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Posts Tagged ‘Eamon Dilworth’

Hey Everyone,

As some of you may know I am currently writing from London for the next 2 months as I am here on a scholarship to study along with fellow Dilworther Alex Boneham.

So far the summer weather here is more like a warm Sydney winter day but the extended hours of sunlight (sun sets about 10pm) is encouraging to get out each night to see some of the great gigs that have been taking place.

While still battling jet lag, I haven’t had a chance to slow down the last three days. Aussie ex-pat Graeme Blevins led an All-Star quintet at the Pizza Express Jazz Club two nights in a row featuring German trumpeter Till Bronner and Guitarist Mike Outtram. By the second night this band was smoking playing a few standards and modern originals. Till has a super slick sound and outstanding technique that sucks you in with every note he plays. Graeme used to lead a band in Perth called K which is well worth checking out.

Yesterday before watching the frustrating England vs Algeria match was a keynote address by Wynton Marsalis. This week Jazz at the Lincoln Centre orchestra is in residence. I’m particular excited to go see them on a free stage this afternoon and also another group with Terrell Stafford and Rodney Whitaker. Wynton gave a very inspiring talk and used his trumpet and quintet to demonstrate. In particular talked about some ideas of group playing and time modulations that had Alex and I going home together and trying some of it out! Check out a great review of the address from London Jazz Blog – http://londonjazz.blogspot.com/2010/06/wynton-marsalis-keynote-address.html

Below is a photo of Wynton with Walter Blanding, Dan Nimmer, Carlos Henriques and Ali Jackson.

Thats all for now,

E. Dilla

P.S Feel free to drop a comment on the posts! Id love to know whats happening back home!

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Here’s a tune I wrote entitled “Trapped” and features Karl Laskowski and Steve Barry. Dig!

Below is a PDF of the score.
Click here to view the score for Trapped (E.Dilworth)

Enjoy!

E.Dilla

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Hey Guys,

Beginning of May I was fortunate to be invited by bassist Lyndon Gray to come down to Adelaide to perform a few gigs at COMA and La Boheme. I had a fantastic time and got to play with some really great musicians including Dan Clohesy – with whom I recorded an album of octet music back in January.

I was promoting The Dilworths’ album and performing music with two bands while I was in town. I was very excited for my first experience of stepping of the plane and driving straight to the gig, meeting the band for the first time and then performing my compositions. They played the tunes really well and I has such a blast playing with them.

The Monday night was at COMA with Dan Clohesy, Lyndon Gray and Stephen Neville and Wednesday night with some of the teachers from the Adelaide Conservatorium – Chris Soole, Chris Martin, Lyndon Gray and Kevin Van Der Zwaag.

Some pictures were posted of the Monday night gig in which you can view here and a few in the slideshow below.

This slideshow requires JavaScript.

Later,

E. Dilla

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Hey Everyone,

Just a heads up that The Dilworths have to exciting shows coming up this weekend.
We are featuring music from our debut album “Introducing The Dilworths” as well as a whole set of new original compositions the band has been workshopping over the last few months. This will also be Hugh Barrett’s Last run of gigs with the band while he heads away for 6 months with The Beautiful Girls so make sure you come down to here him before he goes.

On Friday (26th March) we make our long awaited debut at SIMA
For full details click here.

Two sets 8:30pm and 10pm

Please note: This is an All Ages gig (under 18′s need to be accompanied by an adult)

To celebrate this debut performance we have a double pass giveaway for the first person to email us at management@thedilworths.com

Also, on Monday (29th March)we are taking over the new 505 venue for the night. 505 has since moved from its hidden warehouse and now sits on the corner of Clevelend St and Perry Lane.

9pm Start

$10 entry and you can find out more at http://www.venue505.com

Hope to see you at one or both of these gigs this weekend! be sure to come say hi!

Later

E Dilla

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Hey All,

Yesterday I was fortunate enough to fill in for a Ten Part Invention rehearsal in preparation for their SIMA gig on Saturday night. The reason I’m blogging about this rehearsal is that I felt very fortunate to get the oppotunity to play with the band which, in my eyes, contains some of the main innovators of “Modern Australian Jazz” from the last 40 years. For those not familiar with the band, it is spearheaded by John Pochee (who has been in and out of hospital the last 6 months, and was sounding truly amazing, plus forever telling the funniest stories) and also features Paul McNamara, Steve Elphick, Sandy Evans, Andrew Robson, Ken James, Bob Bertles, Warwick Alder, Miroslav Buckovsky and James Greening. Most of these players aren’t teachers at the Sydney Conservatorium so I hadn’t really met them before and only knew most of them from CDs and seeing them live at the Side-On Cafe many years ago, back when Alex Boneham and I used to go every weekend without fail.

The music consisted mainly of compositions by Sandy Evans, Andrew Robson and the late Roger Frampton, (unfortunately I never got the chance to hear or meet this Australian legend,) and what I noticed most is how unique and distinctly Australian it sounds. I must admit the majority of music myself and my peers listen to is from abroad, particularly America, but playing with this ensemble was a gentle reminder of the great things that are happening on my own turf. Roger Frampton’s compositions evoked so many different colours and textures and were full of harmonic surprises that keep you on your toes.

I have been listening to Andrew Robson for years and when I was 17 I was really into his album “On”, featuring Steve Elphick, Hamish Stuart and Alister Spence, to the point of knowing it back to front. For whatever reason, I have not been able to see him live for many years but yesterday I was fortunate to be sitting 4 chairs down, listening to him play. It is such a great experience getting to meet and play with those “idols” you grow up listening to. I must also mention the delight it was to play with Paul McNamara who, along with his partner Sally, were integral to my development as a musician. In 2004 they set up a mentoring program (of which I was the only one who partook) which involved being mentored by Phil Slater and Warwick Alder, having lessons and hanging out with them at gigs, as well as aural lessons with Paul and recording a CD with Paul and Alex Boneham. That program introduced me to this “other side” of music – creative modern jazz.

Here are the links to some of these great musicians’ websites.

Ten Part Invention

Andrew Robson

SIMA

Sandy Evans

Later,

E Dilla

Current Listening:

Greg Osby – Public (Nicholas Payton & Greg Osby are killin!!!!)


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Tune into ABCJazz on Digital radio on Thursday, 9pm (channel 201 on digital TV) to hear a live one hour recording of ‘The Dilworths’ recorded for ABCJazz in January 2010.

Here is the link: http://abcjazz.net.au/features/abc-jazz-recording-the-dilworths

We went in for a few hours and recorded a live set of new tunes previously unrecorded. You can also download one track – “Black and White” for free to get a taste of what to expect on Thursday.

Later

Eamon

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One of the things I’ve wanted to do with the blog is not only put up articles about my peers but also put up interviews with some of the people who have inspired us to make music.
I sat down with guitarist Carl Morgan a few weeks ago to come up with the following series of questions to ask Sydney based Guitarist James Muller.
Here’s what he said:

What motivates you to keep practicing/disciplining yourself to continue working on furthering your craft?

A lot of it is being inspired by other musicians, especially my contemporaries and the new-breed. I get jealous sometimes when I hear my friends sounding better than me. Ha. I don’t want to be left behind sounding old and lame! Also, I get bored playing the same old stuff.

What are some of the ways you’ve approached working on time/feel?

Mainly, it’s just something I’m always aware of rather than working on specific things. I’m more conscious of time than harmony or melody. It’s the most important component of jazz, I think. I play little rhythmic games when I practise – usually just picking a tempo and then subdividing the beat in different ways. I like going up and down through quavers, quaver triplets, semiquavers, semiquaver quintuplets and semiquaver sextuplets. Then I try and mix them all up randomly. Also, dividing regular quavers/semiquavers into odd groupings 3/5/6/7/9 etc… All of these things really help your basic 4/4 playing. Feel, is different. It’s harder to work on. I listen to players with great feels and try and analyse what it is that makes their feel great. Usually, it’s about the way they accent certain notes and where the lay on the beat, but it’s also the shape of the melodic line itself that makes it feel groovy or not. I don’t think you can play any old bunch of notes and make it swing, no matter how good your time feel is. The way the notes are arranged is really important (and the rests too!). It’s taken me a long time to figure that out…

What are some of the key aspects that you feel are most important for younger aspiring musicians to work on?

If you’re a pianist or guitarist – COMPING. I’ve only really just started to get into that. What a fool I’ve been. It’s so important to learn how to do well. Transcribe comping as well as solos…

Business skills! I’m not kidding. I still have no idea with that stuff and I really regret not learning more about it. Hopefully it’s not too late.

Are there any bands or musicians (of any genre) you’ve recently discovered that are challenging or inspiring you to think differently about music and improvisation? If so, what aspects and/or ideas have you drawn from them?

At the moment I’m on an Allan Holdsworth kick. He is a real genius. Listening to him has totally reinvigorated my practising. The way he constructs lines and chords is incredible and completely unique and I think everyone should be checking him out. He’s as heavy as Coltrane, I think. He has changed music. Sean Wayland is a constant source of inspiration. Simon Barker has some great views on music and life. I guess I haven’t “recently discovered” these guys technically speaking. All of these guys are really methodical about the way they practise and learn. I have always been really erratic and just noodled for practise which I guess works to a certain degree but it’s time for me to actually start thinking about precisely what I want.

How has living in Australia affected your development as a musician?

That’s hard. I could be nasty and say “adversely”. There is some incredible talent here and Australia it’s a wonderful place to live but I can’t help thinking we all (jazz musos) would be better off living in the US or Europe. We would be better players and might be a lot better off financially, certainly artistically. It’s not the musicians’ fault really. The more I think about it the darker I get about the way we are viewed by the general public over here. Still, there are many worse places to be.

You recently completed a tour with Sean Wayland’s band featuring Mark Guilliana. Can you tell us about your history with Sean and some of the highlights of the projects of his that you’ve been involved in?

Sean started booking me for gigs in 1997, a year or so after I moved to Sydney from Adelaide. Soon after I was in pretty well all of his subsequent groups right up until he left to live in NY. I’m not sure why he kept me on. I think initially he was impressed with my playing but later it became just as much about having a friend around that respected his music/vision. I think that’s a big part of why I played on his most recent US recordings. I think having another Aussie around experiencing these great rhythm sections and horn players is important to him. It’s great for me!! It’s been amazing to watch Sean develop so consistently over the years. He is one of the great thinkers and problem-solvers in music today, I think. As far as highlights go, the most exciting/fun gigs I did were when Sean brought out Jochen Rueckert and Matt Penman from NY in 2002. That was my first taste of a top-notch modern American rhythm section and I was in HEAVEN! I have recordings of those gigs. Really great experience. I did a couple of gigs at the 55 bar with Sean in 2007 with some great players – Will Vinson, Orlando La Fleming, Henry Cole, Rudy Royston. Matt Clohesy – they were awesome fun too. As soon as I get in the studio though, I can’t enjoy myself. Playing with Keith Carlock, Tim Lebvre and Adam Rogers on the Pistachio CD was great but I couldn’t relax. I wish we did a gig. There were Aussie highlights too – recording with Sean, Nick McBride and Brett Hirst in “the shed” – Sean’s old house in Jarrett St, Leichhardt. My amp was in Nick’s car in the driveway, turned up to 11, Brett was with the double bass in the bathroom and Nick in sean’s bedroom. The only way sean could communicate with the other guys was to speak “live” arrangement instructions into a microphone which came out on the recording! It actually sounded pretty good!!

What are you working on right now?

Chords. Trying to comp better. Trying to remove other people’s licks from my playing..it’s EMBARRASSING when I hear myself do it these days. It will stop!!

5 questions in 30 seconds

Favourite Youtube Video :
Best live gig you’ve seen: John Scofield with Larry Goldings, Dennis Irwin and Bill Stewart @ The Basement Jan 1995.
Best gig you’ve played: Hmm Sean Wayland, Matt Penman, Jochen Rueckert @ Coogee Beach Jan 2002
Current favourite album: Allan Holdsworth “The Sixteen Men Of Tain”
Where can we see you play next? Feb 6 @ the Walsh Bay Jazz Festival and Mar5/6 @ 505.

Later,
Eamon (and Carl)

P.S check out James Muller at www.jamesmuller.com

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