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Michael Galeazzi's High 5
Michael Galeazzi's High 5 ARIA award winning and APRA nominated artist/composer, producer, label owner and session bassist, Michael has nearly two…
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ARIA award winning and APRA nominated artist/composer, producer, label owner and session bassist, Michael has nearly two decades of national and international touring experience. From original projects such as The Java Quartet, Karma County and The Millionaires to providing bass for artists such as indigenous legend Jimmy Little, soap star Ronn Moss and international festival chanteuse Camille O’Sullivan, Michael remains a part of the contemporary music industry in both a creative and educational capacity.
As bandleader and bassist Michael Galeazzi formed the Java Quartet in 1994. Using the modal jazz styling of Miles Davis and John Coltrane as a starting point in the mid 1990s’, the group has defined its own ambience through six albums, focusing upon ensemble improvisation to manifest their sound. At once driving, trance-like and reflective, The Java Quartet establishes their own corner of sonic territory.
The Java Quartet’s first release Slumber For Nordic Wonder (a tribute to the musical chanteuse Bjork), garnered the group local acclaim as an improvising ensemble devoted to creating beautiful music. The ensuing album Glow launched an international profile with the group being invited to perform at the prestigious Montreux Jazz Festival (Switzerland) in 1997. The group’s global presence flourished with the albums Glow, Passages and Dark Garden being included in the pivotal publications The Penguin Guide To Jazz on CD and Cadence Magazine (New York).
“The Java Quartet is well schooled in the Jazz tradition and has built on those concepts in presenting music with dash and a contemporary flair.” Frank Rubolino, Cadence Magazine.
On the local front they have played at every major jazz venue and festival in the country including; the Manly Jazz Festival, Darling Harbour Jazz Festival, Wangaratta Jazz Festival - the home of the National Jazz Awards, Thredbo Jazz Festival, Bellingen Jazz Festival, Queensland Music Festival, Darwin Festival, The Basement in Sydney, Bennetts Lane in Melbourne, The Governor Hindmarsh in Adelaide etc. The Java Quartet has been recorded in concert several times by the national broadcaster (ABC radio) and are critically recognised as at the forefront of the contemporary Australian music scene. The Sydney Morning Herald’s John Shand reviewed the album Dark Garden as “Album Of the Week” above all releases in any genre. The track “Shadow Dancing” was nominated for an APRA for “Most Performed Jazz Work” by the national performing rights association. Kenny Weir of The Sun Herald Sun (Melbourne) succinctly evaluated the group’s appeal when reviewing the next album Deep Blue Sea:
“Mostly, though, the Java Quartet inhabits its own space, unlike that of any other aggregation, in Australia or anywhere else - supremely melodic, full of taut, yet limpid, grooves and packed with soul”.
2010 finds the group extending its musical palette with Rejavanation, a collection of remixes and new material incorporating the meditative aesthetics of contemporary dj/dance culture and Hindustani ragas. Started as a part of Michael Galeazzi’s postgraduate research at the Sydney Conservatorium of Music, the group has invited guests of note (including virtuosos Bobby Singh on Tabla, Adrian McNeil on sarod, lap top performer Jonathan Palmer and Hip Hop producer Morganics) to explore notions of hybridity through contemporary hypnotic landscapes.
1. THE NECKS – Old Darlington School, Early 90s.
Pivotal to the development of The Java Quartet were a number of gigs by the Necks at the Old Darlington School in the Early 1990s. For me the penny dropped with regards to the relationship modal jazz has with the greater musical/cultural/spiritual picture. That crusty little hall was transformed into a swirling dome of transcendence when they played. I couldn’t believe the hypnotic effect the music had on the whole audience and myself. It was the first time I really wanted to be involved with instrumental music.
2. THE GREY SUITS – Round Midnight, Early 90s.
The Grey suits had a residency in a great little room that used to be up in the cross called Round Midnight. It was around the same time as the previously mentioned Necks Gigs. This series of performances was a wild amalgam of pop meets improvisation meets experimentation. Jackie Orszaczky, Carl Orr, Chris Abrahams, Tony Buck and whoever used to drop in. Tony Buck with chains on his kit. Chris Abrahams reading sections of books/magazines in lieu of a solo. Jackie usurping Orr’s guitar solos by rearranging his pedal settings mid flight. What a residency!
3. KEITH JARRETT TRIO – Umbria Jazz 1996.
My wife (then partner) and I spent a summer driving around Europe in 1996. This festival was one of the most picturesque music events I have ever been to. It was one of the trio’s first outings after Keith’s hiatus. The performance was a sunset concert that opened the festival in Perugia’s botanical gardens. They performed ‘When I Fall In Love’. I did.
4. JIMMY LITTLE – Messenger Launch, Hunter Lodge, Double Bay 1999.
I was performing on this gig but the event was amazing. It was Jimmy Little’s big comeback. There was a complete media buzz and Festival Records decided to make the Sydney launch a very exclusive affair down at Double Bay. Jimmy nervously secluded himself back stage. It was time to start and the band set up on stage and started the first tune. Still no Jimmy. Rolling the introduction for what seemed like ages the band got a little edgy. We didn’t realise what a complete showman Jimmy was. He was just milking the anticipation. All of a sudden there was this vision from side of stage. Like an angel Jimmy appeared in a majestic white suit and the whole room just exploded. He killed em. I was very lucky to be involved with such a great human being.
5. WAYNE SHORTER QUARTET – Melbourne Concert hall, 2005
The most seamless ensemble playing I have ever seen. I caught the plane down that afternoon and saw the show. I was so excited I stayed up all night, but made it back the next day for a 3pm Sydney sound check/show with Flacco and the Sandman that evening. My only regret was not being able to stay in Melbourne for John Patitucci’s workshop the next day.
