour’ which for jazz is becoming either too difficult financially or for co-ordination reasons simply ‘out of reach’. At the same time what are some of the non-apparent difficulties.
MI: Well obviously the chance to play so many performances in quick succession is incredibly rewarding. It’s hard work to set the tours up, but that’s a labour of love so I really can’t cite any downsides.

PW: I guess a studio recording of this band would bring ‘Resurgence’ the full circle. Are there plans to do a studio recording?
MI: I’ve certainly thought about it as the obvious next thing to do as you say. But I’m not ready for “plans”. Firstly I need enough repertoire, but I’ve already started on that in the two new tunes we will play on this tour along with the songs on the CD. Once there’s the music, then how to finance a CD recording becomes the major problem. Wait and see is all we can do. Anyway right now the current one is only just out and we have a big tour to do. I love your enthusiasm in bringing up the next one but it’s just a wee bit on the backburner right now.
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Frank Presley: You were a ‘late bloomer’ when it comes to music. What caused the initial spark for you and why jazz? Abel Cross: Music has always been a powerful force in my life, but it is true that I am a late bloomer in terms of my passion for Jazz. When I was very young I tried my hand at the piano, violin, and trumpet, which I enjoyed, but never developed a strong penchant for. It wasn’t until the age of 13 that I bought a bass guitar and music really took over my life. But Jazz was still a ways off. I suppose my interest in Jazz really grew out of an interest in the double bass, which I began playing at the ripe old age of 21. An older friend of mine had bought one and I immediately fell in love with the sound and feel. I began taking lessons with my first bass teacher Dave Ellis around this time. He never really pushed me towards Jazz more than classical or other musics, but I can certainly say that his passion for the instrument was infectious. As with most musicians I began to seek out recorded music that featured my instrument and this opened up a new world for me.

FP: Who in the history of Australian music do you admire the most and why?

AC: It is impossible for me to answer this question with a single name. What I can say is that it is the trailblazers of Australian music who I admire the most for their bravery and inspiration. It is much easier to walk down a path that has been laid by others but much more difficult to create and define one of your own. People like Rod Cooper, and Lucas Abela spring immediately to mind for this very reason, they are people who have created their own instruments, language, and practise. Truly self-made musicians.

FP: The group Trio Apoplectic has been together now for some six years having been formed while you were still at the Sydney Conservatorium of Music. At the time you must have been aware of the ‘mortgage’ that Bernie McGann had on the Australian pianoless trio sound but you pressed ahead regardless and now have forged quite a distinctive sound. How was the trio’s ensemble sound conceptualised?

AC: Trio Apoplectic began as most young bands begin; attempting to emulate the musicians/bands that we loved. During the early rehearsals we played a lot of music that we had transcribed or sourced from these people – Bernie McGann, Alister Spence, Lloyd Swanton, Andrew Robson, Chicago Underground Trio, but we were always bringing in original material to workshop as well. I think from early on we really did feel there was a responsibility to contribute to this tradition of Australian Jazz with our own music regardless of how fun it was to plunder the vaults of these great musicians repertoires.
I really feel that our sound was developed through shared experience. We did a lot of playing while at the Con, and while touring during the Con holidays. The experience of playing and performing as well as the day-to-day of being on the road, in each other’s pockets, and on a shoestring, really solidified the connection, which is expressed in how we play together.

FP: You’ve made a committed effort to tour the group often over the past three years. Is there something special about exposing your music to rural and regional areas? Potentially, some in the audience would not previously have heard music like yours. What special experiences has TA had?

AC: All three of us grew up in rural and regional Australia, Dave from Cowra, Alex from Bowral, and myself from Wollongong. I think this shared experience of moving from the regions to the city really strengthened our resolve to take our music back to the regions. You can take the boy out the country…
Contemporary Jazz gigs in regional Australia can be as differing as the places themselves. Or more! It is true that many of the places we have toured do not have regular Jazz performances, and some that haven’t had a Jazz group through in living memory, and this opens up all kinds of possibilities.
My personal favourite Trio Apoplectic gig was our first performance in Stuart Town (between Molong and Wellington, NSW). We had done a gig in Orange on our previous tour and met an artist, Tim Winters, who said that we would go over great at the Ironbark Creative Arts Centre in Stuart Town. We’d never even heard of the place but decided to take a punt on it. Now Stuart Town is basically just a Pub, Hall, and a couple of houses on the main street with the Arts Centre set up in the old Post Office. We really didn’t know what to expect. That night we played to a packed house! The local community really got behind the gig and came out in droves. We played purely acoustic, in a small wooden room, the sound was fantastic and the audience were wonderful. A real exchange between the band and the punters. Beautiful. There’s a song of Dave’s on the new album named after Stuart Town, ‘Iron Dusk’. There’s also one called ‘Holly and Bobby’ named after two horses we met in Armidale. But that’s another story.

FP: Has the group focussed on any specific points of difference with the new album or is simply a document of how the group has developed?

AC: ‘Sofia’ really is a document of how the group has developed. We went in to the studio with the specific intention of playing as close to how we do live. This included a lot of segues between tunes and really opening up the solo space. We recorded the album in ‘sets’ of around 8 pieces at a time. The takes that made the album are mostly taken from our sixth set of the day. Strangely, this is the one we recorded straight after a cheeky afternoon trip to the pub. Hmm.

FP: Barack Obama says he has Coltrane in his iPOD, what’s currently in your CD player or iPOD at the moment?

AC: Right now I’m listening to the album ‘Adobe’ by the NYC saxophonist Tony Malaby, featuring Drew Gress on the bass and the great Paul Motian on the drums. Another damned horn trio! This cd was given to me as a gift from my good friend Dave Goodman. I love the playing on this record. Each of the three has such great sounds and fluidity on their instruments. Highly recommended.

FP: What would you like to change about the jazz scene in Australia or especially in Sydney?

AC: I’d like there to be more of everything. More festivals, more gigs, more record labels, more musicians, more creativity, more action.
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Nick was born into a family of classical musicians, and took up musical instruction at an early age. Starting with the piano at age six and the clarinet at ten, he studied and performed classical music until the age of 16 when he found himself drawn to the saxophone and jazz. Having little jazz in his musical background, Nick forged his own way, frequenting local jazz clubs and pestering local musicians for advice and lessons. He received invaluable assistance particularly from Australian jazz greats Jason Morphett and Bobby Gebert, and by 17 was performing regularly at local jam sessions. After studying at the Sydney Conservatorium of Music, Nick embarked on his professional music career. Based in Sydney for most of his twenties, Nick performed in a wide and varied array of musical settings from big bands to small groups to Rhythm 'n' Blues and Ska; most notably the Andrew Dickeson Quartet, the Brad Child Orchestra, the Dan Barnett Big Band, the Evan Lohning Big Band, John Morrison's Swing City, James Morrison, Dale Barlow, The Bobby Gebert Quartet, Backyskank, and The Allniters.

Frank Presley: Over the last decade it’s fair to say that, while maintaining its own identity, Australian contemporary jazz has found more things common with Europe than America. Like many Australians and indeed other internationals before you, you chose New York City. Why?
Nick Hempton: I have to say that while I was playing in Australia, I was never consciously involved in performing "Australian Jazz". I was certainly aware of it taking shape, because I think it has come into its own in the last ten or fifteen years, and I was constantly impressed with the music being made around me, but it was just not my thing. The records I was listening to, and the players I was following were from America, and specifically New York; and the idea was planted early on that this was the place to go. I should point out that energetic swinging modern jazz is of course being produced everywhere these days, and New York is not the Jazz Nirvana I was naively hoping for- it's not the hotbed of new musical ideas it seems to have been fifty years ago. But it has the history, and the intense energy that still pushes musicians toward a distinct New York sound. It also has the largest concentration of killing drummers anywhere. I also think that for those of us who come to New York from elsewhere, there's a desire to throw ourselves into arguably the biggest, most competitive jazz pool in the world, and see if we sink or swim. I'd like to think I'm currently dog-paddling up the shallow end...

FP: You’ve said your music is ‘swinging mainstream/modern jazz with a UN style twist. This style is still holds a strong following in NYC. Have you found jazz as factional in New York as it seems to be in Australia or does the fact that many such as yourself migrate into the scene ‘cut through’ any perceived prejudices?
NH: I'll stand by the 'swinging mainstream/modern jazz' bit, but lines like 'a UN style twist' , even though I won't deny I said it, shouldn't be uttered outside a press-release... Now, even though I'm probably not qualified to comment on this, my impression is that the Australian jazz scene is far less factional than it was, say, ten years ago. Back then, there were certain musicians who wouldn't talk to each other because they didn't like the music the other was producing. I certainly hope it's not like that now. As for New York, I've hardly noticed it here at all. It's got to have something to do with the sheer number of musicians here- something that still regularly boggles my mind. You have to learn pretty quickly not to worry about what everybody else is doing, otherwise you get nothing done yourself. Maybe it has something to do with Australia's relative isolation. Sorry to bring up that old chestnut, but in NY there's such a tangible connection to the rest of the jazz world, with so many musicians of so many styles passing through, that the idea of forming cliques seems pointless and unnecessary. It could also be because 'swinging mainstream/modern jazz' is by far the prevailing music style here. Perhaps if I was a Trad or Free Jazz player, my experience would be different.

FP: How do you balance the euphoria and the drudgery when it comes to life in New York City?
NH: I'm glad you asked- people often tend to think life in NY must be a constant high. I have to admit that I'm still thrilled just to be here- it is an amazing place, but the struggle can be as tedious here as anywhere. I don't know- would an answer of a steady intake of stimulants and depressants be socially irresponsible? Probably, so it's not that. Actually, I'm not sure I've worked out how to balance it yet.

FP: Have you found any fundamental differences in a typical jazz audience compared with say Sydney?
NH: If you'd asked me this four or five years ago, I would have had a great answer. NYC has a hundred year history of jazz as entertainment. New Yorkers like to go out for a night of listening to live jazz. It's everywhere- in bars, restaurants, train stations, street corners. They've grown up with it, and as a result are educated, and serious about picking quality from fakery. In Australia, aside from at a couple of specialist venues, I think Jazz is seen as an accompaniment to a good time, as opposed to a focus for attention. Australian punters might not be as picky, but they seem to enjoy themselves more.The thing is, lately the jazz club audience in NY (especially in Greenwich Village, where I spend most of my time) has gone through a noticeable change- it's all tourists now. I don't know where the New Yorkers are going on their nights off, but it's not to hear jazz. It's not necessarily a bad thing- clubs are now full of Japanese and Europeans, who love to listen- but it's an interesting shift.

FP: Do you think it’s harder to step out of your comfort zone musically in NYC than anywhere else?
NH: I think it's probably easier. Once again this comes down to the size of the jazz scene, and the constant in and outflow of musicians. I've been here for nearly six years, and I'm fairly sure the vast majority of players here have no idea who I am. If I want to go and try my hand at speed-metal, a) the opportunity is there, and b) it's not like it's going to damage any reputation I might have. Besides, stepping out of the comfort zone is one of the reasons we're here- I'm constantly meeting and playing with musicians from different backgrounds, with different influences and preferences. It's very rarely comfortable.

FP: Have you detected in New York City any tangible new found hope in the jazz world since the election of Barack Obama?
NH: I think it would take a pretty optimistic jazz musician to take hope from the election of a new politician. The US used to have a saxophone playing, pot smoking president, and now gigs, when you can get them, are still paying fifty bucks and two drinks. Does that sound jaded? I will say that there is a noticeable feeling, of relief more than hope, throughout the whole city. And America being viewed as something more than just a rather sad punchline has to be good for all of us here, musicians included. We're all hoping for the best...

FP: Do you plan on bringing the quartet to Australia?
NH: I can tell you the rest of the quartet plans on me bringing them to Australia- they've made that quite clear. Yes, absolutely- as soon as we can afford the plane tickets, we'll be there in a flash!
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Peter Wockner: You played trumpet on the Gold Coast growing up. Not widely known for it’s live jazz scene, especially for youngsters; what sorts of music were you exposed to as a youngster? What did your father enjoy listening to? Carl Riseley: It's true, the Gold Coast isn't the most kickn' jazz town around, but if you want it - you'll find it! Most of my friends were older cause we played in the same bands, they introduced me to all the sites and places to see live music. My dad listened to a lot of bands that had horn sections, like - Blood,Sweat and Tears; Earth, Wind and Fire, Chicago and the list goes on!

PW Who are you influences on the trumpet and what have you learnt from them?

CR: My influences consist of a broad range of players such as:
Dizzy Gillespy, Maynard Ferguson, Louis Armstrong, Doc Sevrinson, Chet Baker.
Just listening to these kinds of players will give you everything you need to 'hear' about playing.

PW: Vince Jones became almost a household name in Australia proving that it’s possible to successfully sell jazz commercially in this country. Obviously he had his own sound and his own style. Can you define the Carl Riseley sound or style?

CR: Well, 'smooth popular jazz with a mix of folk' howz zat! Or you can grab a copy of my album and decide for yourself.

PW: Is Carl Riseley first and foremost a vocalist now rather than a trumpeter? Or what occupation do you put on your credit card application?

CR: Musicians applying for credit..........ha! .........goodluck!
I am a singer who can please the crowd with a beautiful trumpet solo, if he so wishes. No, I'm definitely still a trumpet player aswell, I still think like one, and always will.

PW: You played for Australian troops in Iraq during a stint in the Royal Australian Navy band. Emotionally that must have been very moving for you. Can you tell us what that was like and indeed without sounding overly patriotic, did you find yourself playing with a greater sense of pride and passion during these particular performances?

CR: The whole experience was an unbelievable opportunity for us and our troops.
The sole purpose of our visit was to entertain and provide morale support for our troops over a difficult period. It's hard being away from loved ones in any respect over Xmas and New Year, let alone fighting for your country and just trying to live through each day. We played till we could play no more, seeing the smiles on their faces was all the thanks we needed.

PW: When I saw the title of your second album ‘The Stillest Hour’, the first thing that sprang to mind was the tune ‘In the Wee Small Hours of the Morning”. Can you describe the direction you are aiming for with this release and what were the key ingredients you used for the mood you’ve achieved?

CR: Ahh, so your idea of "The Stillest Hour" is in the very early morning. That's what I love about the title, everyone has a different idea about when 'the hour' is.
I guess the biggest change from the first album was scaling down the sound. Once that happened it was pretty simple really, take 4 of the best rhythm section players in the country, record great songs, sing with soul and bake for 50 min!

Peter Wockner: The idea of having picked individual collaborators to join the quartet at each concert is more than just having a guest sit in. Can you elaborate on the rationale behind this idea for a tour? Andrea Keller: I’m really interested in the AKQ having its own sound and the journey that that has taken. I feel like it’s at a really strong point right now and so I wanted to see how it would be affected by adding a new layer. I also like the idea that the results are unpredictable because we will play the material with quite a few different people, they’re all very diverse and individualistic and we won’t have much time to rehearse with them – they’re basically being asked to respond to our music in the moment, on stage – so it will be quite exciting to see how it all unfolds. The other reason was simply because there are so many fantastic musicians in this country and I wanted to get a chance to play with some of them!

PW: Each of the improvisers is quite distinctive in style. Have you specifically written material for each of them individually or are you looking to see how each interpret a set of new works for the tour?
AK: That was something I found really difficult as I normally write all my music with the individuals in mind and for this project it wasn’t quite possible. I did end up writing some pieces for specific people but generally it will be about hearing the different interpretations and giving the guests freedom to contribute whatever they hear as appropriate.

PW: It's quite easy to be conditioned to the bass-less sound of your quartet. Can you elaborate on the motivation and where you are trying to take your music without the bass sound, and has it had an effect on how you play in this ensemble with your left hand?
AK: Well we began as a quintet with a bass player 10 years ago and had worked together in that format for a number of years before our bassist moved to the states. At the time it didn’t feel right to me to find a replacement because I saw the band heading in a strong direction as a result of the individuals in it so I thought we’d just carry on the 4 of us. It took a while to find its feet but now there’s no turning back. It’s given me lots of freedom in my playing, made me think about composition in a different way and altered my perception of how an ensemble can be structured. In the beginning I had to retrain my hearing from one of, “something is missing”. Now I hear that band as, “if there was anything else in here it would be too cluttered”.

PW: Your latest award was the Aria for 'Footprints' Best Jazz Album in 2008. Your awards are really starting to stack up. What do they mean to you and how much easier do they make it to sell yourself/your music in the industry?
AK: I feel really lucky to have received the awards that I have. I’m very honored and it’s a great feeling to be recognized for something you’ve created. But really I’m just trying to get better at my craft and contribute meaningful (albeit ‘tiny’) splashes of beauty to the world. This is what drives me and the awards are a (welcome) byproduct. They have definitely lifted my profile in Australia and had an effect on the types of gigs I get offered but this is still and always going to be, a minority music. Pushing contemporary improvised original instrumental music is always going to be a hard slog but the rewards when it works are worth all the rest.

PW: From memory you couldn't make the Aria awards ceremony due to your newborn last year. What are the challenges trying to juggle family life/motherhood with your career?
AK: Yes I have 2 kids now and I love every bit of motherhood. You have to be very organized and have clear goals – but that can be said of anyone who leads a busy life. For me music and motherhood are very well matched. I play at night, write very early in the morning and grab other opportunities as they arise. My need for silence sometimes gets a bit overwhelming though. I was just thinking last night that I don’t know how Bach did it with 20 kids!

PW: Having been a volunteer, at the Sydney Children's Hospital I know how important it is for kids to be comfortable and happy during their time in hospital. Tell us about your work with what is known as the Hush Collection.
AK: I was commissioned to write the music for Hush volume 8 and although the CD’s in the collection are quite diverse, the brief has been the same – to create music which is engaging, yet promotes a sense of safety and calm. The ensemble was formed from a selection of Freedman Fellowship winners, both ‘classical’ and ‘jazz’ and has been by far the most challenging yet rewarding compositional experience I’ve had. Normally when I write music, it’s simply about what I like - I hope that people like it but that’s not what motivates me. But this experience was about something entirely different – it was about creating music to ease an environment that kids and their families who are under enormous emotional stress are in. I felt a lot of pressure and found myself dissecting my music and analyzing it in ways I never had before. All of a sudden my focus was on how this music was going to be received. This is a difficult place to try and create from and I had a lot of battles overcoming it but I’m very proud of the end result and feel that the music that eventuated is from those few moments where I was able to let go.

PW: If you were not a piano player what pursuit/occupation do you think you would want to be?
AK: I feel so boring but I can’t think of anything - all I can ever remember wanting to be was a musician. I’m not very good at anything else, except being a mum and pottering in my garden.
‘Collaborations’ tour dates 2009:
Andrea Keller Quartet
Sunday 8th March Melbourne: Bennetts Lane Jazz Club 9.30pm 03 9663 2856
Tuesday 10th March Sydney: Excelsior Hotel Surry Hills 10pm www.jazzgroove.com
Thursday 12th March Wollongong: Conservatorium of Music Auditorium 6pm 02 4228 1122
Friday 13th March Canberra: Llewellyn Hall ANU 7.30pm 02 6125 5700
Sunday 5th April Brisbane: Brisbane Jazz Club 6pm 07 3391 2006
Monday 27th April Perth: Charles Hotel North Perth 5pm 08 9284 2578