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Managed to catch a bit of Wynton and JALC Orchestra yesterday.

Terrell Stafford Solo

The amazing Terrell Stafford live in London.

Later,

E. Dilla

News————–

Cameron Undy has just informed me that 505 is now under 18 year old friendly when accompanied by an adult.

This is great news for all the keen students looking for a place to go regularly to see jazz in Sydney.

Dig.

E. Dilla

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!

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

Recently I exchanged some emails with Australian now New York based pianist/composer Sean Wayland and I decided I wanted to post some of his replies. I highly recommend checking out his website and taking advantage of his writings and music on offer.

On a few counts you have mentioned the importance and high quality of Australian composers – who are some of the composers that have influenced you and what aspects in particular draw you to their music?

I grew up in Sydney . As a child I was taught European Classical music ( violin , piano ) . I listened to a lot of pop music on the radio . I was lucky to have been around in the “Countdown” era where there was a lot of exposure for Australian pop music . Australian pop/Rock Bands I enjoyed ( and still do ! ) included Midnight Oil , Matt Finish , The Divynils , ACDC , Olivia Newtown-John , The Sunnyboys etc . Later on I got into my father’s jazz LP collection . As well as a few Australian jazz LPs he was the accountant for a great video of a jazz festival in Sydney called ” Southern Crossing ” . It featured some touring Americans and a lot of Australian jazz music . Through that video I heard of Judy Bailey ( who played at my 21st birthday party ) , Roger Frampton and many others . I studied Electrical Engineering at UNSW but was drawn to jazz music . I had some lessons with Roger Frampton and eventually ended up at the Con . The teachers at the con where really great and encouraged me to pursue my own creativity . At the same time we where forced to memorise a bunch of American “Jazz Standards ” . I think that is a great thing , but it would have been nice in retrospect that we had learnt a few Aussie jazz classics too . I think it’s also a shame that I didn’t get a better education in Australian “classical” composition history, and Australian musical history in general . We had a jazz history class where we listened to Duke Ellington , Clark Terry etc . That seemed pretty useless to me as I was well aware of all that music as I was already heavily into it . As an expat , it’s pretty striking to me that I don’t know any Aboriginal songs and can’t speak a lick of any of the hundreds of aboriginal languages that exist(ed) . Well I can say “Bondi” .

I recently watched an old VHS of “Beyond El Rocco ” which is a charming document of Australian modern jazz history . I also recently read ” Jazz : The Australian accent ” . Generalising … there is an attitude in Australian jazz musicians of comparing themselves to Americans . There are “rebellious” types who have “discarded the American model ” , but the point is that most of the musicians see the “American” STYLE as a point of reference , whether you accept it or discard it . I have seen this attitude in my world travels as a jazz musician . In most cities of the world their are jazz musicians who seem themselves being either for or against the “american ” way of playing jazz music.

In a time when gigs where more plentiful , there was no “con” and Australians where more isolated , jazz musos struggled to emulate their heroes and in the process came up with something really beautiful and passionate .

Historically , in jazz music , style and performance I think to some degree have been more important than composition . To most jazz musicians the “tune” is something that can quickly be largely discarded to make room for improvising .

Since moving to New York , and having spent almost ten years here , one aspect of Australian jazz that is a still a stand out to me is the compositions . There are more “great players ” here than you can poke a stick at , but the Aussie jazz songbook is huge considering the small population . Generally Australian jazz tunes have a sence of lyricism , simplicity , honesty and beauty that is missing here these days .
I really think it is something as Australian musicians we should be very proud of … The Australian/New Zealand jazz “canon” is pretty remarkable to me when you think of it … Think of all the great music written in the last 30-40 in OZ by people like , Judy Bailey , Roger Frampton , Dale Barlow , Mike Nock , Bernie Mcgann , Paul Grabowsky , James Muller , Steve Hunter , Carl Orr , Matt Mcmahon , Cameron Undy etc ….. Its a long list and if you compare it to jazz tunes written outside of Australia since 1970 its pretty darn hot ! The lovely thing about those tunes is they can be appreciated without comparing them in a virtuosic or stylistic sense to any other music from overseas .

I recently filled in at a Ten Part Invention rehearsal where we played many Roger Frampton compositions. I was amazed by his writing – its uniqueness, but also how much respect he gets from musicians. I unfortunately never got the opportunity to learn from him but understand you did. What were some of the teachings of Roger Frampton?

It’s difficult for me to talk of Roger as I was very young when I was studying with him ( I was 20-23 years old which is 20 years ago ) . Roger was a complex character and obviously very intelligent . He was an eccentric person no doubt . I think being british and a jazz musician and being into avant-garde music in Australia at that time would make anyone eccentric . When I first saw him play he was wearing a bright purple suit . He could play jazz piano as well as anyone in Sydney at that point , but he also had a penchant for experimental music . When performing a more traditional role as a pianist/sideman he would still have a “rubber duckie” on the piano which he used to play ” solos ” on . He was pretty strict and didn’t have a lot of tolerance for laziness . He would often point out to me quite bluntly what was wrong with my playing . He also had a great sense of humour . He was the first guy to tell me that if the piano was out of tune that if you got drunk it would help . He also said that if you wanted to perform under the influence of drugs or alcohol that you had to rehearse that way . I remember having a beer at a rehearsal once with my trio at lunch and realised how difficult even one drink could make playing music . His response to the music business was “practise ten hours a day mate as you will be surprised that at age 45 you still have to hussle for gigs ” .

He had a very broad minded , yet calculated approach to music . There was a zen philosophy ( trying not to think on the bandstand ) combined with a very analytic approach to study . While his performances could involve turning a vacuum cleaner into a wind instrument , study with him involved deep analysis of classic jazz recordings . We dissected “empyrian isles” , “freddie freeloader” and herbie’s solo on “all of you ” from ” Miles in Europe at great length . He expected me to write those solos down . He also would ask me to construct ” solos ” in advance to tunes and write them out .

One fond memory I have of Roger is a dispute that he was having with the neighbours about the noise from his music making ( something which I have been re-enacting over here ) . I am not sure how much of this is true but I think the neighbours got so angry that they started mowing the lawn at 4am . Roger then stole the lawnmower ! The neighbours broke into Roger’s place , found the lawnmower and called the police . They all ended up in court and I think the judge had a good laugh and told them to leave .

I wish I could find a solo piano LP that Roger played me then that he had made . It had a version of “Girl from Ipanema” with the whole tune reduced into 2 bars of atonal music . If any readers can get me copies of his music to listen too I would be greatly appreciative . I have very fond memories of listening to Roger play the piano during lessons . I think it was the first time that I was “blown away” by a jazz musician playing for me live …

Thanks Eamon

Best Regards
Sean

Later,

E. Dilla

Adelaide Gigs

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

Jane Irving is one of Sydney’s most swingtastic singers. I’ve had the pleasure of performing and hanging out with her many times and she is one of my all time favourites.
Every Sunday you can check her out with her all star band “The Swinging Blades”  down at Marrickville Golf Club 3:30pm-6:30pm.
www.janeirving.com

Check it!!!

Here’s her top 3 albums:

Sarah Vaughan ‘Swingin’ Easy’.
The tracks on this CD are from two New York recordings. 1954 and 1957. John Malachi and Jimmy Jones piano; Joe Benjamin and Richard Davis bass and Roy Haynes drums.
~I first heard this album somewhere back in the early 80s in high school. It was my introduction to jazz singing. It completely blew my mind then and when I return to it now it’s the combination of interaction, quality of accompaniment and Sarah’s effortless singing style that I love. Swingin easy indeed. The thing I remember the most however, was hearing Sarah’s solo on All Of Me. A perfectly constructed solo, inventive, grooving and acrobatic. It was that precise moment that I fell in love with Sarah and made my decision to go about learning how to sing jazz. I knew I had a long road ahead of me but I was attracted to that beautiful mystery. I love her time, her humour, the range (hello!) and the willingness and confidence to really take a tune somewhere –not just sing the melody and be done with it. On this album Sarah’s personality shines beautifully bright –especially for someone who had only recorded once before with a small group, and in the 50’s her larynx was no-where near as close to the floor as in later years. There are some straight ahead tunes here, ‘Polka Dots and Moonbeams’, ‘They Can’t Take That Away From Me’ and other tracks including a very swinging ‘You Hit The Spot’, ‘If I Knew Then’, ‘Words Can’t Describe’, ‘Linger Awhile’ and the opening track ‘Shulie a Bop’ (a tune that Sarah wrote with George Treadwell) -are tunes that I will forever associate with Sarah.

Mark Murphy ‘Kerouac, Then And Now’ 1989
Bill Mays piano; John Goldsby bass and Steve LaSpina bass; Adam Nussbaum drums.
~ Mark Murphy draws from the days of Jack Kerouac including readings from the ‘Big Sur’ and ‘On The Road’ both with rhythm accompaniment but
this is a pretty big album in terms of material. Mark says in the liner notes that people like Monk and Eddie Jefferson (who are also acknowledged in this album) “…all added a richness to the legacy of the Beats –and beyond. This legacy still is as hot today as it was then”. Well, Mark should know. He is jazz. Monk’s ‘Ask Me Now’ is so god damn groovy I can’t stand it and his singing on ‘The Night We Called It A Day’ is just sublime. Every single track on this record holds you, deeply invested in –what’s about to happen and there is a lot of ground covered. Mark is the ultimate story teller. His perspectives are totally unique and he goes to great lengths to get his point across over a lyric with the most beautiful phrasing – never the same, always giving every word the precise weight it deserves. Like a conversation. I’ve learned much from this record.

Sonny Stitt sits in with The Oscar Peterson Trio’
Two sessions1957 with Oscar; Ray Brown bass; Herb Ellis guitar; Stan Levey drums and 1959 with Oscar; Ray Brown bass and Ed Thigpen drums and Sonny on tenor and alto.
~This one swings it’s ass off, unwavering, right in the pocket. I’ve pretty much committed this album to memory – well, pretty much, ha! A tune that nobody does ‘The Gypsy’ was the killer for me. I’m sure that when instrumentalists know the lyrics to tunes, you can hear it in their blowing. Well, whether Sonny did or not, the soul and intent in this mans playing is extraordinary. This is pretty much a dream band and the vibe of both recordings is just so happening. ‘I Know That You Know’ is what I like to call stupid fast and they all get around it. Sonny with all those triplet rolls and the way he gets from one part of the horn to the other in half the blink of an eye, is so fluid. I think I’m gona take it for a spin right now… happy happy daze!

Later,
E. Dilla

P.S Coming up next – Kristen Beradi!!!

Melbourne Debut

Hey Everyone,

The Dilworths have just got back from a well received debut gig at Melbourne’s Bennetts Lane Jazz Club as part of the Melbourne Jazz Fringe Festival.
A big thanks goes out to Steve Barry, filling the piano chair, Sonja Horbelt, Tamara Murphy, Martin Jackson and Bennetts Lane for making the gig possible. It was wonderful to make our debut to a full house.

Roger Mitchell uploaded some great photos of the gig that you can check out here.

Here’s a track from the gig:

Later

E. Dilla