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Posts Tagged ‘The Dilworths’

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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Hi Everyone,

This week I was fortunate to attend the Australian Bell Awards in Melbourne as a nominee in the Young Australian Category and it was a wonderful oppotuinty to meet some truly great musicians from both Sydney and Melbourne. My congratulations to Linda Oh who took out the Young Australian of the Year Award and also to Jonathon Zwartz who recently released a seriously good record “The Sea” and took out 2 Bells for best composition and best ensemble. The other nominee in my category was Nat Bartsh who I hadn’t met until the awards dinner where we were seated together and did a CD swap. I got back home this afternoon and put on her CD and was entranced by her music. Really great stuff. Another highlight of the  night was Kristen Berardi and James Sherlock’s performances (Kristin won best vocalist) – they stole the show and had the whole room at a stand still, mesmorised. It was great to catch up with her and Dave Theak – two of the nicest and giving musicians around.

I enjoyed an extra night in Melbourne (courtesy of my girlfriend Phillippa’s mother) and picked up some really great CD’s that I’ve spent my weekend checking out.
Here’s what I bought – check them out:
Kenny Barron  “What If” Featuring Wallace Roney, John Stubblefield, Cecil McBee and Victor Lewis
Katie Noonan & The Captains “Emperor’s Box” Featuring Stu Hunter (Best Album Winner Bells 2010) Cameron Deyell & Declan Kelly
Nat Bartsh Trio - “Trio” Featuring Josh Holt & Leigh Fisher
The World According to James “Lingua Franca” Featuring James Greening, Andrew Robson, Steve Elphick & Toby Hall

That’s all for now, coming up this week is video footage of the great Roger Manins and a series of top albums with some of the finest vocalists in Australia.

Later,

E.Dilla

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Later,

E. Dilla

Current Listening:
Pivot – Make Me Love You
Wynton Marsalis – Black Codes From The Underground
Sufjan Stevens – Come on Feel The Illinoise

Current Reading:
The God Delusion – Richard Dawkins
Footprints – The Wayne Shorter Biography

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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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Last night I caught the first set of one of my best mates – Steve Barry. For those who haven’t heard this Kiwi now Petersham based piano player, he’s one of the best around.

His trio with Dilworths Alex Boneham and Cameron Reid played a great gig at 505 and here’s one of the tracks. enjoy!

Later,

EDilla

P.S check out his top 5 influences list here

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Mailing List

As some of you may know, I send out a fortnightly e-newsletter for those who don’t get to see my updates on facebook about new posts.

If you would like to receive thedilworths.com e-newsletters, send an e-mail to management@thedilworths.com with the word ‘subscribe’ in the subject line.

As an added bonus, the first 5 people to join the mailing list will receive a free copy of The Dilworths debut album, “Introducing…The Dilworths” (Jazzgroove Records)

Later

EDilla

The Dilworths CD

Available now on Itunes and http://www.Jazzgroove.com

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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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1. Favourite/Most influential Jazz Musician?

It’s really difficult to put a stamp on my all time favourite musician in Jazz. I had a mantra throughout my time at the Con which was ‘DEXTRAHAR’. I still need to remind myself of what that means and how I’m representing this in my playing.

The ‘DEX’ is of course for Dexter Gordon the gentle giant. I really love the sense of humour in his playing and how he was such an influence to so many musicians but was open to what was being played by the younger guys around him.

‘TRA’ is for Coltrane and his discipline and dedication to making himself a better musician. Imagine what would have been created if he hadn’t died so young.

The ‘HAR’ is all about sound. Rory Brown introduced me to the incredible sound of Billy Harper in my first year at the Con. I still get goosebumps when I listen to ‘Preistess’. He has an enormous sound that cuts through you and then warms you up from the inside.

Seamus Blake is my modern favourite. I was fortunate to spend some time with him in New York in 2007. I really love Gary Smulyan’s baritone playing. He’s the bench mark for all modern bari players.

2. Favourite/Most Influential Australian Musician?

I know he’s from NZ but Roger Manins is my favourite Sax player. It’s a real shame that more of his music isn’t out there.

Judy Bailey was a great influence on me. She taught me to be less critical of my playing and accept that sometimes the best music happens when you are making ‘mistakes’.

3. All time favourite album?

My favourite album is ‘Standard Coltrane’ from 1958 with Red Garland, PC, Jimmy Cobb and Wilbur Haden on trumpet. There is a real looseness and a sense that it is just a bunch of guys playing over their favourite tunes and not some overly rehearsed masterpiece. When I’m at a loss I always come back to this period of Coltrane. It’s kind of like a reset button. There is a beautiful slow version of ‘Invitation’ on this record.

Other albums that I also love:

Chris Speed – Trio Iffy

Bill Frisell – Unspeakable

Anything with Seamus Blake.

Gary Smulyan – The Real Deal

4. Best live gig you’ve seen?

Kim Lawson, Danny Junor and I caught the Fung Wah bus up to Boston in 2007 to see George Garzone and the ‘Fringe’. After 5 hours of travel and the thought that we might not even make the gig, we crammed into a small room in a hostel which I think had been the scene of a horrible crime. We arrived at the gallery where the band was playing and George greeted us and suggested we visit the tavern next door for a taste of their homebrew beer the ‘Druid Fluid’.

We headed back to the gallery, took the front row seats and held on. The ‘Fringe’ is a trio with John Lockwood on Bass and Bob Gulotti on Drums that has been creating improvised music since the ‘70’s.

Garzone’s sound floored me! I had never seen anyone play so furiously yet sound so melodic and beautiful at the same time. At one climax in the music I found myself giggling uncontrollably because it made me feel so good (it might have also been the Druid Fluid).

5. What are you working on right now?

I’ve been doing most of my practise on Baritone and have been working hard to get comfortable over 3-4 octaves on both horns. I’m trying to get away from linear playing and am doing a lot of exercises on larger intervals and triad super-impositions. I am also concentrating on my posture and amount of tension in my body when I’m playing. I think it’s important to take time to go for a bike ride or a jog or anything to help with endurance. Playing a musical instrument can be pretty rough on your body!

I’m continuing to write for my Quartet with Jamie Cameron, Ben Waples and Aaron Flower.

We have a JG gig in March.

Tim Stocker
ph. 0402 043 293
timstocker
Visit Tim’s Myspace Site

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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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