Mark Ginsburg's High 5

“The things that drive my musical explorations range from the experience of singing in a synagogue choir as a young boy, listening to the melisma of the hazzan through to hearing strains of Cannonball Adderley and John Coltrane playing on my elder brother’s monophonic turntable when I was too young to operate it myself. I am also inspired by the contemporary jazz emanating from the highly creative music scene in Australia.”

REVIEWS
“Mark Ginsburg communicates his sincere warmth through an overflowing love for music, the saxophone and life. His melodic lines sing with hope and majesty and he builds each solo into a solidified whole that resonates with logic and direction. Mark has chosen his material with taste and good pacing and has surrounded himself with a most excellent cast of supporting musicians. The original music he has composed is engaging and superbly arranged and performed.” - Gordon Brisker, reknowned US saxophonist, arranger and composer

“Mark Ginsburg is a warm and talented saxophonist whose love for music making is clearly evident in both his beautiful compositions and his hearfelt playing.” - Mike Nock, acclaimed pianist and composer

“In exploring his musical roots Mark Ginsburg has made intriguing discoveries. He has honored those insights here in a fashion that has produced a truly unique and listenable jazz album. This is an historic offering.” - Bruce Cassidy, Jazz trumpeter, composer & arranger (Blood Sweat & Tears, Quincy Jones, Marvin Gaye).

1. TOM MCKINLEY TRIO - Ryles Jazz Club – Cambridge, Boston MA 1982
Tom McKinley Piano, Roy Haynes Drums, Miroslav Vitous Bass
My first visit to the US was in 1982. I was in Boston, visiting with John Lockwood (ex Capetonian bass player who is a member of The Fringe) and he took us to this gig. Ryles at that time had a very intimate room upstairs that must have seated somewhere between 50 to 80 people. We were right up close. It was totally mind-blowing. While it was many years and gigs ago, I remember the following things very distinctly: a) Tom McKinley’s solo in Solar was astounding. His facial expression was tightly linked to the lines he was playing, he was breathing his lines. I think everyone in the room was holding their breath; b) Roy Haynes at one stage during a drum solo, got up and away from his kit. He backed up to the wall, closed his eyes and played against the wall for what seemed a long time, and lastly c) Miroslav’s bow work was so unusual, something I had never witnessed before.

2. HAL CROOK & THE FRINGE – The Willow Jazz Club – Sommerville, Boston, MA. 1994
Members of The Fringe + Hal Crook, George Garzone (absent), John Lockwood – Bass
Hal Crook - Trombone, Bob Gulotti – Drums,Unknown – Piano Player
This was a normal Wednesday night Fringe gig but Garzone was out of town and had booked Hal Crook. When I arrived, Lockwood was nowhere to be seen. But there was a piano player whose name I cannot recall, Hal Crook and Bob Gulotti. This was the first time I had heard Hal Crook playing in a free setting. About 15 minutes into the set, Lockwood arrived, clearly late, but he did not join them; he sat down and watched them play the first set out. The second set started in the spirit of The Fringe, totally free, bass and drums for about 10 minutes, joined later by Crook and then the piano player. The journey continued and eventually the set finished the same way it started… just the one piece of music. Then Hal Crook stood up and said “My mission in music is to get as lost as possible. But I can’t do it with this rhythm section…. they won’t let me get lost, the are so solid, they are like white on rice, …. nothing phases them.”

3. STAN GETZ, JIM MCNEELY, RON CARTER & ELVIN JONES - Kennedy CentreWashington 1982
One of the good things about being born in the 50s is that I was able to see Elvin Jones play. He was larger than life. He seemed physically like a giant on the stage amongst the rest of the band. He was wearing a colourful kaftan and his face wore a huge smile for what I seem to remember being the whole set and his eyes bored holes into whatever he was looking at. Whilst it was great to see the other guys, I found myself drawn to watching Elvin all the time. So much has been written on Elvin – I don’t really have anything to more to add.

4. DAVE LIEBMAN, VIC JURIS, TONY MARINO & MARKO MARCINCO- Settlers High School, Cape Town, South Africa 2009
My first encounter with Dave in person was on Friday, April 3, 2009 at Settler’s High School in Cape Town where Dave and his group conducted a workshop with the school music students. I had the opportunity to observe him at close quarters in a performance environment and also in dialogue with the students during the workshop. Seeing him perform was close to a life-altering experience. His technical capability was awesome and his approach to improvisation, his timbre (including the use of vocalisation), his choice of notes and phrases and the overall intensity was quite unique. Although I had heard recordings, it was a very different experience seeing this in a live context. Dave does not carry his own tenor saxophone around and usually borrows a local player’s tenor for performance purposes. During the performance, he gestured to Michael Rossi (Professor at the College of Music in Cape Town), asking for his tenor saxophone which I knew for a fact that Dave had never played before. Dave put his own mouthpiece on the crook and without even blowing a single note to tune the instrument or get a sense of its sound, launched into an up-tempo be-bop composition. He played the entire range of the instrument including the altissimo register without any sign of difficulty. It was almost as if the instrument was incidental to what he was doing. Perhaps it was. Dave’s interaction with his band and with the students at the workshop was very exciting to watch. He gave excellent feedback and provided constructive suggestions to the ensemble members and whilst his manner was direct and candid, it was also kind. By the end of the workshop, it was clear that the school ensemble had learnt some very key approaches to improve their performance. The final rendition of the material they had chosen was distinctly better than their first.

5. MICHAEL BRECKER, JOEY CALDERAZZO, JAMES GENUS & JEFF TAIN WATTS – Royal Albert Hall, London 1996
Michael Brecker was someone I had been wanting to see on a gig since the late 70’s but for one reason or another, it did not work out until 1996. Ever since I had heard him playing a ballad, Heather, on one of Billy Cobham’s albums, I was “infected”. In 1982, I bought a Claus Ogerman album called Cityscape featuring Brecker with a rhythm section and orchestral string section. It was, and remains a seminal piece of work for me (and hopefully others who have had the opportunity to listen to it). It moved me so much that I wanted to do something special with it, like ask to have it played at my funeral or something like that. Anyway, needless to say, I was pretty excited to be getting the opportunity to see him in 1996. The concert was amazing but there was an aspect to it that I found a little disturbing. They were all dressed in dark suit and tie. Most of the time he stood very still and seemed disconnected from the audience. Visually, it seemed to lack emotion. The concert was a double bill with John Scofield’s opening. That first set was full of joy, the guys were clearly having fun on stage. This was such a contrast to the Brecker set. Perhaps I had built up too much expectation. Of course the music hit the spot, especially when I shut my eyes. I subsequently saw him in the late 90’s playing with Charlie Haden. He seemed more relaxed but there was no loss to the drive and forward motion of his playing. I felt more connected on that occasion.

1. JOHN POCHEE – Griff House, Lower Pitt Street Sydney mid 1960’s
My First POCHÉE
The first time I heard John Pochée playing music on the drums I was absolutely astounded. Until that moment I thought that kind of feeling only came on imported vinyl recordings. I was so enthralled by being so wrong, my life and its direction changed, irrevocably. I was to hear John play many times subsequently and to this day my feeling for him has not altered. Given Australia/NZ’s relatively small population it’s amazing really that so many fine musicians have emerged. Back in those days of course, drummers were, in the ears, hearts, and minds of most (musicians and others), just that. Drummers! Happily, things have changed somewhat. John is, at least in part, responsible for that change: a view towards drumming as being something musical, and distinct from beating and hitting.
I’m pretty sure John was music-making on this occasion with the Dave Levy trio. It was late, 1:00 am, the regular Saturday night after-gig concert at the muzo’s. Many many years ago of course, that building fell under the developer’s hammer. But while the topography may change, that kind of spirit, that John Pochée feeling, can’t be destroyed by anything. And it is nurtured in many more than just this one heart. Dave Levy is a marvelous musician who no doubt enjoyed to the fullest, John’s adventurous risk-taking and wonder-filled groove. John was young. I was younger (though not by much!). But to be transported like I was by him to a different perspective on life as I knew it to be is something that has nothing whatsoever to do with age and everything to do with commitment to the moment. That moment is everlasting.

2. SERGE ERMOLL’S FREE KATA – The Basement Sydney mid-1970s
The utterance, kata, as either a prefix or a stem in Japanese has several meanings. It might signify one’s shoulder, a shape, a style, a type, a pattern, or, it might mean excess or superabundance. This is not insignificant where Serge is concerned because he was, for many years, devoted to the practice of Karate,literally, ‘empty hand’. Free Kata’s lineup varied a little but its stable members included Eddie Bronson, tenor sax; Lou Burdett, drums; Graham Ruckley or Richard Ochalski, acoustic bass; and occasionally, John Clare, voiced words. The remarkable saxophonist, Barry Duggan, also had a share in this creative space. In the liner-notes to Free Kata’s recordings, John Clare uses words like, “empathy” and phrases like, “shaped by nothing but the interactions of the moment” and “outpouring, unchecked”. In putting these descriptions together with concepts like ‘empty’, ‘form’ or ‘shape’, and the notion of ‘superabundance’, we begin to get a good idea regarding the music of Serge Ermoll’s Free Kata. It was all of this, and more! I heard them play often. Their performances were riveting. The energy, the focus, the intensity, and the sheer emotive power was astonishing. Their unbridled expositions gave one cause to think again, and again, music’s purpose and cultural significance. Poetry, crucial! Each of these musicians played with utter brilliance as they made unique personal statements that, in their reception, in listening, in feeling, were impossible to ignore. As a collective they would ride these waves of energy and emotion to their natural conclusion, often in long arcs of time, over the most treacherous terrain. And as a live experience they managed, somehow, to redefine their own genre every time they played. This spells openness to creative motivation in the extreme. Any sense of ‘product’ was about as far removed from their ken as would be humanly possible. If their hands were ‘empty’ of preconceived ideas, they were certainly replete with invention. If their performances were without ‘shape’ prior to the event, in the event, shape and form emerged solid. If, as a recipient, you were deplete of emotion beforehand, Free Kata would provide superabundance. Their live, was ... LIVE.

3. ROBERT DOUGLAS – Homage to Bessemer, 1984
Composition for Fairlight CMI computer generated sound.
I first heard this “Work” in a concert presented by Watt (established by Martin Wesley-Smith and the late Ian Fredricks) at the Sydney Conservatorium of Music, Verbruggen Hall, though I don’t remember exactly when. My guess would be ’84 when it was written, or perhaps the following year. Bessemer, as Bob Douglas lovingly refers to it, is a truly mighty piece of music composition, one that turned my head upside down and my heart inside out. As the title implies, it is written with Sir Henry Bessemer in mind. Bessemer clangs, crashes, hits, bangs, beats, crunches, raunches rips and rings its way through the sonic production of iron and steel, pouring its molten, white-hot, extracts into exquisitely shaped compositional moulds to reveal the passionate, intense heart of its composer. Ironically perhaps, the sonic shapes never solidify. In my view, Robert Douglas’s Homage to Bessemer is a benchmark in its field. In this regard it’s a little like Stockhausen’s Microphonie I in that it pushes the available materials to their absolute limit and in so doing, opens up sonic textural vistas that contradict their origins. Electronic music is still dangerous territory. Those who envisage it as a form of purity seem to generate just that. Those who use it as a tool generate little more than utility and a journeyman’s ethos. The big trap these days is the ‘user friendly’ highly developed devices (note well the word ‘program’ and all implied by it) that lead one to think music made easily can, nonetheless, present depth, quality, and human passion. Somehow, Bob Douglas got inside the Fairlight CMI and coaxed it into going places it wasn’t designed to go. You’ll find no ostinati or sequenced patterns among the paraphernalia of Douglas’s Bessemer foundry. To find those you’ll have to go as far inside the machine as did Bob, only to discover something else in their stead. Heart! Homage to Bessemer is more like a liberationist’s manifesto than an attempt to make a pristine piece of computer music.

4. CHRISTIAN WOJTOWICZ SOLO CELLO – 333 Collins Street Melbourne 28th June 1992
Journey Without Goal, composed by Phil Treloar.
I run the risk here of appearing self-indulgent because I’d like to commit this wonderful memory I have of Christian Wojtowicz to some form of historical documentation; in doing so I ask for the reader’s pardon. During the 1980s I’d often go to Flederman concerts at the SOH Studio to listen to new contemporary compositions - dots on paper - performed by several of Australia’s more prominent musicians in that field. Flederman, initiated by the abundantly talented Simone De Haan and Carl Vine, presented an extraordinary range of newly composed pieces, with a large proportion of these written by Australian composers, some of whom were members of the ensemble. It was an exciting, inspiring, and instructive time in the development of an Australian musical identity. Among the ensemble’s members was the cellist, Christian Wojtowicz. Every time I’d hear him play I’d imagined a time (just a dream really) when Christian might choose to play a piece from my very modest pen. Round ’88, a young and very talented cello player, Julia Ryder, commissioned me to write her an extended solo work. This I did, though in handing it over to her I felt it to be incomplete yet couldn’t understand why. Julia went off to Europe and at about the same time I began to work with a Melbourne based contemporary music group, again initiated by Simone, Pipeline Contemporary Music Project. In ’89 I moved to Melbourne and became a core member of this group. Simone’s creative predilections were the foundation of some very exciting programming and in ’92 he came up with the idea for a concert in a city building. 333 Collins St. was chosen for its magnificent acoustic. The event was lovingly dedicated to Keith Humble, a very fine Australian composer who has contributed enormously to the establishment of a contemporary frame of mind in Australian music. It was decided that, among the pieces on the program, Christian would play Journey Without Goal. By this time I was dividing my time between Melbourne and Kanazawa, Japan where I was soon to make my permanent home. Throughout the revision process I came to realize just how insanely difficult the piece is. Completing the revision in Kanazawa, I sent it to Christian by mail. The night prior to the Collins St. concert, we had a performance in Hobart and for which I’d flown to Australia. I’d not heard the piece played, ever! The day before the Hobart concert Christian asked me if I’d like to hear the piece. Yes!!! He played it for me in a rehearsal room at the Hobart Con. The Journey’s duration runs just under twenty minutes. By the end of this private rendering I was absolutely speechless and, virtually, in tears. All I could do was hug him. Without a single word ever having passed between us regarding the piece and its interpretation, Christian played it as if he’d read my heart and mind rather than the score. This went so far as, after playing it, him pointing to a passage saying, “I like this allusion to Miles.” And, “Yes, it’s the journey that counts.” This, coming from a person deeply versed in Mozart String Quartets through to Schoenberg and Boulez, left me reeling. The Hobart performance took place the next night and was wonderful ... then some!! The following day we went to Melbourne for the Collins St. performance. To be honest, I really don’t know what happened. But when Christian played Journey Without Goal in that magnificent acoustic space it was as if he’d rewritten it overnight. So deeply had he penetrated the feeling of the Journey’s journey, it remains underway to this day. John Clare once christened Bernie McGann, ‘the angel of the alto’. I hope he doesn’t mind me stealing his feeling and christening Christian, The Angel of the Cello.

5. DRUB – Wangaratta Festival of Jazz, Nov 3rd 2003
Scott Tinkler, Simon Barker, Brett Hurst, Carl Dewhurst
Any person who has shared musical space with the redoubtable Mark Simmonds will learn something about music-making. If they happen to have exceptional talent, ears aplenty, are sensitivity to precision and finesse, and have a cast iron will, they’ll leave that space with a key to their own expression. Scott Tinkler is of the latter group. If one verbal phrase were able to sum up his musical character it would be a treatise without sentence end or paragraph. Scott, more or less, defies category. Hearing him in this particular context was, for me, an exceptional experience. I’ve never been much interested, and even less, impressed, by displays of technical prowess. Yet this band has precisely that. Almost awesome in fact, but without the display factor. I’ve never much been drawn to music that fills in all the holes either. This band not only fills the holes but builds mountains above them. In fact, in hind sight, this band does just about everything in the act of music-making that I find unbearable. Yet I loved it! Every note and every nuance. The key to their maverick outrageousness is, I think, hand-in-glove compatibility; a musical match made in Apollo’s Grove (read groove). Brett’s solid, down home rootedness, alongside Carl’s quirky, noise oriented, precision-murkiness; and Simon’s tight yet tensionless complexity streaming from his musical instruments in a flow of frequency covering the entire audible spectrum, alongside Scott’s seemingly endless river of weaving lines that impress an internal counterpoint onto the music’s profile thus revealing a topos replete with multiple movements. Continuum! In no sense of the term do these four characteristic constituent-beings fall into a construal of the tetra-lemma, nor into conflict, or something reducible to rational causes, but rather, they function as contrasting colours on a high-energy canvas where the image maker piles on, layer after layer, texture, so as to create a malleable, three-dimensional space. If one must make a written gesture towards this emergent madness, better it be expressed simply as music. And the lower case ‘m’ will suffice. Copyright Phil TRELOAR, March 2009

1. WEATHER REPORT- Festival Theatre Adelaide 1979
Without any shadow of a doubt, the greatest gig I have ever seen was Weather Report in 1979 at the festival theatre in Adelaide. This was a ‘mind blowing’ experience for lots of reasons. As a fledgling jazz musician having just started to play in that year, to see this level of musicianship was absolutely staggering. This was Weather Report in their pomp, just after the release of ‘Heavy Weather’ with Peter Erskine and Jaco Pastorius totally ‘monstering’ everything in their path. I have seen other gigs that have blown me away but as this was the first super group I had ever seen in the jazz genre, and coupled with the fact I was 19 and had just started my musical journey, I could never imagine a gig having such an effect on me again, if it does, then maybe I’ve found heaven!!!!!! …………!!!!! The following four aren’t in any order of preference.

2. LITTLE FEAT- Rainbow Theatre Finsbury Park London 1976 or 77
Little Feat were a great band fronted by the wonderfully enigmatic hedonist Lowell George. Whilst living in London in 1976/77 I was privileged to see this wonderful band at one of London’s greatest rock venues the Rainbow Theatre in Finsbury Park. Sadly this fantastic, iconic Victorian theatre has now been taken over by some group of happy clappers (at least they’ll be making music). Anyway this was Little Feat at their peak and was just after the release of ‘Time Loves a Hero’, which is one of my favourite albums by Little Feat.

3. MICHAEL BRECKER – Blue Note NYC 1988/89
The late great Michael Brecker has always been a massive influence on me and I’ve been able to see him numerous times. Perhaps the best time was at the Blue Note in New York, on New Year’s Eve 1988/9, sharing the bill with The Chick Corea Electric Band. Brecker had just released his first c.d. as a bandleader and was on fire that night. His solo intro on ‘My One and Only Love’ was worth the cover charge alone.

4. PAT METHENY GROUP – Hammersmith Odeon London 1992
As a composer and guitarist Pat Metheny has been a constant inspiration to me. I’ve had the pleasure of seeing him on numerous occasions in lots of different line ups. Perhaps the most memorable was in 1992 at the Hammersmith Odeon in London with his own band (The Pat Metheney Group) with Lyle Mayes, featuring the music from the ‘Still Life Talking’ c.d. as well as some older favourites. This was an amazing concert. It was presented in more of a rock format with a huge light show and dancers etc and after 3 hours or more has remained one of my all time favourite gigs.

5. MILES DAVIS – North Sea Jazz Festival Netherlands 1988.
In 1988 I went to the North Sea Jazz festival (Holland) and headlining a bill that included pretty much a who’s who of the jazz world was Miles Davis. Despite the fact this was not Miles at his most inspirational who was basically letting the young guns in his band do most of the playing; just to see the great man and soak up his presence was a moment I will cherish. Watching him direct the band and run the show was awe inspiring, a true master at work and at peace with himself.

1. HOWARD SHORE & THE BBC CONCERT ORCHESTRA – Barbican London April 2002
Howard Shore conducted a concert of his Naked Lunch score at the Barbican in London. This was a concert with a difference, because it was a live accompaniment to a screening of the 1991 Cronenberg movie; an enhanced projection of the film. He made use of the BBC Concert Orchestra. Arguably the strongest ingredient in the mix was the The Ornette Coleman Trio, fulfilling the duties they performed on the original soundtrack. Amazing!

2. OLIVER MESSIAN’S TURANGALILA-SYMPHONIE PLUS MESSIAN VOCAL WORKS – Barbican 2002
A truly massive paean to spirituality, with its overt influences from Hinduism. The title itself is in Sanskrit, made up of two words: "Turanga" denotes time, surging ever onward, held back by "Lîla", which signifies "play", articulating the flow of time with drama. Together they encompass the compound notions of opposition, creation and destruction, and love.

3. DALE BARLOW – 1992
Hearing Dale play for the first time and many times later was an inspiration for me during this time.

4. ANOUAR BRAHEM, JOHN SURMAN & DAVE HOLLAND - Thimar London 1998.
Anouar Brahem: Oud, John Surman:soprano saxophone and bass clarinet and Dave Holland: Double bass). The first concert I heard on arrival in London. Like the album the music was never less than beautiful, and is often haunting in its subtle chemistry, which quietly evokes glimmers of blues moods within stately Arabic-themed progressions.

5. JOHN McLAUGHLIN TRIO WITH TRILOK GURTU - Canberra 1991
This concert started to give me glimpse of how well improvised music can be performed. It also peaked my interest in Indian music.

6. KEN EDIE AND JOHN ROGERS – Brisbane 1995-1997
Living in Brisbane during this period I was fortunate enough to hear and perform with these inspiring, creative forces in action many times.

1. PAT METHENY TRIO & ENRIQUE MORENTE – Palau de la Musica Catalana, Barcelona, July 2008
This concert commemorated the 100th anniversary of the Palau de la Musica Catalana, Barcelona’s palatial Art Nouveau-styled concert hall. The Pat Metheny Trio was teamed up with Enrique Morente, Spain’s iconic and quite controversial contemporary flamenco singer. He was the first to adapt the verses of Spanish poets to write his songs and his enthusiasm for innovating lead him, at one time, to create a mass in which he blended flamenco with Gregorian chanting. Despite orthodox beginnings to his career, Morente is renowned for upsetting the purists with his experimentalism and tendency to collaborate with musicians of all styles.
The concert started with Pat playing solo, employing three different guitars including his 42-stringed Pikasso. Hearing this man - whom I have been so inspired by - play his exquisite melodies in that magnificent hall was pure bliss. It was possibly my favourite part of the evening, though it was all tremendous. Pat was joined by his colleagues Antonio Sanchez and Christian McBride and they played a great set featuring tunes from their latest album “Daytrip”. Having been on the road for weeks they were wonderfully in sync with one another. There was no intermission – Pat simply introduced Enrique Morente telling the audience how honoured he was to be invited to work with him. Enrique’s first song was one Pat had written about his own beautiful wife. Following that, the Trio left the stage and Enrique’s troupe arrived to accompany him whilst he sang a set of passionate, intense and spine-chilling flamenco. Naturally, this remarkable feast of uplifting musical flavours was wrapped with all the musicians on back stage, playing the final song (then encore) together.
I recall feeling very grateful to be alive that night and was indelibly reminded of the life-enriching gift that music truly is.

2. ESPERANZA SPALDING – Stockholm Jazz Festival, July 2008
I’d never heard of this Afro-ed young girl, so as I waited with the roasting afternoon crowd on the picturesque Skeppsholmen Island, cold beer in hand, I had no idea what I was in for. Esperanza is gorgeous, has uncanny chops on the upright bass and sings like a dream. She’s a refreshing blend of innocence and excellence. Her sound veers towards fusion and Brazilian merging old school with the progressive. Her energetic one hour-long set was packed with innumerable great ideas including wonderful arrangements and solos, particularly from her pianist Leo Genovese, and Esperanza on Bass.

3. JENS WINTHER – Christiania, Copenhagen Jazz Festival, July 2008
I was heading home after a long day of excellent gigs when I learned that Jens was playing at Christiania at midnight. I’d dreamed of hearing him and so I turned around and headed towards the controversial “squatted” military area that has become a partially self-governing neighbourhood in the centre of Copenhagen. I didn’t know exactly where to go and it a dark night, but fortunately I soon heard the music streaming out of a hall and realised that this was Jens’s Electrazz ensemble, which features his son Carl Winther on Keyboards, Mikkel Nordsø on guitars, Johan Kolsut on drums and Christian Douglas Danstrøm on bass.
Jens was using electrical effects on his trumpet creating a very haunting, at times ethnic sound. I was so glad I’d ventured into the night to see this midnight gig as this was music like none other I’d heard – the solos were long and engaging, inlaid within the complex structures that are his compositions, incorporating impulses taken from the 60’s and 70’s era genres, no doubt inspired by his hero Miles Davis.

4. TINA HARROD – The Basement, Sydney, January 2009
I caught Tina’s spell-binding set and felt thrilled that in the midst of the Sydney Festival, with loads of international artists in town, a local talent, curiously not officially included in the Festival, was holding the room rapt and wrapped in awe. Matt McMahon was like God on the piano with his poised sensitivity and slick dexterity. The piano and bass (Jonathon Zwartz) often moved together so precisely, creating unique textures in their voicings and Evan Mannell blended gorgeously on drums.
Tina inspires me because she is a commanding performer who takes charge of her audience and her stage. She owns a fierce voice and demeanour that occasionally gives way to a softer, soulful delivery. This dichotomy is perhaps the foundation of her compelling song writing. She sang songs from her album Worksongs, plus a few of her signature blues, which I think she delivers better than anyone.

5. DIANNE REEVES – Blue Note, Tokyo, February 2004
I was working at a Jazz Club in Tokyo at the time and knowing that I was an avid fan of Dianne’s, a regular guest kindly invited me to go and hear her at the Blue Note on my night off.
Tradition at the Blue Note Tokyo had the Manager theatrically sweep the star grammy-winning star through the audience, up to the stage where she sang her signature welcoming scat. As always, she had an excellent line-up with her and held the crowd in her hand from the first song, at one stage catching her band by surprise, spontaneously throwing “Misty” into the song list – a sentimental favourite tune in Japan.
These days I find myself listening to more instrumentalists than singers, but since 2001 when I discovered her, I’ve closely ‘consulted’ Diane’s excellence and really do think she is the finest living jazz singer. She’s now known for her large scale performances and I love her live album “In the Moment”, a huge production featuring her cousin George Duke on Piano. Nevertheless, it was such a thrill to hear her in a fairly intimate setting and later chat to her in the green room, where I was initially speechless upon meeting her. She saw the love and awe in my eyes, stretched out her arms and embraced me. Turned out that we were two tired, lonely girls on the road…

1. CECIL TAYLOR – Brecon Jazz Festival, Wales 1991.
We had the good fortune to be performing there with Clarion fracture Zone, and I had never heard Cecil play live before, though I was familiar with some of his recordings.
What struck me was his sustained energy and pianistic and ‘on the spot’ compositional skill.
In a conversation with him afterwards I asked him about the ‘pieces of paper’ he put in the piano. These turned out to be sketches of compositions that he would search through before starting his next piece.
I had always thought that he made everything up on the spot, but he said ‘No, No man it’s ALL about the composition!’

2. MICHAEL BRECKER QUARTET – Rome 2004(?)
Once again what struck me was the energy and commitment to the music, which this time was post bop, and quite complicated music, but played with conviction and authority and a joy in playing together. And everybody in the band was really reaching and extending themselves.

3. PAUL BLEY WITH CHARLIE HADEN AND PAUL MOTIAN – North Sea Jazz Festival 1990.
This was Clarion Fracture Zone’s first tour overseas, and almost straight after us on the same stage, Paul’s trio was playing. If I am being truthful I probably didn’t absorb this concert as much as I would now. His playing is now a big part of my musical ‘outlook’. But I remember the fluidity of his music and interaction with Charlie and Paul; equal contributors in a beautiful abstract musical painting.

4. THE BAD PLUS – International Festival de Jazz de Montreal 2006
This was the Alister Spence Trio’s first tour overseas to the UK and Canada.
The Montreal Festival was a virtual ‘who’s who’ of current jazz, including many well known faces…and us.
I loved the energy, the often rocky feels of this band, mixed with intricate compositions/arrangements and a free music sensibility. The ability to sustain the kernel of an idea while it constantly evolves amongst the band has always attracted me musically. The element of surprise was also excellently employed in their music.

5. SIGUR ROS – The Great Escape Easter 2006
Sigur Ros are an Icelandic rock band and they toured with a string quartet. Their music layers up textures of electric guitar/keyboards/vibraphone/glockenspiel/vocals and they are not afraid to dwell on music that is simple, strong and beautiful. The timing of this concert, a wonderful Australian sunset, coupled with their soaring, ecstatic tunes was an irresistible combination for me!

1. BRAD MEHLDAU TRIO—Blue Note, Tokyo 2002
Ever since Sydney pianist Greg Coffin recommended I listen to Brad in the late 90’s, I have been a huge fan. I had steadfastly been collecting The Art of the Trio series as they were released and by the time I reached Tokyo in July 2001 I counted Vol. 4 as one of my desert island discs. When I saw that the trio were touring to Japan, there was no way I was going to miss it. So I swallowed the $120 ticket fee for a single set for my wife and myself and headed to the Blue Note. Firstly, what a club! My advice to any jazz aficionado would be to make a bee line for it if you happen to be in the Land Of The Rising Sun, and blow the cost!
Well the trio, live, more than lived up to the recordings. It was the original trio, while Jorge Rossy was still drumming, and I would have been two feet from him (and a mere 5 feet from the others). The seemingly telepathic communication between the players was startling. One ballad they played must have been sub 40 bpm and regardless of the lyrical elasticity Brad applies to his melodic line, the ensemble grooved as one never showing the slightest hint of looseness.
I managed to get backstage after the set and meet the guys, by spinning a yarn that I was mates with bassist Matt Penman—do whatever you can I say—and the guys were lovely! I was still quite young then and this gig was a moment that turned my approach around. Right after this gig I went back to my flat in the country town Goi and began writing the material for my quartet album, Mark4 – Entrée – which was released in 2005.

2. DAVE HOLLAND QUINTET—Sydney Opera House 2008
As a composer / bass player myself, Dave Holland has always been a shining beacon of what is possible. I’m currently in the final throes of my Masters degree at the Sydney Con. And have spent the last year looking at Dave’s compositions from his Quintet album ‘Prime Directive’.
To see the band (albeit with a slightly different line-up) live and performing a few of the works I had been studying was an enormous boost to my research. Even without speaking to Dave I was able to see on the live show some of the concepts I had been toying with. One of these is the idea that Dave writes not just for a quintet but for his quintet. Not just a quintet of extraordinary technicians but for a quintet of extraordinary characters. He seems to write their improvisational style into the works so it could be confusing to know when composition ends and solos begin.
While the Sydney Opera House Concert Hall is pretty much the opposite acoustic to that in which this ensemble would sound it’s best the sound engineers had, in my opinion, done a formidable job to ensure there was enough clarity between voices so as to avoid the soup that is so often heard from jazz ensembles there.

3. JOHN SCOFIELD TRIO—Umbria Jazz Festival, Melbourne. Hamer Hall 2007(?)
I had bought the John Scofield Trio’s album En Route a few months before I heard about the trio coming to the Umbria Jazz Festival in Melbourne as a double header with Wayne Shorter’s group. As always with good trio recordings, I instantly fell in love with the close knit interaction between the band members, not to mention the general virtuosity of the musicians, in particular drummer Bill Stewart. Not wanting to miss out on this incredible opportunity, I bit the bullet and bought the ticket and an airfare to Melbourne.
I wasn’t disappointed! Not only did I get to hear the live versions of that album’s material played by three guys who were simply having a great time with each other and the music, but I then went on to hear one of my strong influences, John Patitucci, play beautifully with a master—Wayne Shorter.
The fun at seeing Sco tearing it up with a smile on is face, and laughing at his equipment failures was enhanced by watching Bill Stewart fly around the kit and Steve Swallow with a most unusual posture and technique playing so melodically and grooooovily.
While the Wayne set wasn’t exactly my cup of tea, it did make for one incredibly inspiring evening of music that was given a heightened sense of grandeur considering I had jumped in my not-so-private jet to get there.

4. PETER ERSKINE TRIO—Duc Des Lombards, Paris 2001
My seven months in Paris remain a bit of a blur to be honest. I was young, heady, excited, scared and poor. My wife and I had headed over there for the adventure, she with a few auditions for companies (Tina was singing opera then) and me with no connections other than a handshake at the Side On with Chris Cody a few months prior.
Fortunately that handshake was firm, because after a couple of months Chris gave me a gig with his band ‘The Chris Cody Coalition’ at a tiny but very groovy little joint called ‘Les Sept Lezards’ (seven lizards) in the Marais district. As so frequently happens, this led to other gigs and eventually a semi-regular spot with saxophonist Steve Potts at the same venue.
I got wind one night that Peter Erskine was in town with his Paris trio and that if you could show you were a working musician the other clubs would give you a good deal to get in. Well I had been a big fan of Peter Erskine since my young ECM loving days at the Sydney Con. when I loved to feel the melancholy while listening to Peter’s ECM trio with the minimalist piano of John Taylor and warm acoustic sound of bassist Palle Danielsson.
So I showed up to the ‘Duc Des Lombards’ (Duke Of Lombard) in les halles carrying my GK400RB amp head under my arm as my ‘ID’ and the nice lady at the door let me in for free!
The gig was great, not minimal at all, but with the all rack mounted guitar effects sound of Nguyen Le (think Mike Stern) and typically French bass approach of Michel Benita. A highlight though was when the power went out mid set and we all sat in darkness listening to Peter and Michel play two out acoustically, a breath of fresh air.
Apart from getting snobbed off by Peter when I tapped him on the shoulder to give him my regards, he was fantastic and it was really a great gig in a great Parisian club.

5. LOW FIDELITY—Sydney Opera House Concert Hall, supporting JoLo, 2008
I went to the Opera House recently to see the ScoLo gig, excited at the prospect of hearing Matt Penman play finally, after using him for his name several years earlier (see review 1). I had no idea who the support was or indeed if there was even a support act. As the stage side doors opened though, I could see the unmistakable silhouettes of multiple double basses and I was instantly intrigued.
Sure enough, a range of Sydney’s distinguished youngest to more experienced bassists emerged. They were Cameron Undy, Phil Stack, Abel Cross and Steve Elphick. This was the line-up for that night (I understand it’s a bit fluid) of Low Fidelity, a new acoustic bass project held together by Cameron Undy, and which has some conceptual roots with new Berliner Clayton Thomas as I understand.
They launched into what was really a long piece that constituted a short set, which I never mind with support acts, especially when they are this good. The guys played beautifully but didn’t take themselves at all too seriously; for me a vital ingredient of successful performance. The work ranged from free jazz to sound experiment to arranged be-bop like lines. All executed with technical authority coated with lashings of good humour.
What really amazed me was the difference in sounds between the bassists, both their instruments and their playing. It really was quite striking from my point of view. By way of example, we have all come to expect that Phil has a huge driving tone but what surprised me was the equitable power coming from Cameron. No one questions his authority on the instrument, but the brute force he applied to the strings was very impressive.
As a bassist, who has been working in a largely non-improvisatory context for the past few years, it was a wake up call as to the depth of great creative bassists we have, both young and not so young, in this scene. And I think that Craig Scott deserves a mention here as a hugely supportive foster father of most of the younger ones if not the older too.
If you hear on the grape vine that Low Fidelity is playing, go check it out!

1. Branford Marsalis Quartet, State Theatre, May 2002
The solution to the energy crisis! How can four guys create so much energy, play so many notes and still sound musical? I usually can’t stand a torrent of notes but Branford found all the right ones! Seriously though, there wasn’t a thing I didn’t like about this gig - great tunes (especially Tains) inspired playing and a sense of no tomorrow. Edge of your seat and wanting more when it ended.

2. Bobby Gebert Trio 60th Birthday gig, The Basement, 2004 (?)
Bobby was one of the first jazz pianists I ever heard live and he remains one of the most distinctive and a big influence. He is the real deal. I’d heard his trio at the Strawberry Hills Hotel many times and really loved it. However he really pulled something out of the bag on his birthday gig. His command of time, texture and harmony was simply miraculous. His original tunes sparkled and the standards he played sounded as if he wrote them. Wish I had a recording of this.

3. Dr. Lonnie Smith, Iridium Club, NYC, February 2006
I actually saw two gigs of Lonnie’s at the Iridium. The first night he played standards, the second he played his own deep funk stuff. On both nights I heard some of the most dynamic music ever. Of all the 1960s Blue Note Hammond crew, Lonnie is the only one still going strong and moving forward. Somehow, he manages to coax every tone colour out of the Hammond. He is also one of those rare artists that can have you transfixed by playing very little.

4. Stevie Ray Vaughn, Hordern Pavillion, 1984
I’ve always been drawn to the blues and found SRV’s “Couldn’t Stand The Weather” album so multi-layered. I wish I could burn like that on the keyboard! Seeing Stevie live at the height of his powers was a privilege and although it might sound trite, a spiritual experience for me. Some artists reveal both who they are effortlessly. I miss him.

5. Jimmy Smith Quartet, The Basement circa 1993
Despite Jimmy being jet-lagged and cranky, this was a special gig. It was the first time I’d heard the Hammond Organ live and I’ve been transfixed by the sound ever since. Watching Jimmy play the pedals and solo was simply amazing. Swinging blues-based jazz doesn’t get any better and the music was filled with humour - something sadly lacking from the scene these days.

1. LOUIS ARMSTRONG – Melbourne Stadium, 1953
I was 19 years old and Louis was my boyhood idol, so I went to all 11 of his concerts. My friends and I sat in the front row, smoking American cigarettes (you could smoke at venues at the time). It was an overwhelming experience.

2. BOB BARNARD – Stockholm, Sweden, 1995
I was staying in New York when I was asked to do a one-nighter in a big Stockholm concert hall. I’ve done a few one-nighters (Dubai, Bangkok), but this was a bit out of the ordinary. I think it coincided with the awarding of the Nobel Prizes.

3. LINCOLN CENTRE JAZZ ORCHESTRA with WYNTON MARSALIS – Tribute to Sidney Bechet, New York, 1997
I was unable to get to the concert, but Bob Wilbur (Bechet’s protégé) invited me to the rehearsal, where I met Wynton and got to hear these fantastic musicians.

4. BARNARD GENERATIONS BAND – Thredbo Jazz Festival, May 2007
This was a performance featuring three generations of my family (me, my sons, Tony and Adam, my niece Rebecca, and my grandsons, Beau and Casey Golden) and it went really well. They’re all really great players.

5. RONNIE SCOTT’S BIG BAND – Tribute to Duke Ellington, August 2008
This is an astoundingly good band, and I was lucky enough to play with it on a recent trip to London. My son Tony lives in London and is the guitarist in this band. He got me the gig.

1. CROWDED HOUSE – Hagley Park Christchurch 1993
A band at the peak of their powers; they had conquered the world and had come home to play a free concert in our park. I was glued to every note.

2. CAMERON UNDY & NICK MCBRIDE – Manifesto Wine Bar, Auckland 1997
This was a regular Sunday night gig and I happened to be in town when Cameron Undy and Nick McBride were playing. It was the first time I heard these guys and I knew then that I had to practice really hard so I could play with them one day.

3. MIKE NOCK TRIO - Various
Any Mike Nock trio gig. Mike is still the king of piano and blows me away every time. I would not be doing what I do today if I hadn't picked up Mike’s record ‘Ondas’ in a second hand shop back in 1996

4. HERBIE HANCOCK, Civic Theatre 2007
What can I say? This guy has been one of the hippest voices in music for more than five decades. To see him play live was awesome.

5. GERARD MASTERS TRIO, The Basement May 2008
I was so proud of the way my band played that night, the trio had turned into something really special, and I knew that night that we will be playing together for many years to come.

1. SUN RA – The Knitting Factory NYC 1992
This was one of those completely stunning gigs, the full significance of which is still dawning on me. Looking back, I now know I was present for the final moments in a unique chapter of musical history.
Sun Ra was very ill – I think he had had a number of strokes and he seemed unable to move very much at all – except for his hands. The gig was upstairs at the Knitting Factory in Greenwich Village and we had arrived pretty early, to make sure of a seat. When we entered the upstairs performance space, Sun Ra was already sitting at his keyboard.
By the time the rest of the band took the stage the house was full to overflowing! They played what I can only describe as free big band music – but even this description puts a straight jacket around what actually took place – the band played with so much freedom and energy.
It was obvious that even though Sun Ra was physically not in great shape, musically he was inspiring the musicians to reach great heights of creativity and commitment and the audience went completely nuts for the duration of the performance. At the end of the gig (and encore) there still was no satisfying the crowd’s enthusiasm. Sun Ra, after what seemed like a very long time, began to move in his chair, over several long minutes he struggled to his feet and fell, instantly, back into his chair. The audience went crazy…”Sun Ra, give it to him…he deserves it…” screamed a particularly enthusiastic audience member. I couldn’t have agreed more!

2. STEVE LACY WITH THE ENGINE ROOM – The Basement, Sydney 1999
This gig was very special for many reasons, not least of which, the unbelievable playing of Roger Frampton. Despite being gravely ill, Roger played at such a high level, and with such invention and virtuosity that Roger on stage by himself would have made for an unforgettable performance.
Add to this John Pochee and Steve Elphick at their creative best and you are starting to get the idea. Now, add to this mix arguably the greatest improvising soprano saxophonist the jazz world has known and you can see why I am not the first to include this gig in this High Five column.

3. JAN GARBEREK AND THE HILLIARD ENSEMBLE – Sydney Opera House, 8 Feb 2002
In terms of an all round concert experience this is one of the best live performances I have ever heard.
The sound of these five musicians in the Concert Hall was simply stunning. The intonation was so good it was frightening and the amplification was so subtle that unless I had heard the effect of it myself, I would not have believed this kind of live sound was possible.
I had high expectations for this gig as I am a fan of Jan Garbarek’s and I was also familiar with the recordings he had done with the Hilliard Ensemble.
The simplicity of the concept and the purity of the sound were breathtaking and the effect was only heightened by the vast space of the Opera House Concert Hall.

4. BENNIE WALLACE Tribute to Coleman Hawkins – Chicago Jazz Festival 2004
This gig was a completely unexpected bonus at the end of what had already been an amazing day. I had just performed at the Chicago Jazz Festival with Ten Part Invention and it was only after this I discovered that Bennie Wallace would be performing on the same stage later in the evening.
I first heard Bennie Wallace when Colin Hoorweg (the drum lecturer at the Canberra School of Music) played me a track from a Bennie recording with Dave Holland and Elvin Jones (Big Jim’s Tango on the Enja label – if you want to track it down). I was instantly taken by how distinctive he sounded. He had such an original approach to his lines. I still believe he is one of the most strikingly original tenor players around.
Hearing that first track (around 1989) was the beginning of an ongoing quest to get my hands on Bennie’s recordings. So, all those years later, to discover that I was actually performing on the same bill as Bennie Wallace was something of a coup. (Of course we also had backstage passes and could hang out in the green room too!)
Bennie’s gig was really something very special. Bennie played arrangements of tunes with a small big band that formed a tribute to Coleman Hawkins. It was a heavy line-up that included Ray Anderson on trombone and Herlin Riley on the drums. For me the completely mesmerizing highlight of the gig was when they played the traditional tune “Joshua Fought the Battle of Jericho” and Herlin Riley put down his drum sticks and played the deepest, jaw-dropping groove on the tambourine. Not a gig or a day I will forget in a hurry.

5. ORNETTE COLEMAN – Sydney Opera House, 24 Feb 2008
This was such a recent gig and one that many of you reading this may have been to. For me, Ornette is so special, his sound, his conception, his writing, his commitment to his art. I was actually a little nervous about going to this gig, not wanting to be disappointed by the possibility of hearing one of my idols not at the peak of his powers. When Ornette shuffled onto the stage I feared the worst…until he played his first note.
I know not all the seats in the concert hall at the Opera House provide the same sonic experience but from where I was sitting Ornette sounded like an angel. As good as all of my favorite Ornette records -only better!
There was something about seeing him play live that helped me to understand more about his music. I have found that since this gig I am hearing another level on his recordings too.
For me this concert was also a lesson in performance and concert craft, in the best senses of those words. He chose a wide selection of his music from across his whole career and his decision to finish the night with Lonely Woman was sublime.
Ornette played with a sense on joy and almost child-like enthusiasm for the music…an inspiration.
I should also add that I was lucky enough to meet Ornette after this concert; of course, this only added to the already overwhelming experience of hearing him play.

1. THE HANDS – Basement April 2008
Clayton and Lachlan Doley on Hammond and clavichord with bass and drums at the Basement. Clayton has a great edgy baritone voice with nice free and easy phrasing. His original songs are very strong and catchy. But above all the grooves are very funky and infectious.

2. DALE BARLOW – Woollahra Hotel 1995
Of all Dale’s recordings, my favourite is an album he did with Vince Jones- One Day Spent. I’ve listened and played along with it thousands of times since I first started doing gigs. I know every note that Dale played on that album. I’ve been enormously influenced by Dale’s playing and used to see him live at the Woollahra Hotel.

3. THE SUBTERRANEANS – James Ryan, James Hauptman, Steve Hunter and James Muller at the Empire Hotel, July 2008.
Playing great original compositions by James Ryan in a funky rock/jazz style, they are all fantastic players but as always James Muller stands out and seems to relish the chance to get dirty and funky.

4. TONY BENNETT WITH PIANO TRIO – Lyric Theatre 1998
Tony’s voice was better than ever and his warmth and joy as a performer really touched everyone. He even switched his mic off for one song singing without amplification.

5. JAMES MORRISON – Soup Plus 1984
James used to sneak me in as a kid. I was really affected by James’ amazing energy on stage and his connection with the audience. He has an incredible ability to capture the crowd and keep them to the very end.

Simon Tedeschi is quite often described by respected critics and musical peers as "one of the finest artists in the world" making the young pianist's mark on music both undeniable and admirable.
With a successful career already secured at age 26, Tedeschi first performed a Mozart Piano Concerto at age 9 in the Sydney Opera House. He has studied piano in Australia with Neta Maughan for 10 years (1990-2000) as well as in London Noretta Conci.
Tedeschi has a string of international prizes and scholarships under his belt. This includes winning the Open Age Concerto Series and 'Most Outstanding in all Youth Sections' in Italy in 1994 and taking out the top prize in the keyboard section of the Royal Overseas League Music Competition in London (2002), which is open to Commonwealth musicians under the age of 28.
While working with the Melbourne Symphony Orchestra Tedeschi went on to be named the Symphony Australia Young Performer of the Year and was a recipient of a $10,000 Queen's Trust Overseas Study Award.
More recently, Tedeschi was awarded a Centenary of Federation Medal by the Prime Minister of Australia and was the recipient of an award from the Phonographic Performance Company of Australia and the Australian Opera Auditions Committee. Currently based in the USA – courtesy of the American Australian Association, the Australian Elizabethan Theatre Trust and Professor Jack C Richards – last year Tedeschi was awarded the Young Jewish Pianist Award and was featured in 'New York's Emerging Artist' series held in New York's Museum of Jewish Heritage.
In 2000, Tedeschi signed a recording deal with Sony Music Australia under its Sony Classics label and his debut CD led to nominations for a MO Award for Classical Performer of the Year and an ARIA award for Classical Record of the Year.
The versatility and scope of Tedeschi's appeal is exemplified by having shared the stage with numerous acclaimed musicians, including jazz pianist Kevin Hunt, jazz violinist Ian Cooper and flautist Jane Rutter, and his ability to perform a wide-range of genres. Tedeschi is a one of the rare classical pianists with the ability to cross over into jazz improvisation.
Tedeschi has also recorded with the Melbourne Symphony Orchestra and the Sydney Symphony Orchestra including a performance in front of a crowd of 100,000 in 2001.
Highlights of his career include meeting and playing for Pavarotti, aged 13 years and working with Musica Viva Australia – including an extensive tour with guitarist Slava Grigoryan in 2001. That year saw Tedeschi play recitals and concertos in New York, Philadelphia, London, Edinburgh, and Wales as well as a five-concert tour of Mexico as part of the Cervantino Festival.
In 2003 Tedeschi performed Gershwin's Rhapsody in Blue at the New South Wales Premier's Australia Day Concert at Darling Harbour, Sydney. He also recorded Leroy Anderson's Piano Concerto with the Melbourne Symphony Orchestra. Tedeschi recorded Tchiakovsky's 1st Piano Concerto and Grieg's Piano Concerto with the Queensland Symphony Orchestra under the baton of Richard Bonynge, which was released in September 2005.
In 2005, Tedeschi performed recitals all over Australia and internationally acclaimed performances with award winning Jazz pianist Kevin Hunt and touring with renowned Brazilian Flautist Tadeu Coelho and Cellist Trish O'Brien. The same year he performed at a recital for the Australian Pavilion at the World EXPO in Nagoya, Japan and performed at the invitation of the Governor of NSW for their Royal Highnesses the Crown Prince and Princess of Denmark. Tedeschi was later invited back to Nagoya, Japan, to perform in EXPO Hall for International Marine Day.
Charitable performances and commitment to worthwhile causes have been most prominent in Tedeschi's career. Among these special performances includes playing for the Dalai Lama at a fundraising concert in London (2000), for the Karuna Foundation in support of Cambodian Orphans and at the Sydney Opera House gala concert for the Wayside Chapel. Tedeschi is the Roving Ambassador for The Australian Children's Music Foundation and the patron of the Bowraville Cultural Festival.
His profile has permeated to other art forms. Most notably as the subject in Cherry Hood's striking portrait of Tedeschi that won the 2002 Archibald Prize, one of Australia's oldest and most prestigious art awards, for her work entitled Simon Tedeschi Unplugged. He is also attached to the Oscar-winning movie 'Shine', playing the hands of acclaimed pianist David Helfgott.
In 2007, the piano virtuoso returned from the USA to Australia for a two piano recital with Roger Woodward, a tour of Queensland with flautist Jane Rutter, a tour of Australia with Jazz violinist Ian Cooper, and a stellar performance of Rhapsody in Blue with the Queensland Orchestra under the baton of Benjamin Northey.
Tedeschi also recorded the Mozart Piano Concerto K488 with the Tasmanian Symphony Orchestra under Alexander Briger. He performed in the Sydney Opera House in September 2007 as part of the APEC (Asia-Pacific Economic Co-operation) Cultural Event, in front of hundreds of world leaders and presidents including George W Bush, Vladimir Putin, Chinese President Hu Jintao and Japanese Premier Shinzo Abe.
In 2008, Tedeschi is embarking on a number of inspiring performances including performing in Utah, Massachusetts, Colorado, Illinois, Connecticut and Pennsylvania. He is returning to Sydney to perform at the City Recital Hall Angel Place in September 2008, and will be reuniting with Kevin Hunt at Sydney's premier jazz venue 'The Basement'. Other Australian performances scheduled for 2008 include Street Theatre in Canberra, the Brisbane Festival and at the Sydney Opera House for Kinderjazz! In a new recording venture, Tedeschi and Ian Cooper will also release a new CD recorded live in Newcastle.

1. RALPH SUTTON – Sydney Bowlers Club 1992
This was the first jazz gig I ever saw. This rather frail looking elderly man walked up on stage, appeared fairly nervous and then started playing. It took him a while to get into the groove, but when he did -unbelievable sense of timing and refinement. A palpable feeling of love spread throughout the room. The audience, who were mostly jazzers, was right behind him and not afraid to call out encouragingly and sometimes boisterously! It was worth ingesting all of that cigarette smoke to hear history ooze from this man's fingertips.

2. JUDY CARMICHAEL – NYC 2008.
I had known Judy as a friend, but had never been to one of her gigs. It quickly became clear that we were all dealing with the full package: a consummate entertainer and person, a respect for history and style, but also a feel all her own. Not hard to see why Count Basie mentored her. This gig was at a venue called 'Barge music,' a ship berthed on the Hudson River with panoramic views of Manhattan. The band that worked with her - a guitarist and horn player - had just the perfect knack of providing a harmonic basis and backing to a stride player.

3. TOM BAKER – Independent Theatre 2000 (or thereabouts).
Talk about being blown away by sound and melody. As a classical pianist, I knew a legato line when I heard one and this was sweeter and more sustained than anything I had ever heard. The audience felt that too, moving in tandem with Tom's instinctive for musical sentences and structure. Many classical pianists say that they try to imitate the sound of an opera singer to achieve a legato line… I try to imitate Tom Baker.

4. JAMES MERENDA - Boston 2007.
One of the most unusual and extroverted jazz gigs I've ever been to. This sax player, a very strong and controversial personality, created a group called the 'Mingus 5.' To call it 'jazz' however would be akin to calling Salvador Dali a painter. An aggressive, angry physicality and immediate intellectual presence overcame the room. One can see why he agitated some of America's jazz establishment with his outspoken views and ego-driven music. I personally loved every second of it.

5. KEVIN HUNT & MARIE WILSON – Woodfire Cabaret 2005.
OK, I know I love and work with Kevsy, but this is precisely the reason why. Kevin's accompanying of Marie epitomized grace and sensitivity, but not self deprecation. These two artists together form a magical bond, driven by a mutual admiration and respect. Marie's voice is like chocolate, or as Mozart said it: like oil (in relation to the illusion of one note merging into another into perpetuity, without breathing). This duo - playing Hoagie songs - is an indelible musical memory for me.

1. ANDY BEY – Wine Banc Sydney 2003
Andrew Dickeson drums - Carl Dewhurst guitar - Jonathan Zwartz bass
The soul in this man is remarkable. The first thing I remember was Andy’s presence as he took his place behind the piano. And at times, right before he began a new tune, you could hear a pin drop –he had the audience eating out of the palm of his hands. Something that stuck in my mind was the energy he created with really slow tempos – and his count ins! Andy’s voice, really his forte and something so unique, deeply purred through the tunes. It was a particularly intimate vibe at Wine Banc that night and I was sitting right behind Andy, watching his hands move across the piano. At one point he played a blues that he’d written, just him and the piano and it was so minimal and simple -this was a perfect example of having the ability to inspire the audience enough to fill in the musical gaps themselves.

2. EXPOSED BONE – Thredbo Jazz Festival May 08
Jeremy Borthwick trombone – Aaron Flower guitar – James Hauptman drums – Brendan Clarke bass.
Exposed Bone give me the horn! It’s been a while since I hollered like a Banshee at a gig and the combination of great harmonies, killer grooves and rhythms were irresistible. James Hauptman had such infectious energy at the drums and Jez Borthwicks tunes were just so full of life - I couldn’t sit still! On both the Friday and Saturday night’s over this weekend, I didn’t want to be anywhere else. KILLER!

3. JIMMY SOCTT – Iridium, New York City, 2003
Hilliard Greene Bass - Dwayne Broadnax Drums - Jon Regen Piano - T K Blue, Saxophone.
I didn’t know much about - ‘Little Jimmy’ Scott other than he was Billie Holiday’s favourite singer. I went to see him the night before I left New York and was feeling a bit of that happy sadness. Jimmy shuffled on stage and his small frame and unnaturally high, voice arrested me. With stretched-out vowels and melancholy intonations I found myself anticipating every move he made. His unique phrasing, central to his particular way of telling a story required just what the rhythm section gave him: space and elegance. The repertoire was pretty vast and aside from perfectly chosen jazz standards, Jimmy covered a bit of pop territory most notably with Princes ‘Nothing Compares 2U’ - which was done as a slow ballad and made all the more poignant because of it. Since that gig I’ve bought a couple of recordings and discovered just how gifted Jimmy is at reworking any tune and calling it his own.

4. MARK MURPHY – The Basement, Sydney 2004
Mike Nock, Felix Bloxam and Jonathan Zwartz.
I had been listening to various recordings of Mark’s for years - my favourite: ‘Kerouac – Then and Now’. To me, he is the quintessential storyteller. I was so excited to hear him for the first time, I could hardly contain myself. His voice had matured with caramel warmth and I wanted to jump inside those long deep cognac tones. I hung off his every phrase, movement, gesture and articulation. The range, the vocal punctuation, the acrobatics, the tone and then to top it all off he finished the gig with “Do Nothing Till You Hear from Me”, just him, singing and playing the piano. By then I was in tears. Mark swooped around the melodies and dazzled with his incredible way with a ballad. It was one of those moments that I just wanted to bottle.

5. DHAFER YOUSSEF – The Studio Sydney Opera House 2007
Jatinder Thakur and the Divine Shadows string quartet.
I had been a relatively new but completely devoted admirer of Dhafer’s and then I heard him live. This man can truly ‘sing’. His instrument like was like no other I’d heard – going from innocence, to daring to falsetto and back again. I had perpetual chills. And then he smiled! The energy he gave not only to the audience but to the rest of the musicians on stage was extraordinary. This incredibly spiritual and hypnotic performance was so full of passion, it was like nothing I’d ever witnessed. The sounds of Tunisia, India the Mediterranean were a very heady mix and I was transported, in time, place and spirit. The accompanying string quartet, weaving their way around incredibly complex arrangements - Jatinder, sitting cross legged before the tablas – Dhafer’s oud playing and voice – all combining different genres, was a spellbinding musical marathon. I was so spent after the performance, I couldn’t speak.

1.DALE BARLOW – Brisbane Travelodge 1990
I was a 2nd year conservatorium student and had heard about Dale for a number of years but had never seen him play. He had just recently returned to Australia from being in N.Y. all those years. So he was on fire. I was heavily into bebop/hardbop, playing changes and great technique, so it was everything I was looking for. I was 18 at the time and he blew my mind. For some reason Bud Powell’s Webb City sticks in my mind.

2. WYNTON MARSALIS/MARCUS ROBERTS – Lincoln Centre NYC 1993
The first time I saw Wynton was the same impact as Dale. To hear his sound and agility over the horn was strangely life changing, at the time. Later that week I bumped into Wynton walking along Broadway (like you do).We got to talking and he invited me up to his apartment for a lesson. Well I let a week go by and then I lost the vibe to actually go at all.
Then I attended a ‘jazz talk’ with Roy Hargrove and Terrance Blanchard talking about composition etc. Halfway through the talk Wynton walked in. I thought I should try and speak with him and tee up the lesson. Just as I decided to do this he left the room and went into a lift with 4 other guys. So I followed him into the lift and he’s just staring at me not saying anything and I’m feeling like an idiot because the lift is going up, to God knows where and he obviously can’t remember me. Finally, he say’s ‘Does your name start with B?’ I said “yes it’s Blaine” he said “yeah I thought you were going to come see me”. He wasn’t happy.” How’s tomorrow” I bleated. “3 o’clock. Don’t be late!” They all got off at the next floor.

3. DAVE LIEBMAN, MICHAEL BRECKER AND JOE LOVANO – Birdland NYC 2005
Three tenors and rhythm section; I was hanging with Brendan Clarke. It was sold out. We saw the 1st set standing at the back of the room. Peering between other people’s heads and shoulders. It was a drag.
Three of greatest tenor players on the planet and I can’t see them. I could hear them which was great, but I wanted to see how they executed what they were playing and the communication; all those things that happen on the band stand etc. Well, I can’t remember how it happened but we saw the 2nd set from the front table. It was like a miracle. It was not long after this gig that Michael stopped performing for ever. I was startled at how much weight he had lost. I had seen him play in Hong Kong twelve months earlier. No one knew this would be one of his last shows. It was a night I’ll never forget. Each soloist was driven to new heights of expression due to the amazing solo they had to follow. Yet it never got competitive. They just had so much to say and plenty of time to say it. At times it was very intense. All three would be soloing at the same time and throwing everything in – harmonics, multiphonics, sheets of sound, atonal and bebop. They did everything do-able on the saxophone. No stone unturned.

4. ROY HARGROVE QUINTET – Hong Kong 2007
I’ve always been a fan of Roy and his music. He came through Hong Kong and was doing selections from the current album “Nothing Serious”. Hip tunes, hip harmonies and arrangements. Nice ensemble writing. Lots of colours. All the things I love.
The night before this concert I was playing at a club called Bohemia Lounge. I knew these cats were in town. But you could have knocked me down with a feather when they rocked up to my gig with their horns. Roy and Justin Robinson (alto) sat in and we jammed till 3am.It was a great session. Roy was calling all the tunes, mainly bebop standards like ‘Stablemates’,’Round midnight’ I was high for days after.

5. NILS LANDGREN FUNK UNIT – Hong Kong 2005
Ok so this is some Euro funk now. I had played with Nils the year before when he came through Hong Kong. This time he brought the whole band. He had Karl Martin Almquist on tenor and Rigmor Gustafson on vocals. Rigmor would have to be my favourite vocalist right now. Music doesn’t have to be like a religious experience for it to linger in your mind. Although it does help. This was not a religious experience but I’ll always remember it. Simply put - great solos, great arrangements and fresh sounds. Just an awesome vibe.

1. ROOT 70/NILS WOGRAM – Wangaratta Festival of Jazz / Sound Lounge Sydney Nov 2007
There was a whole arc to these gigs for me. I had been into Root70 for a while, and spent some time studying their music in 2007, looking forward to seeing them live. I wasn’t prepared for how absolutely engaged and thrilled I would be, and just how astounding these guys were as instrumentalists. Even better, in Sydney I managed to complete the experience by chatting with the group about their music and their processes in performing together. It was an uplifting and hugely beneficial experience.

2. TONY MALABY/MARK HELIAS – Wangaratta Festival of Jazz - 2000
I had no idea who Tony Malaby was at this time, and knew very little about Mark Helias, and to be honest, I don’t remember a lot about what music they played together, only that it was an incredibly powerful experience for me, exhilarating and emotionally very moving. Everything they played seemed to mean something particular and important. I spent most of the gig with either goose-bumps or tears or both.

3. STIAN CHRISTENSEN/FARMERS MARKET – Bimhuis, Amsterdam, 2005
There was a certain theatre element to this gig. Impressive musicality; weaving and dodging through sudden shifts between genres, tempos and meters, as shifting the focus between Christensen on half a dozen different instruments, the fill-in bass player with a permanent grin, who looked like he’d just come from a Metallica audition, the older Bulgarian sax player decidedly unperturbed, and the clownish rhythm guitarist.

4. WORLD ACCORDING TO JAMES – Australia 1999 to present
I’ve seen too many performances to really distinguish them, but I’ve always been so inspired by the clarity and power in their music. James Greening is among the finest of the many amazing musicians Australia has produced and is still producing, and Andrew Robson, Toby Hall and Steve Elphick together with James always blow me away and fill me with such an irrepressible energy and enthusiasm for art and music.

5. HANK JONES/JOE LOVANO – Bimhuis, Amsterdam 2006
I love Joe Lovano’s playing but for me this was all about Hank Jones. I ran to the bar and back in the first break so I could snake myself a seat over on the left side of the room closer to Hank. I thought he had such a beautiful energy in his body and his hands, a really easy, on the money, virtuosic touch without ever being aggressive. I felt satisfied and at the same time hungry for more with every phrase he played; whether it be solo or accompanying Joe Lovano, who for his part played with a beauty and delicacy belying his giant frame.

1. JOE LOVANO, BILL FRISELL, PAUL MOTIAN - Village Vanguard, NY, 2002
This trio was just outstanding. Watching the way these players worked together, it seemed to be so much about listening, creating the space and time for the music; and to get to see them at the Vanguard - fantastic. One thing that really sticks in my mind about this gig is the way they created and used the space of the trio, stretching, pulling back, and letting the music dictate terms.

2. DAVE HOLLAND QUINTET - Sydney Opera House 2007
I've been listening to Dave Holland for a long time now, and seeing the band play was fantastic. This was a great gig on so many levels; the way the band worked together, the compositions, the solos, everything was just so on the money. It's always inspiring to see just how good it can get.

3. HENRY THREADGILL, TED DANIEL, BOB STEWART, NEUMAN E. BAKER - Music Omi, NY, 2002
This was a performance during my stay at Music Omi in New York, a two week residency. Henry and the other musicians came up and stayed overnight, so it was not only the gig, but the chance to hang with these great musicians that makes this so memorable. The gig was a completely free set, and the way it unfolded from the first note was a beautiful thing to hear and see.

4. PAUL CUTLAN COLTRANE PROJECT - Sound Lounge, Sydney, 2006.
Paul Cutlan, Andrew Robson, Alister Spence, Lloyd Swanton, Toby Hall. I'm a huge fan of Coltrane's music, especially the later works. There is such an intensity and direction, and this gig had all that in such a strong way. This music takes real commitment to perform in the right spirit, and the band just took off and nailed it. Rather than one particular moment, and there were many, my lasting impression is of everyone in the band hitting it, and running with it all the way.

5. DAVE DOUGLAS -Wangaratta Jazz Festival, 2002
I really enjoy Douglas' compositions as well as his playing. Technically, he was all over the trumpet, and the rhythm section especially seemed to move through a huge range of textures and rhythmic structures. This gig really opened my ears to the possibilities of the quintet.

1. JAMIE CULLUM – The Palais, Melbourne 2005
Jamie is such a phenomenal performer/entertainer, songwriter, pianist, arranger, interpreter, vocalist and overall instrumentalist with an energy that is second to none. He is unique, engaging, and a non-conformist to jazz or pop stereotypes. At The Palais he took his performance to a new level with the song Photograph and then again held the audience in the palm of his hand when he came down into the audience to sing Nature Boy with double bass accompaniment.

2. SUMI JO – Hamer Hall, Melbourne 2003
The Korean soprano Sumo Jo has the most mind-blowingly flexible voice that I’ve ever heard. It is un-human to sing the way she does. Her voice is a light coloratura that is pretty but still has depth. She only performed with David McSkimming on piano, and was so engaging and awe-inspiring, she effortlessly captured her audience. The French repertoire is her strength due to her extensive study in Paris, where in Hamer Hall it sounded so divine that it sparked my interest in the French repertoire for classical voice. My personal favourite by Sumi Jo (which every time I listen gives me shivers down my spine) was Depuis le jour où je me suis donnée from the opera Louise by Gustave Charpentier.

3. FHGR – Bennett’s Lane Melbourne 2006
This group usually has four of my favourite musicians performing. Farrugia, Howard, Grigoryan and Robertson, but this night, they also featured Ben Edgar on guitar, who supported the group perfectly with his jazz/pop style of playing. It was a very intimate setting with a handful of people in the room, but the atmosphere was electric from the virtuosic, yet beautiful playing from all the members. Luke Howard the pianist/keyboardist, in particular seemed to take exciting risks with ambitious enthusiasm, while at other times, he played sparingly and so delicately you dare not breathe. My favourite aspects about this group of musicians is their sensibility towards jazz in making it accessible, while still retaining beautiful control over the improvised arrangements with incredible lyricism, much like that of Pat Metheny.

4. GEORGE BENSON & AL JARREAU – The Palais, Melbourne 2007
These two iconic jazz/pop artists are some of the most major influences behind my latest album Allure. Their melodic writing and technical mastery are inspirational to the way I re-arrange old French repertoire, and seeing this live combined with their impressive stage craft just commanded my attention. They performed old classics like Affirmation to the re-worked 1976 hit Breezin’, with added Al Jarreau lyrics. Although I would have loved to witness some of the Absolute Benson album as well as Al Jarreau’s All I Got, I was continually impressed by the live arrangements from the Givin’ It Up album, which featured Benson and Jarreau together. One of the highlights was Benson under the spotlight performing a 10-minute guitar/vocal scat solo with a great front of house sound, reaching the depths of the theatre. The intensity and excitement of the night led to a standing ovation.

5. THE POLICE – Melbourne Cricket Ground 2008
What can I say about Sting and The Police? My common phrase: ‘Sting is the man’ is not used lightly. After reading his autobiography, Broken Music and re-working many of his tunes into my own style, I only ever return to the opinion of respect, admiration and appreciation for Gordon Sumner (a.k.a Sting) who really is ‘The Man’. I have studied countless Police recordings and concerts on DVD. Everything he touches is magic… therefore (even though I’m actually still impatiently waiting to see him live), I can only assume, that this will be one of my ‘Top 5’ all-time favourite gigs.

1. LOUIS HAYES QUINTET - Iridium Jazz Club NYC 2003
Vincent Herring – alto, Jeremy Pelt – trumpet, Rick Germanson – Piano, Vincente Archer – Bass and Louis Hayes – drums. Ever since I started listening to Cannonball Adderley records, Louis Hayes has been one of my favourite drummers. I think he epitomises the 1960's “Blue Note” sound so to see his Cannonball Tribute Quintet was a real thrill. The band was so swingin' it was ridiculous and Louis was playing with the energy and fire of a much younger man but of course with the maturity and completeness of a man in his seventies. Vincent Herring has long been a favourite of mine too and he was particularly inspired that night.

2. KENNY KIRKLAND TRIO - Wangarratta Jazz Festival circa 1999
Kenny Kirkland has been my favourite piano player ever since I first became interested in jazz which was around 1992. I don't think there has been a more swinging piano player in the last 20 years and his death a few years back came as a huge shock to me and I'm sure to the whole jazz world. This gig at Wang was the only time I ever saw him play and I remember he just got such a 'big' sound out of the piano. He was a genius who left this world far too early.

3. JOE ZAWINUL’S RHYTHM SYNDICATE - Continental Cafe circa 2001
This gig was a really special experience for me to see such a master musician leading an incredible band including Victor Bailey on bass. The level of groove that these guys created was truly amazing and by the end of the gig almost everyone was dancing! Possibly the most beautiful thing I've ever heard live was Victor Bailey singing and accompanying himself on 'Continuum', dedicated to Jaco Pastorius.

4. RICHARD SUSSMAN QUINTET feat TOM HARRELL - Sweet Rhythm NYC 2003
Tom Harrell – trumpet, Jerry Bergonzi - tenor, Richard Sussman - Piano, Mike Richmond - Bass, Jeff Williams – Drums.
In 1978 Richard Sussman released an album entitled “Free Fall” which has since become a bit of an underground classic. I was lucky enough in 2003 to see this exact quintet re-assembled playing some material from that album and newer compositions by the much underrated Richard Sussman. Tom Harrell has for a long time been one of my biggest inspirations both as a player and composer and it was a real treat to see his genius at work that night along with Jerry Bergonzi who was equally as brilliant.

5. MIKE NOCK QUINTET - Bennett's Lane circa 2001
I feel very honoured to share the same birthday as Mike Nock as he has been a big influence on my music. This particular gig included Phil Slater on trumpet and I think it was Dave Goodwin on drums. Mike's writing is so logical and yet so fascinating and he really has developed his own sound world over the many years he's been involved in jazz. Hopefully I'll get the chance to see him again soon.

1. SCOTT TINKLER BAND – Excelsior Hotel Surry Hills 2006
There is nothing halfway about Scott Tinkler's trumpet playing, which is what I love most about it. He always takes enormous risks and charges forward blazing. He reminded me that night a bit of a contemporary Freddie Hubbard. I was riveted by every note. I think Carl Dewhurst was on guitar and Simon Barker on drums, so it was an amazing band altogether.

2. RYAN ADAMS – Enmore Theatre, September 2007
I learnt so much from being at this concert. He went on 45 minutes late, blaming his 'f*n manager' which was a confronting start. It got me off edge. He didn't seem to be very happy but his singing was very special, as were the songs and the musicians. I was not familiar with his music prior, but I think he is unforgettably talented.

3. BILL RISBY TRIO – Bithri Inlet, June 2007
Few people know what a unique and innovative artist Bill is because he wears so many musical hats. I saw his trio with Hamish Stuart and Gary Holgate performing the first half of a concert at Bermagui and was mesmerised by their magic rapport. It was a summer afternoon with the venue right on the water. They played as one, taking the whole audience on an unpredictable musical journey with them complete with cliff hangers but never losing sight of beauty or space. I had to shake myself a bit to come back down.

4. DON RADER – Adelaide Festival Theatre, 1994
I was in the backing band for Don Rader who had recently moved to Australia from America and was the feature guest artist. I was completely knocked out by everything he played. He sounded like no trumpet player I had heard - in a way, a mix between Los Angeles - from the excitement/showmanship angle with all the technique of the top session player he is - and New York - dark twisted contrary harmonic turns and 'blue' sound. Meeting him for me was an inspiration, and in fact that concert helped my trumpet playing ex-husband and I make the decision to move to Sydney.

5. MACEO PARKER – Monterey Jazz Festival, America 1995
This was an outdoor concert with around five thousand people watching. I am not very familiar with that genre of music but he took total command of the stage from the first second and blew the entire audience away with a rhythm section that grooved harder than I thought was possible. I have never seen a performer command a stage like that, with music, energy and body language - no talking. The energy never sagged for a second. At the end of his 45 minute set, I felt like I'd been to another planet and back.

1. SVIATOSLAV RICHTER – Theatre de Chatelet, Paris, 1992
I was very excited as I made my way to the theatre on a cold night: at long last I was going to hear my favourite legendary concert pianist whose recordings of Bach, Schubert, Brahms, and all the Russian composers had given me so much. He walked on stage, blinked and bowed, and then settled somewhat awkwardly at the piano with a small desk lamp to light the music. He often used the music and he said that it kept him true to the score. His approach was a contrast to many other concert pianists. He began to play. For the first five minutes, I kept saying to myself: “this is Richter, at last I’m hearing him, how great he is!”, but then as the music and his completely self-effacing, non-histrionic approach to performance took over, I started thinking about the composer (Beethoven) and how great he was. Finally all these thoughts just went away and I just got swept up in the music and its ideas, colours and directions, no longer thinking about who or what it was. When the concert finished, I was surprised by the loud applause having forgotten my surroundings, and I walked home as if still in a dream, with the music reverberating for weeks.

2. JOE HENDERSON QUARTET – Fat Tuesday, New York, April 1990
The club was packed, hot and stuffy, and there was a real air of anticipation. The band walked on and I remember noticing how small Al Foster was and that he was wearing leather pants! Joe counted off and away they went - they burned from the very first note to the last, there was this amazing furious energy they put out. All the band members played with a terrible intensity, as if their lives depended on every note and nothing else mattered. They played from their guts but with a great concentration at the same time. The audience members were either sitting with their eyes shut, simply gob-smacked, or sort of moaning and groaning along in ecstasy. I was blown away and felt as if I had been purged by their fire! What a great way to discover the New York way of playing jazz!

3. PAUL BLEY/GARY PEACOCK DUO – New Morning, Paris 1992
The New Morning is a really good room in Paris, holds about four hundred people and is a mix between concert room and club, with a long bar down one wall. All the great jazz musos have played here although in recent years it is programming more rap and reggae, and less jazz. These two musicians have known each other for years, and their mutual trust and confidence came through as they simply improvised all night. Paul would throw out ideas, Gary would respond, or play against them, and every idea seemed to work and fuel further ideas. Paul Bley didn’t seem very virtuosic in the commonly understood way, but had so many rhythmic and melodic ideas, that all seemed fresh and effortless. It was all there in the music: humour, light, darkness – they conveyed many different emotions that night. They didn’t speak to the audience until the end, and seemed to really enjoy the moment of the concert, like two good friends catching up over dinner.

4. THE BENDERS – Jenny’s Wine Bar, Chippendale, Sydney, about 1984, With Dale Barlow, Chris Abrahams, Lloyd Swanton, Tony Buck.
I was still pretty new to jazz when I discovered this band, and until then had only heard live jazz in Sydney at Soup Plus, the Basement, or Hyde Park, so this tiny venue with these young guys not a lot older than me, playing exciting fast modern Australian jazz really opened my eyes and ears. Dale was the young lion tearing into his solos and no-one else played like him at the time. The band had a very young contemporary feel and you could hear that they had listened to and absorbed a wide range of music but had come up with their own sound and were bending some of the jazz rules of the time! They were a very welcome change to some of the 70s style bands around at that time.

5. KEITH JARRETT TRIO – Town Hall, New York 1990
Well, they put this concert out as a record, so you can check it out for yourself! What can I say that hasn’t already been said about this trio and even this concert? Once Keith had got over someone sneezing in the audience (it wasn’t me), they played a great concert of standards, getting into some really good grooves and vamps, listening intently, and playing as one. Incredible piano trio playing! (I also really liked Ahmad Jamal’s trio that I heard in Paris, but their music was a lot more prepared, and less spontaneous). “So that’s my top five live gigs, and they got in ahead of the likes of Miles Davis, Freddy Hubbard, Oscar Peterson, Cecil Taylor, Sonny Rollins, Herbie Hancock, Brad Mehldau, Charlie Hayden, Bill Frisell, Lester Bowie, Henry Threadgill, Jimmy Smith – well , you get the idea. I’ve been extremely lucky to have heard many great concerts. And the last really good one? – some young Norwegian guys in Stockholm two months ago ripping into their own pieces with vigour and enthusiasm!”

1. STEPHEN GRANT’S HOT NEW ORLEANS FIVE - Fountain Inn Port Melbourne many Fridays in 1991
Stephen Grant is one of my most important inspirations and one of the most incredible musicians I have ever heard. He had a residency at this little pub in Port Melbourne every Friday night, I used to go whenever I could as did a lot of other musicians at the time. It was an awesome swinging, burning band... hardcore New Orleans music... Stevie on cornet or trumpet, Karl Hird on clarinet, Allan Browne on kit, Andy Baylor on acoustic guitar and Howard Cairns on gut string bass. I'm still yet to hear anything much better than Steve's cornet playing in that band, he just had everything going on on the horn: unbelievable tone, range, the hardest swing time, and just a constant wellspring of melodic invention that at times used to just leave me feeling quite overwhelmed, sometimes it made me want to go home and just practice practice, practice, and sometimes give up... lucky the former won out. Steve doesn't really play so much jazz on the trumpet these days. I haven't heard him for years but he plays accordion in Julien Wilson's trio... he can play almost any instrument to quite an astonishing level.

2. DAVE DOUGLAS WITH NEW AND USED - Knitting Factory NYC 4th June 1996
This gig really totally blew me away, it was like nothing I'd ever heard, it was the first time I'd heard Dave Douglas and I still think this is one of his best line-ups: Mark Feldman on violin, Andy Laster reeds and Tom Rainey I think, can't remember who was on bass. What I really loved about this gig was the way the music moved from totally improvised free chaos/noise/energy to the most detailed and delicately rendered composed material. It's a hallmark of a lot of Douglas' output and it sounds quite familiar now but in 1996 I hadn't come across that approach before, it was my first time in New York, I had only been there a couple of days and then I wound up at the Knitting Factory listening to this stuff just thinking what the f**k!?

3. THE NECKS - Wangaratta Jazz Festival 2002 (I think)
The Necks are one of my favourite groups, I have heard heaps of their gigs but this one was a standout. The performance was in the little church that is one of the best venues at the Wangaratta Jazz Festival, the acoustics are just gorgeous and it was great hearing The Necks play without amplification. They are so amazing in that they have taken the piano trio and created something quite new with one of the most well worn formats in jazz/improvised music. This concert was hallucinatory (can you aurally hallucinate?) well anyway they managed to create the illusion of instruments that weren't there... sounds that developed out of the harmonics and partials created by the piano and the bass fundamentals and shimmer of Tony Buck's cymbals... at one point I was sure I could hear a cello weaving a counterpoint... It was one of those gigs where at the end people take a while to start to applaud because the music has taken them so deep that it's a moment or two before they emerge.

4. MILES DAVIS - Melbourne Concert Hall 1988
I'll never forget that concert, I was really young and totally obsessed with Miles, in fact Miles was just about all I was listening to at the time. I had tickets to the second of his two nights in Melbourne but me and a friend decided to see if we could get in to hear the first night as well. We went to the Concert Hall and got someone else to bring a couple of ticket stubs out to us. Once we got past the ushers and into the auditorium (which was completely full) we snuck down and sat on the floor in front of the front row. Soon after the lights went down and as Miles came onto the stage other people jumped from their seats and came up to the front of the stage, so we were able to stand up with them and stay there for the whole concert. It was a great night, the buzz of getting in and just of seeing Miles, but the music itself was incredible too... great band and he still had that sound... I'll never forget hearing him start a piece just with the trumpet alone and I was standing just a few meters away, it's always different actually hearing and seeing someone play as opposed to just listening to recordings/seeing footage.

5. ELLIOT CARTER BRASS QUINTET - Melbourne International Brass Festival 2003
This quintet was formed by the phenomenal young trumpeter, Tristram Williams, specifically to play Elliot Carter's Brass Quintet. I hadn't heard much of Carter's music before this concert apart from some of his string music, but his writing for brass is incredible. At the time I was trying to write my own music for the 5+2 Brass Ensemble and this piece just did my head in, his approach sounds like nothing else. It's 'hard' listening but it's also quite beautiful and, I thought, at times quite funny (humorous as distinct from comic). The ensemble put a great amount of time into rehearsing the work and they played the crap out of what must rank as one of the more challenging works in the repertoire. Tristram's command of his instrument and of the ensemble made a real impression on me too, he's got 'the sound'... he fills the room even when he's playing pianissimo and he's all over the horn. We've since become good friends and have spent a bit of time practicing together, I've learnt a lot from him.

1. LOUISE HAYES QUINTET FEATURING VINCENT HERRING AND JEREMY PELT - Ronnie Scott’s. London 2003.
This was the first time I had ever seen any of the New York “Bop School” players perform live. Their commitment and energy was mind blowing, even at the last set at 2am! The whole band just didn’t let up, including Hayes who was about 80. Jeremy Pelt was a revelation – an amazing tone and clarity of ideas, like a young Freddie Hubbard. This band later became the Cannonball Adderley Legacy Band.

2. MICHAEL BRECKER QUINDECTET/JOE LOVANO QUARTET WITH HANK JONES - The Barbican. London 2004.
I was lucky enough to catch this one. The Brecker band at the gig was a killer. With Clarence Penn on drums, probably my favourite drummer at the moment, Alex Sipiagin, a trumpeter from Russia; now living in New York, John Scofield, John Pattitucci, plus accordion, strings and woodwinds. A pretty amazing timbre. I remember being dazzled by the quindectet and all that virtuosity, and then Lovano’s band (Hank Jones, George Mraz, Dennis Mackrel) came on and completely changed the mood. Very laid back. Unfortunately Paul Motian couldn’t do the gig so Dennis Mackrel “sat in”.

3. DAVE DOUGLAS QUINTET - The Basement. Sydney 2002.
After “The Infinite” record Douglas brought the band to Sydney. Chris Potter couldn’t do it so Rick Margitza did the tour. This is one my favourite records. To see it brought to life was astounding, especially seeing Dave play. Watching this gig actually made me readjust my approach to live performance personally, especially the way I project myself physically on stage. The visual can be just as effective as the aural: used in combination...

4.MESSIAEN’S TURANGALILA SYMPHONY REHEARSAL - London Sinfonietta/David Robertson. Royal College of Music. London 2004.
Whilst working at the College, I had the chance to “sit in” on a few rehearsals; luckily this was one of them. Eighty minutes of gargantuan orchestral intensity. Not being an orchestral player, I didn’t play; it was a great experience being in the middle of such a dense sound. My first Ondes Martinot experience.

5. EVAN PARKER AND TONY MARSH - The Vortex. London 2003.
This gig completely blew my mind; literally. A completely improvised gig that was very, very, very intense. There was so much passion and intent. I was so physically and mentally exhausted from listening after one set that I had to leave. I remember thinking: “If that’s the only gig I see for the rest of my life, I’ll die happy.”

“After doing this, I realise there are no Aussie artists. I know this may be cheating, but there are so many great Oz shows as well… Showa 44, bo5n, Ten Part Invention, The World According to James, Alcohotlics, Scott Tinkler, Australian Art Orchestra, Matt Keegan Trio, James Muller”…

1. BOBBY McFERRIN - Montreux Jazz Festival, 2004
The first gig that comes to mind was at the time something I'd never seen or heard before. His rendition of Ave Maria was totally solo voice, singing the accompaniment, the broken 10th arpeggios for the whole song, and got the audience to sing the melody above - it was so moving.

2. HERBIE HANCOCK ‘GERSHWIN’S WORLD’ – Blue Note NYC 2000
Sitting in the front row, the tension was building up in a 'slow groove' arrangement of 'Ain't Necessarily So', and Herbie kept hinting at these burning lines, not double time, just a totally different new burning tempo - the band wouldn’t go with him but he kept jabbing at it - the musicians then hinted at going there for a split second - 2 notes - and then finally after steam was shooting out of everyone’s ears in suspense, it burst out into a burning version of 'Cotton Tail'... my eyes filled with tears...!

3. OSCAR PETERSON – Blue Note NYC 2002
Another memorable one was my time again in New York in 2002, where I went over to see Oscar Peterson at the Blue Note Jazz Club, for a week. On the last night they started off 'Satin Doll', which they played every night, and then after a few bars, a trumpet was heard from the audience, improvising, fast and in another key... The trio stopped - it was an old friend of Oscars, Clark Terry. There were gasps in the air and the room fell to silence as Clark, sitting at his table, kept the line of quavers going... After 20 seconds, the trio joined in and exploded into the number Clark had begun – ‘Mack the Knife’.... - 'featuring' Clark Terry!

4. ARTURO SANDOVAL
A really great concert that comes to mind was Arturo Sandoval and his band. I had never seen him before - amazing Cuban grooves, (a monstrous pianist with him too), and Arturo played amazing Cuban piano too, and he sang, and scatted just like his trumpet, and he played his horn like I’ve 'never' heard a trumpet before...It was funny, at the workshop he gave during the day, a young trumpet student asked the question as to whether his horn (the students) was decent or crappy, as he could never get a good sound out of it... Arturo took the horn and said 'listen!'... It’s not the horn, it’s you. How you make the sound all comes from down here, touching his stomach. He blew a super loud, long, high note out of his own horn and then swapped to the students horn, and blew the exact same note - both sounded identical! - The audience broke into hysterics!

5. GALAPAGOS DUCK – Wagga Wagga Jazz Festival
The last gig I'd like to share with you is exciting but a terrifying experience I had with Galapagos Duck at the Wagga Jazz Fest. We were inside the main concert hall, Rodney was out the front intro'ing a song, and I was noodling on the keyboard, giving him his opening chords. Suddenly a big black spider the size of a funnel-web (and probably was one!) dropped from the roof above and landed smack on middle C, right between my hands... Now let’s put the replay in slow motion.... The spider hits the keyboard, I look down and see it, I launched backwards like there were rockets on my shoes, screaming at the top of my voice... " FFFF %%%% #### @@@@ !!! ", Rodney turned around to see what happened, the spider as soon as it landed ran to the front of the keyboard and pounced on the floor, and with one dive Rodney leaped back and came down on the spider in one quick move ..... Turning his foot from side to side, making sure it was completely dead... I apologised to the audience for my obscenities...

1. KEITH JARRETT – Adelaide Festival Theatre, 1982
This concert was obviously a long time ago, but I remember it as being one of those special nights where at the end of it you feel totally musically satisfied. Keith improvised all night, and it felt like he played all the music you'd ever want to hear. Specifically, I remember being aware of the contrapuntal aspect of what he was doing, and thinking “there's all this fugal stuff going on!” There was also one part where he was doing a typical classical V - I cadence (I remember it as “Beethovenesque”), which he kept repeating because he felt unable to decide when it should finally come to rest. What was particularly memorable about this was that it seemed like the audience was right with him in this process, and able to relate to the quandary of where to finish. He played five encores, and the last one was the only pre-composed piece of the night, a beautiful rendering of “My Song” that I remember sounded like a whole band.

2. KENNY GARRETT QUARTET – Iridium, New York 2003
I remember this gig primarily for the energy, particularly from Kenny himself and the drummer, Ronald Brunner (the other members were Vernell Brown on piano and Kristopher Funn on bass). They were mainly playing music from the album “The Standard of Language”, and although there were some quiet moments, it was by and large the intense, burning modal style at which Garrett excels. I loved the tunes, which were contemporary, but accessible and not overly complex. His solos were generally long, but he seemed to have so many ideas that I never got bored. As you can imagine it was very exciting and Brunner's drumming, which was a large part of this, was so loud I had to stuff bits of paper napkin in my ears.

3. PAUL GRABOWSKY DUO WITH MARK ISAACS at the Basement (somewhere around 1999/2000)
The first time I really heard Paul was with his trio with Gary Costello and Alan Browne, and what particularly impressed me was his sound on the instrument. He played a cadenza on “My Heart Stood Still”, and his touch and level of tone production were as if he'd practiced it like a classical piece, but of course he was improvising. I've since heard him many times, and it's hard to pick a stand out because his playing is always at such a high level, but I've decided on a duo concert with Mark Isaacs.
It was a two piano gig, and the two of them just improvised freely, occasionally drifting into the odd standard. They played really well together, as they obviously had a deep knowledge of the contemporary jazz piano language, had had much experience with classical music, are both prolific composers, and also have perfect pitch. What I particularly liked was that the situation seemed to allow Grabowsky to escape from the confines of song structures (his own tunes, which he tends to play more than anything else, are usually very complex harmonically) and to play in an earthier, and perhaps less intellectual way. The moment I remember most was where he reached a climax whilst playing some kind of chordal figure, and became extremely passionate, almost primitively so. At the end of it all, I felt that Paul was very much aware of the “process” of improvisation, and the idea of “being in the moment”.

4. WOMEN AND CHILDREN FIRST – Walkers Arms Hotel, Adelaide, 1984
As a jazz musician in Adelaide during the early 80's, any visit by a Sydney band was a major event, and I enjoyed many such occasions. One that stands out was a concert by Sandy Evans' band, Women and Children First. Apart from the music, part of the initial impact of the group was visual, as I remember drummer Tony Buck was wearing a bright orange jump suit, and I think both him and bassist Steve Elphick were also wearing make up. It was of course though, the music that made the evening memorable for me, and this was in no small part due to the presence of the brilliant keyboard player Indra Lesmana. He was about 18 at the time, but sounded like a seasoned veteran and seemed to have the whole contemporary jazz piano thing covered, as well as the synthesizer. They started with a powerful modal piece which I recall was based on a poem of Thomas Tallis', and from then on I just remember being in the thrall of the excitement of it all, and unable to stop dancing in my seat.

5. ROGER WOODWARD – Joan Sutherland Performing Arts Centre, Penrith, early 2000's
The thing that impressed me most about this concert was that apart from Woodward's flawless playing, he played a huge variety of styles, all from memory. The repertoire as far as I can remember was Beethoven's “Appassionata” sonata, a Mozart sonata, J.S. Bach's suite in G major from the French suites, and the Chromatic Fantasy in D minor, some Debussy pieces, and then a number of encores which included Scriabin and I think some Poulenc.

1. WAYNE SHORTER QUARTET - Melbourne 2005
The ensemble, consisting of Wayne, John Pattituci, Brian Blade, and guest Jason Moran, played for 2 nights at Melbourne's Jazz Festival. The Friday night set was incredible - I could hardly speak or sleep afterward. I walked around Melbourne in a daze on the Saturday trying to decide what to do with what I'd heard. I knew there was another concert on the Saturday night but I didn't have a ticket, had plans to see an old friend, and I thought it would be both sold out and pretty unlikely that the experience of Friday night could be repeated. In the end I decided to risk it, and I cancelled my plans with my friend and bought a ticket for the Saturday concert as well. The Saturday night set was just as incredible as the Friday night. In fact it was as if no time at all had passed between the last tune on Friday and the first tune on Saturday. It was that continuous - that fluid. The mojo from the previous night was still in the room. I was once again entranced.
Everything that was played was so fresh - the guys were completely open, following each other where ever each of them went. The music was a mix of improvised pieces and Wayne's compositions, and sounded just like you were overhearing some dear friends in a private conversation. A discussion that journeyed along a variety of serious and deep topics, coloured by strong opinions, outrageous humour, a great deal of familiarity and a long standing mutual respect.

2. DANIEL LANOIS - Sydney 2006
My wife Lea is responsible for me hearing about this incredible musician.
He is a producer of some note, known as the "5th member of U2" and is responsible for much of the great music that U2 produces. He is also good friends with Brian Blade, and uses his rhythmic love on his albums. When I saw that he was coming to the Basement I booked us a couple of tickets. I listened to his albums for the month or so before the gig so that I would be familiar with his music.
The concert was spellbinding. It is not often that I can listen to an entire show and not be distracted for its duration, but this was the case with this one. Daniel was in the zone from the get go. His guitar playing was unbelievable, he had such a direct connection to his instrument, and everything just flowed. The band was also fantastic - some of Detroit's finest. There were deep grooves, a beautifully balanced sound, gorgeous 3part harmonies, and wonderful songs. The music was straight ahead rock - done to perfection at a surprisingly low volume.
The most amazing moment for me was on the last tune. Daniel said that the band would "raise the roof" for the encore. What I expected was the volume of the band to increase. What I got was a slow burn of a groove that simmered and built for about 10 minutes with a climax that was so intense I almost went insane.
It made me want to go and buy an electric guitar.

3. MALABY / RAINEY / SANCHEZ - Phoenix 2004
My wife and I had spent a month in New York and I had followed Tony Malaby around like stink on a monkey. When I said farewell to Tony and his wife Angelica they asked me where I was headed. I told them I was going to Phoenix for a week to do a course on natural childbirth. They said they would be performing in Phoenix (their home town) the following week at a great venue called "Modified Arts".
As luck would have it, they were playing on the Sunday night - my last night in the US, and my only night off from the course.
The venue was beautiful, lit by candles, very relaxed, completely quiet, and full to the brim with an audience of fans for these "locals" visiting from the "big apple". The music was all completely improvised - with Tony on saxophones, his wife Angelica on keys, and Tom Rainey on drums and all manner of percussion instruments. The three of them had been playing together a very long time and the interplay between them was intimate and very natural. It was a beautiful night of unique and spontaneous music and a great way to finish my time overseas.

4. MICHAEL BRECKER QUINTET - New York 2004
When I first got to New York on this trip I sold some mouthpieces at Roberto's. So I was really cashed up and ready to hear lots of great music. I dragged the bassist Mark Lau along with me to as many gigs as he could afford and we heard some amazing groups. We had bumped into the drummer Craig Simon on the subway and he told us that Jeff "Tain" Watts was playing the following night with Michael Brecker at Birdland. We decided to all meet there.
We arrived pretty early the following night and when I spoke to the doorman (remembering what I'd learnt from the book "How to win friends and influence people") I said, "I'm from Sydney, Australia, and I've travelled all this way to hear Michael Brecker in the greatest jazz club in the world." and he said "Well let's get you guys to a good seat then." He proceeded to take us to the front centre table. Craig decided to sit where all drummers sit when they go to gigs. (At the side of the stage, just behind the drum stool.)
The band came on stage to thunderous applause and before it had died down Brecker and Tain played two out for about 5 minutes before heading into the first tune. The band was amazing, Mike, Tain, Joey Calderazzo, Adam Rogers, and Chris Minh Doky, and they played some new tunes as well as some old favourites. It was life changing to be in front of Brecker's horn and to hear his creations catapult out of it. He energy was limitless, and his execution was astounding on both ballads and burners.
I spent some time talking to him and gave him a copy of my OXIMETRIC album during the break. He was complete master of the horn and a very friendly guy.

5. BARNEY WAKEFORD TRIO - Sydney 2000
Barney is good friend of mine and is a very unique musician. We play improvised music together each Thursday night at an event of our own creation in Glebe called FREE FOR ALL.
This set of music was a one off gig at the "Side-On Cafe". The group was Barney on piano, Mark Lau on double bass, and Felix Bloxham on drums, and they played all of Barneys original music.
Barney had spent the week before the gig in a friend's car with a video camera and had recorded some city driving scenes. These were shown on 2 television sets on stage while the music was played and created a beautiful backdrop for the sounds that were created. The tunes were all segued together and assisted in taking you on a beautiful hour-long sonic and visual journey. The band flowed from piece to piece with great subtlety and care, showcasing Barneys beautifully endearing melodies.
This concert was a rare treat from a very underrated Sydney player.

1. CREAM REUNION CONCERT - The Royal Albert Hall 2005
It was awe-inspiring to see Cream live. The band walked out to an incredible roaring standing ovation and each song was greeted with a standing ovation. At one particular time after the crowd had sat down after a song, mid-concert, for no particular reason, people started to clap again and then for a whole minute people were yelling and screaming, I suspect merely out of sheer delight at being at this momentous event. The band just had to stand there and take the applause, and couldn't start until the tumult died down.
During “Toad", as Ginger began his drum solo, Jack and Eric wandered over to the side of the stage where they sat down on two chairs. They looked like the odd couple on a park bench – quite cute – would never have been done in the 60s … they just sat and listened to Ginger's solo and had a little chat.
The band played for two hours, and in general the songs were shorter and slower than the versions we know and love. Eric was in top form, though playing through Fender guitars and amps rather than the classic Gibson Marshall combo.

2. THE ALLMAN BROTHERS – Alabama 2005
I've never heard a better band – everything was fabulous. Great mix, great playing, great songs. I think this is the best band I've ever seen. The audience was very in tune with the band, solos and dynamics. A great vibe – very party atmosphere. We had a chat to the sound guy after the gig and got backstage and talked to Derek Trucks, the young genius slide guitar player.

3. BUDDY GUY, JUNIOR WELLS, FREDDIE KING, HOUND DOG TAYLOR, ARTHUR (BIG BOY) CRUDUP, THE FOREDAY RIDERS
Buddy and Junior Wells were great, pretty straight, but great....Freddie King was pretty full on...kinda Stadium blues. Arthur Crudup was a bit overwhelmed by the occasion I thought, the Buddy Guy band backed him...Arthur would add + cut + paste bars here and there, the band just kept up with him...they didn't seem to enjoy it that much I felt. But the hit of the concert was Hound Dog Taylor. Out came this skinny, big toothed old guy (about my age now...!)...with a lousy looking guitar, and sat down on a seat and we're all saying.."What the hell's this...?"...anyway, he said..."let's rock" and he did. Two guitars and a small drum kit, everyone loved him from the get-go. I've rarely seen an artist grab an audience so quickly and fully, he was wonderful.

4. JACKIE ORSZACZKY & BLAND FRENZY, being in a band with him...!!!
My penultimate is the time I was in a band called Bland Frenzy with Jackie. It was a great band with all original material. some pretty wild stuff let me tell you, kinda Frank Zappa – ish, but I learned heaps from Jackie. We didn't talk that much about music really, but I absorbed it through osmosis I guess. He's probably the most "complete" musician I've ever played with. It was a privilege.

5. ANY MISSIPPI SHAKEDOWN GIGS
Self indulgent yes! Well, we love playing gigs....and we're thrilled that we don't get kicked out of gigs and that people actually love our little combo that is Mississippi Shakedown so get on our email list and we'll let you know where the next Mississippi Gig is... jeff@asharp.com.au

1. ELVIN JONES - Shinjuku Pitt Inn 2004
Duane Eubanks(tp), Delfeayo Marsalis(tb), Mark Shim(ts), Carlos McKinney(p), Gerald Cannon(b), Elvin Jones(ds)
Elvin's band was staying at the Hotel where I was working, the Hilton in Shinjuku. They would come down to the bar where I was performing each night after there gigs and hang out. I got quite friendly with Duane Eubanks who was recording each set on video carefully placed on one of the speaker boxes, and he managed to get me some free tickets. Elvin was on fire, from the moment he stepped on stage to the last crash of his cymbals, he was magnetic. I felt humbled and honored to be in the audience that night. He was struggling to breathe though and was finding it hard to talk which made for a very confusing speech before the set. He died only a few months later. May he rest in peace!!

2. DAVE LIEBMAN - 1999-Escola Estudio, Santiago De Compestela, Spain IASJ meeting
This concert took place in an outdoor piazza, or square. I was here for the annual jazz meeting, it was hot and I was sick due to a combination of jet lag and sangria. Dave was performing with local flamenco guitarist/singers. The music was totally improvised as far as I could tell and featured some Spanish modes or scales. The music was thick in the air, you could smell it. What an atmosphere, a million miles away from home, 10pm at night, stars overhead, and a hundred or so people. Dave has an intensity that shone through, building and building throughout the performance.

3. AMON TOBIN - The Knitting Factory New York 1st Feb 2002
Taken from my diary of the time while I was in the states; "WOW! Not only is Amon Tobin a genius but I just finished 3 weeks of a serious music injection. My mind and body will be reeling for eons. From all the promotion and info I had seen on him, I was expecting a cut up jazz breaks type deal. What I got was a peak inside the warped mind of a musical genius. Track after track of mind blowingly good production, from f**ked up trip hop to drill and bass, square-pusher style. A very shy and humble person on stage, with little or no communication with the audience, he still left me feeling refreshed and confident that was creative and meaningful music".

4. PAUL MOTION TRIO - Village Vanguard June 5th? 2005
Paul Motion dr, Bill Frizell gt, Joe Lovano ten There is a cd out that has some of this music on it, although I am not sure which nights they recorded. Seeing a trio such as this at the Vanguard is a MUST! This place has been home to some of the most influential jazz of all time. One of my favorites being Bill Evans trio, so to see the same drummer perform here was a dream come true. The gig did not disappoint, even though the music was so very different to that of the '60s. Paul's playing has evolved to an incredibly pure art form that was great to see live, an exercise in understatement. The same can be said of Bill. Also great to see how he triggered his delays and loops live. Joe took quite an aggressive approach to gig, almost to balance the lightness of the other two.
I feel like I now owe it to all the local musicians both here in Sydney and my hometown Auckland who have inspired me, to say something. So before I make a last high 5 addition, I would like to thank Tim Hopkins, Bernie McGann, Nathan Haines, Andrew Robson, and Jason Jones among others for their inspiring performances.

5. TIM O'DWYER TRIO - Sound Lounge, Sydney, 10th June 2005
Tim O'Dwyer alto Clayton Thomas bass Darren Moore drms I've often lamented at the lack of truly inspiring saxophonists performing regularly in this country so this night was a real treat. Tim totally blew me away. I had to take a few deep breaths and just let the music work its magic. The last time I had heard him play he was playing totally improvised and using extended techniques. This time he had a great rhythm section behind him and some great compositions. His sound and energy was powerful. I think he inspired not only the other musicians on stage that night but every one in the room. Sad to say, Tim now lives in Singapore.

1. CAPTAIN BABY AND THE ANZAC BIZKIDS - Wangarratta 2006
Jeff Henderson is an improvising multi-instrumentalist, predominantly a saxophonist from Wellington, New Zealand. This performance at Wangarratta was a very special occasion, mostly because of the musicians who were recruited specifically for the gig. On drums was Darren Moore, who was living in Singapore at the time. On bass was Brett Hirst, originally from NZ but lives in Sydney. James Wilkinson on trombone who is an exceptional musician from Melbourne, and finally Gerard Crewdson on trombones and cornet, another New Zealander who lives in poverty on a farm in Port Kembla (south of Wollongong). It was a particular act of generosity from Jeff to have Gerard in the group. As far as I know, none of the musicians had played with each other apart from Jeff who had played with each of them. They played a two hour set and Jeff had structured the whole thing the night before, the music moving from dense sound blocks, to an intense drum solo to a beautiful Chinese melody, to a whimsical Ayler-esque fanfare. It was clear that the musicians had full respect for each other and the music, and there was a sense of selflessness in everyone's playing. This was a one-off performance which I am glad to have witnessed.

2. SACHIKO M – The Studio Sydney Opera House 2002
Sachiko M played a solo set for the "What is music" festival 2002 at the Studio. The night was an introduction for me to the world of improvised electronic music that is so important to today's creative musicians. Also on the bill that night was Robbie Avenaim, Oren Ambarchi, Otomo Yoshihide, Voice Crack and others. Sachiko's set stood out because it revealed to me the physical properties of sound and how powerful these things can be. She played a loud sine tone basically unchanged for a long time. Maybe twice in the set the tone was altered slightly but essentially it was static. The music was so physical it was as though the act of hearing this sound weakened my other senses. I had the feeling that the sound was affecting my visual senses stronger than my sight was. I completely lost a sense of time, and I have always thought that music is successful if it accomplishes this. Sachiko's set was a small revelation for me.

3. MESSIAEN – Sydney Town Hall 2001 & Sydney Opera House 2002
I will actually include two Messiaen concerts here. The first was at Town hall in 2001 while I was at high school. The first piece was L'Ascension for orchestra. The second piece was Chronochrome for orchestra. The music was unlike anything I had heard at the time. A particular section in Chronochrome – the bird call section – stood out to me. It was so dense. Similar to the Sachiko M gig it was very physical and went straight to the senses. The music in both pieces was very colourful. The second concert was at the opera house in 2002 and the piece was I think the last orchestral work Messiaen composed. The piece has a sense of completeness and finality, as though he knew this was his last major work. The many facets and stages of his career are all present here, modal melodies, complex rhythmic structures, colourful percussion, serial techniques, and of course the bird calls. Apparently Australian birds are used in the piece though I didn't notice them.

4. STEVE COLSON QUARTET - AACM New York Community Church, May 2006
I have never heard of pianist and composer Steve Colson before or since this gig. Yet this was probably the most beautiful music I have ever witnessed. The band consisted of Andrew Cyrille who is one of the greatest living drummers, Reggie Workman on bass, and Steve's wife Ira Colson on vocals. It became immediately apparent that these musicians had been living music for a very long time and had long since arrived at a musicianship which could be considered sublime. This performance exemplified to me that music can contain things unrelated to sound that have to do with the nature of the people making it. It can often be hard to perceive how and why music is made but these elements can be the most powerful communicators.

5. JIM DENLEY'S WEST HEAD PROJECT – Kuringai Chase National Park Dec 2006
Jim Denley is for me one of the most important Australian musicians today. He has greatly influenced me and the musicians I work with and has also supported the music scene in Sydney with a selflessness that is very rare. The West Head Project was run by Jim and consisted of a performance in Kuringai chase National Park on a large, flat rock formation that is a sacred Aboriginal site. The musicians were Jim, Clayton Thomas, Dale Gorfinkel, Monica Brooks, Clare Cooper, Adam Sussman and Karen Booth. For the musicians the gig seemed to be unsuccessful. All the musicians felt very uncomfortable for one reason or another, whether it was because of the sacredness of the location, the bad weather (the gig was cancelled after half an hour because of rain), or issues to do with the New Music Network who funded the event. This unease could be sensed from the audience yet I was determined not to let this disturb the occasion for me individually, which was in actual fact very beautiful. How could it not be when one is listening to the natural surroundings, which seem to be free of the thoughtful nonsense that musicians usually deal with? The musicians though uncomfortable, played out of respect for this strength that nature's music has. Much of the time I spent exploring the location, sometimes out of reach from the music. This was the first time that I have been to a concert where I have felt free to leave the music and yet still feel as though I am witnessing the performance. The occasion showed me that a musical happening involves all the senses all the time. In the bush this becomes apparent simply because of the beauty that is around us. I remember in particular Jim's playing. At one stage he spent time playing with each of the musicians, perhaps trying to accommodate them individually through playing. This is an example of Jim's generosity and thoughtful support.

1. SARAH VAUGHAN - Sydney Opera House
Sarah Vaughan was getting on a bit. I reckon I was about 15 when my mum took me to see her. That was the night I realized I wanted to sing. Sarah sang "Send in the Clowns", a song I have never particularly liked and my mum and I sat there and wept I have no idea what happened to me but realized how powerful interpretation was and will never forget it.

2.TONY WILLIAMS – Catalinas L.A. 1992
After back-packing around Europe and America, drummer Graham Hilgendorf and I were heading back home via LA. It must have been our last night and we went to see Tony Williams. It was the most incredible music I have ever heard live. The thing that really grabbed me was his passion for the music and the intensity with which he played it. The soloing of all the guys was incredible and the communication was great as well. I must say it was probably the loudest jazz gig I have ever been to but definitely one of the best. We begged the door lady to let us stay for the second set without paying and she did. Tony was as cool as all get out, strutting around in the break with these 2 gorgeous looking ladies and a cigar that was as long as he was tall or maybe short, looking like one of those pimps in a Dirty Harry movie. It was unforgettable he played so amazingly well. Wallace Roney- Trumpet, Bill Pierce – Sax, Mulgrew Miller Piano and Ira Coleman on Bass

3.MARK MURPHY – Live at Club 606 London August 15 2005.
Mark has long been one of my heroes. He invited me down to his gig which was both his and my last night in London. I sat there with two other Aussies, guitarist - David Blenkhorn and singer - Nina Ferro, in awe of this incredible storyteller that just made standards sound like he had written them ( I guess that's the trick isn't it). He was then 73 years old and still so on top of his game. The crowd went absolutely nuts. The highlight for me was when Mark invited me to sit in I have never felt so nervous but wasn't going to let the opportunity slip what a buzz. He is still so passionate about jazz and where he sees it heading and is forever trying to change things like a true improviser. He is one person that continually inspires me. The other cats were Pete Churcill – piano, Andy Hempill – bass, Mark Fletcher - drums

4.STEVE TURRE with McCOY TYNER LATIN BAND - Blue Note NYC 2002
Steve Turre has that totally unmistakeable sound on the bone and to finally get to a gig and sit in front of him and I mean right under his spit valve was mind blowing. What a player -time, sound, ideas and the shell thing I really dug as well. McCoy Tyner was as great as ever and I really enjoyed Dave Valentin on the flute. The band had loads of fire and energy.

5. MILES DAVIS OR JAMES BROWN?
Readers, you can pick number five [because] I can't. Miles Davis or James Brown go on I dare you! Miles Davis Sydney Entertainment Centre. Wow! He could have just stood there. I would have loved it just for the bragging rights but the gig was great. Killer band and Miles still with that incredible sound. What a vibe, he came out and the place erupted like it was a rock concert. James Brown Hordern Pavillion, Sydney 1988. My wife Elisa bought me tickets for my birthday and we were so excited. Not only was James and the band on fire, he had the great Fred Wesley (bone) and Maceo Parker (alto) on the gig. What a groove! I never thought I could dance!

1. JEFF TAIN WATTS – Jazz Gallery NYC 2004
The first time I saw Jeff Tain Watts live - I was lining up outside the Jazz Gallery, NYC and could hear the group - well, mainly Tain outside! It was the Yosvani Terry Group, with amazing young guitarist Mike Moreno. I love Tain's intensity, commitment, and how he doesn't mind to show you that he enjoys playing!!!!(he smiles a lot!) That was in 2004, NYC, USA

2. DARREN PERCIVAL – Bangalow Jazz Festival, 2006
Doing his solo show, I was totally blown away at this amazing musician's feel, passion, and beautiful instrument - his rich and unique voice. His honesty touches your heart. Mr Percival was truly inspiring.

3. DAN WEISS WITH DAVID BINNEY GROUP – The 55Bar, in NYC 2004
This guy has incredible groove, intensity and is just an amazing musician!

4. BARNEY MCALL – Wangaratta Jazz Festival 2005
This was the first time I'd seen Barney play, although I had begun listening to him a few years earlier. His band was incredible - just to name a few - Shannon Barnett (tromb) Nash Lee (guit) Jamie Oehlers (tenor)!!!! The music was beautiful, and every musician on the stage was a master at his/her craft!

5. 20TH CENTURY DOG – The Hippo, Canberra 2006
Cameron Undy, Simon Barker, Gerard Masters, Carl Dewhurst, and Matt Keagan just tore this place apart musically speaking! It was incredible!!!

You can contact Catherine at www.catherinehunter.com.au

1. TONY BENNETT – Lyric Theatre, Sydney 2000
I approached this gig with the attitude that even if Tony B wasn't as good vocally as he was in his heyday, then I would still have seen a legend. No need to worry on the vocal front, Tony Bennett was sublime. Here was a man who was not only a great singer, but a true gentleman and showman. The coolest cat, with the sharpest suit and the greatest respect for the lyric, his stylish renditions of classic standards made me wish the night would never end. Cameron Clayton did his thing as a feature with brushes - and I've never before heard an audience of largely general public come away raving about the drummer and rest of the band.
At one point, Tony sang acoustically to demonstrate the great room but I feel this was more a ploy to show just how great Tony still is as a vocalist – relaxed, understated, with a feel that makes the audience feel good too. I was incredibly grateful to have experienced one of the last great vocalists of a magical era for jazz singers and entertainers. I'd love to see a resurgence of appreciation for great interpreters of standards and performers that are valued for their craft, not just the marketing buzz surrounding them.

2. PRINCE – Sydney Entertainment Centre – Musicology Tour, October 2003
Finally I got it… Having bought Prince's albums years ago, listened to and enjoyed his work, and appreciated his musicianship; I'd never really understood why so many people were blown away by him. Well I'm glad I made this gig as it is one of the greatest concerts I've ever seen. Prince was performing a lot of hits from the 80's and covered most of his back catalogue – something which I believe we will rarely see again as he concentrates on new material.
All the classics were included - I Feel for You, Sign of the Times, with highlights being When Doves Cry, Raspberry Beret and Purple Rain. His guitar playing was mind-blowing, and the groove of the band was unbelievable. Prince kept challenging the audience to party harder with him, no problem there.
After the 'show' was over, Prince returned to the stage, solo, to sit at the piano and completely blow my mind with an encore of about 45 min of soulful, funky, bluesy, you name it – the guy is not only a genius but a virtuoso. And Prince showed why he is such a hit with the ladies – his solo version of the iconic Kiss was so sexy you could feel the heat rise in the venue. In the non-jazz realm, this gig will be hard to beat!

3. CLAIRE MARTIN WITH THE BOBBY GEBERT TRIO, The Basement 1994
UK vocalist Claire Martin has been to Australia several times and I was pleased to have met her on one of her first trips here and to have had a few mischievous adventures along the way. It was an important time for me as a young musician and Claire made a big impression. She turned me onto some of the great singers, in particular Shirley Horn, and was a generous teacher. Claire represents to me a modern vocalist who is a clever interpreter of standards, while also bringing her own stamp to jazz, with covers of some more contemporary tunes as well as original compositions.
I also loved this gig because the band was led by my mentor, the legendary Bobby Gebert and included my favourite Bobby Gebert Trio line-up of Andrew Dickeson on drums and Jonathan Zwartz on bass. It's easy to see why Bob's trio is requested to back visiting international acts – individually they are all incredible artists but as a trio, the most swinging groovers in town. Bobby brought his sensitivity and deep understanding of playing with a vocalist to the gig, along with a dirty, driving swing when it was needed. This was a very special time for me and I'll never forget some of the many gigs I saw this line-up play together.

4. DIANA KRALL – Iridium Room, New York, 1995
Before she became an international mega-star, Diana Krall was gigging in smaller clubs along with everyone else – and I enjoyed this more than the larger scale concert gigs I've seen. It was a late night trio gig with Christian McBride on bass, (sorry, can't be 100% sure of the drummer) and good to see that like a lot of gigs we play here, some were listening, others chatting and others still finishing their meals or night early. I was just amazed to get a seat so near the trio and was mesmerized – after a month in New York of hearing some unbelievable artists, like Tommy Flanagan and Kenny Barron, I had hardly managed to find any vocalists – though I guess Diana is also known for her piano skills. What really struck me about this gig was the interplay between the musicians – everyone was listening to one another and working as a team, rather than purely as an accompaniment to the singer. The gig was simple, stylish and tasteful.

5. KYLIE MINOGUE – Acer Arena, November 2006
OK, so this is left field, and Kylie might be a sentimental favourite at the moment, but having just returned from her concert last night, I've got to hand it to her – the girl was good! A great show, gorgeous costumes, but most interestingly Kylie has obviously worked hard on her voice and she impressed me with her control, pitch and range. With a retro nod to the forties, she flew across the stage on a half crescent moon, singing Somewhere Over the Rainbow. While it wasn't the best jazz version I've heard, it certainly held up to a lot of covers of this incredible classic. She then followed this up with a sleazy Big Band, burlesque type rendition of Locomotion – I never thought I could like this tune – but I was getting there. I have to hand it to Kylie, she has transformed herself in ways I never thought imaginable, worked extremely hard at her craft and deserves the success she enjoys today!

"…What's very obvious is that Sean Coffin sounds very comfortable in his own skin these days, and whatever he brought back from the US in his passion for that distinct East Coast US sound, he's now expressing his own musical voice". (Michael Smith, Drum Media - Aug 2006)

Sean was born in Salem, MA, USA, north of Boston and emigrated to Australia as a youngster. Sean, and his brother Greg, grew up in a very musical home where Mum played piano and guitar and Dad growing up in the 50's USA playing saxophone. Having completed the HSC he left for Boston in late 1987 and in 1988 started at Berklee College of Music, graduating with a BMus (Jazz Perf) studying with Joe Viola, Bill Pierce, George Garzone, Hal Crook, Ed Tomassi et al.

Within the years 1992-1995 Sean formed the Coffin Brothers with Greg and Simon Barker and did the rounds of all types of gigs in the Sydney area whilst gaining the reputation not only as a performer but as a valuable teacher. Sean's other original project during this time was the funk/jazz band Medicinal Purpose.

1995 saw Sean return to Boston and then in 1996 to NYC where Sean lived until 2000. In 1999, Sean completed his Masters (Jazz Perf) at Manhattan School of Music, NYC studying with Bob Mintzer, Garry Dial, Manny Albam and Ludmilla Ulehla. While in the USA, Sean  performed at NYC jazz venues Birdland, Savoy Lounge, C Note and in Boston at Wally's and Willow Jazz Club etc, etc.

Since 2000, Sean has been back in Sydney lecturing and teaching at the Australian Institute of Music (thanks to Dr Peter Calvo) and steadily performing as a side-man and band-leader (mostly) with his original projects: Coffin Brothers, Sean Coffin Quintet, Eff Sharp And The Theory Of Nostrils, Medicinal Purpose. Sean has performed with Mike Nock, Chuck Yates etc, etc. and has also recently recorded on Tim Bruer's CD (yet to be released).

Read our review of Coffin Brothers Live.

"The blood of this music is not so much energy (although it assuredly has form of that) as the inter-relationship of sounds...nor is it relaxed, so much as brooding; simmering via slow and mid-tempo's towards sudden, short lived explosions of intensity...Just as a hypnotist requires co-operation from a subject, this music needs commitment from the listener for the spell to fully work." (John Shand -Sydney Morning Herald, August, 2006)

You can contact Sean Coffin at www.myspace.com/seancoffinmusic

1. JERRY BERGONZI – Berklee Performance Centre, January 1988
Now being born in the Boston area and having spent about 6 years living, checking out gigs and going to Berklee College of Music, it wouldn't be a Hi 5 list without this cat…Jerry Bergonzi.  What more needs to be said.  The 'Gonz was the first person I heard as an 18 year old just over from Sydney and it was at the Berklee Performance Centre.  I had just been accepted at Berklee and decided to stay in Boston and my family had gone back to Australia after a holiday that very day.  My future teacher Joe Viola had advised me the day before to check out Bergonzi, and so I did.  Jerry was playing with his quartet which included Bruce Gertz, Mick Goodrick ( I believe) and Bob Gulotti.  I had never heard a saxophone explore avenues with such breathtaking, blistering sounds the way Jerry moved around the horn.  His tone was massive, angular and hauntingly yet beautifully dark and aggressive.  To be quite honest my memory bank hasn't taken in the rhythm section…it was mesmerized by the ferocity and absolute command of Jerry's tenor saxophone.  What a wake up call!  It was too much to take in and years beyond my understanding from all facets and yet this was the first real taste of my endeavour as a young saxophonist.  Future pilgrimages to Jerry's gigs, particularly at the former Willow Jazz Club, only served to startle the senses and recharge the batteries of want.  What an inspiring musician.

2. KEITH JARRETT TRIO – NJPAC, New Jersey, 1999
These gigs at the New Jersey Performing Arts Centre were the first for Keith after about 18 months of not performing due to CFS.  WOW! What a life force.  I've never experienced anything like it.  The mood in the auditorium was electric and when Keith, Gary and Jack walked out on stage there was massive applause and then dead silence.  I was sitting in the cheap seats at the back, which was in a way good because you became surrounded by not only the music, but by the people, the atmosphere, the acoustics and suddenly found myself zooming in on each player at different times as if in a trance.  Keith, Gary and Jack were not separate beings but one person all playing the same instrument.  I don't remember specific tunes, what they started with and what they ended with…it wasn't about that …it was the music and/or conversation that took place.  What I do remember is burning, smoking, swinging versions of Oleo and particularly, Doxy.  What an amazing experience to be in the presence of this trio.

3. GEORGE GARZONE – The Fringe, Willow Jazz Club, Boston, early and mid 90's
Now is the time for one of my favourite teachers and the most mesmerizing and explosive, expressive and organic saxophone masters from the Boston area in George Garzone.  There are numerous gigs to choose from, particularly one night at the Internet Café in New York City Nov 28 1997 as part of the Schulldogs (George and Ed Schuller and Tony Malaby) but I've decided on the band The Fringe.  Since the early 70's, George Garzone, Bob Gulotti and John Lockwood have been the Fringe, a Boston and modern free-jazz institution.  Many times, did we as students frequent the Willow Jazz Club on a Monday night and marvel at the creative unleashing of this trio but mostly from the saxophones of George Garzone.  This trio plays virtually one long set without stopping changing direction with immediate and effortless suggestions of a theme or any new musical reference cited by George.  George is so strong, his ideas bounce out of his saxophone with attitude and infect every part of your soul with goodness and limitless energy for well over an hour, exploring every possible 'sonic-ness'.  There are no harmonic, melodic, rhythmic…let's face it… musical limitations within their music and  conceptions creating the most highly charged, spontaneous music you would hope to witness. George is the freest musical spirit and one of the most generous.

4. DAVE DOUGLAS QUINTET – Wangaratta Jazz Festival, 2002
While at Wang Jazz Fest, 2002, the buzz before they played and even before the CD 'The Infinite' had been released in Australia was…check out Dave Douglas.  And we did.  I saw them perform each of the three times and I would have gone to see them in Sydney a few days later but ran out of cash.  This band really impacted my being.  Apart from the incredible music al abilities of Clarence Penn, James Genus, Rick Margitza, Uri Caine and its leader, Dave Douglas, were his compositions and arrangements.  It blew me away.  The dynamics.,  The structure.  The colours.  The sound. The concept. This music presented itself to me at a time when I needed to hear something fresh and inspiring and I readily allowed it to open up new worlds and understandings.  This was the one gig that for me wasn't about improvisation (although I would say that Uri Caine was the stand out) it was about the bigger picture.  This was a band…but it was all Dave Douglas.

5. MICHAEL BRECKER – Iridium (Nov 21 1996) and Birdland (Feb 6 1997), NYC, 1997
I saw 2 very different gigs led by the virtuoso saxophonist Michael Brecker.  The first was his quartet at Iridium featuring Joey Calderazzo, James Genus and Jeff Taint-Watts and the second gig was at Birdland featuring Joey, Dave Holland, Pat Metheny and Jack DeJohnette.  I had seen Michael Brecker in October 1988 in Boston at Berklee and that was amazing and surreal because he was the first modern player to capture my imagination whilst I was in high school.  His work ethic is second to none.  His technical arsenal is ready at will, his focus and the amount of energy he expends through his saxophone are immense producing a unique brilliance of tone unlike anyone but Brecker.  But, these were the first gigs where I was forced to tear my attention away from the phenomenal output of the saxophone and focus in on the drums of 'Tain' and Jack.  'Tain' in particular on Brecker's tune (Nothing Personal) had the entire club shift its attention quite visibly and erupt at this demonic reverse swung groove…I'll never forget it.  'Tain' is like this cat chasing you, someone mean and relentless just waiting to devour you.  What a powerhouse supplier of energy and groove.  Now, at Birdland, I believe in the promotion of the album "Two blocks From the Edge" sat Jack with a much bigger kit than with Keith surrounded by these great musicians and all I remember despite burning solos was that it was the Jack show.  Not because of any one thing that he did but by the way he dominated.  This band was firing on all cylinders but it would have been a lot different without the organic, percussive energy of Jack DeJohnette.

1. THE DETROIT CONNECTION – Darling Harbour 1997
Andrew Speight brought out Donald Walden, Marcus Belgrave and Karriem Riggins from Detroit, to play with John Harkins and Jonathan Zwartz. It was my first taste of how good a drummer can sound in person. Karriem was 21, and playing on such a high level, with the slickest, funkiest beat I had ever heard. He was also the first drummer I heard bridge hip-hop phrasing with a jazz sound and sensibility. I am still trying to capture that feeling when I play!

2. THE LINCOLN CENTRE ORCHESTRA/JOSHUA REDMAN QUARTET JAM – Winebanq March 2000
This was when the Lincoln Centre Orchestra and Joshua Redman's quartet were in Sydney at the same time. The music that took place at Winebanq that night was in the true spirit of a "jam", with one of my all time favourite rhythm sections: Rodney Whitaker and Greg Hutchinson. Possibly the best feeling I have ever had from live music. The highlight for me was the last tune, when Wynton Marsalis played duo with Greg on a blues.

3. ELVIN JONES – Alice Tully Hall, Lincoln Centre 2003
I had never seen Elvin Jones play before, but everything I could have hoped to witness was there on this night. Elvin came out in a white tuxedo, with a beaming smile that lit up the entire theatre. It was like seeing God come down to play a set, to define the history of the drums, and show how far drumming can be taken. It was incredible to me how dynamically he played, whether with brushes, mallets or sticks. He was capable of caressing the softest, sweetest sound out of his drums and cymbals, or the most thunderous, primal onslaught.

4. UNKNOWN IRAQI MUSICIAN – Kuwait April 2006
This was an informal performance in the living room of a Kuwaiti architect's house. The man was in his 60s, dressed immaculately in a suit and tie, and was introduced as one of Iraq's finest musicians and composers. He sung and accompanied himself on the oud on "Mwashah", a traditional Arabian song that is at once about a beautiful woman and Allah. It felt to me that he was crying out to God for his people in Iraq.

5. THE ROBERT GLASPER EXPERIMENT – The 55 Bar NYC February 2006
I had heard Glasper, Derrick Hodge, Chris Dave and Lionel Louke before, but this was one of the first gigs they had done together. I was sitting with Jasper Leak, and we kept looking at each other in disbelief. It felt as if we were witnessing a new wave in music being born before our eyes. More hip hop than anything, but their gospel, r&b and jazz background was always there. The way Chris Dave and Hodge played was like listening to a live version of J Dilla or Madlib beats… funky as hell! Personally, I think THIS is the new direction in jazz.

Born in 1977, Will Guthrie started playing drums at the age of 12. He studied improvisation at the Victorian College of the Arts and has studied privately with Australian's Graham Morgan, Michael Jordan and Adrian Sherriff, as well as with American jazz legend Tony Williams and English percussionist Eddie Prevost.

In 1997 he won the Wangaratta National Jazz awards for drums and recorded for the ABC with his own band 'ANTBOY'. Alongside Ren Walters he organized the regular Tuesday night Improvised Music concert series at the Planet Café - now known as the 'Make It Up Club'. He also runs the Australian based CD label ANTBOY MUSIC which releases music of an experimental nature.

Since 2003 he has lived in Europe (London, Paris, and currently Nantes) where he regularly performs solo and also with others in mainly electro-acoustic improvisation settings. He also composes music in the studio for CD releases and compositions for dance works.

Will's influences range from many styles and music(s). He often plays home-made instruments, electronics, found and junk alongside more conventional drum-kit. Rather than 'genre specific' Will prefers diversity - he feels comfortable working in many different styles and settings from experimental/rock/jazz/flamenco to working with puppetry/dance and visual artists.

Collaborators past and present include Ren Walters, Mark Simmonds, Jim Denley, Rod Cooper, Snuff Puppetts, Phil Bywater, Tim Pledger, Arte Kanela, Mark Shepherd, Arek Gulbenkoglu, Joel Stern, Julien Wilson, Steve Magnusson, Christine Sullivan, Erell Latimier, Julien Ottavi, Robbie Avenaim, Keith Rowe, Jean-Philippe Gross, Ferran Fages, Tim O'Dwyer...

Will currently lives in Nantes, France. www.antboymusic.com

"While writing this I thought often of how difficult it is to choose only 5 inspiring 'ultimate' concerts. I will mention these musicians (and I'II think of many after!) as also having a similar effect after seeing them live: THE EX, Living Color, Ian Chaplin, Musiikki Oy, The Dirty Three, The Necks, Otomo Yoshide, Kadoonka, AMM, Bucketrider, Paul Williamson Hammond group, Mattin, Massona, Helmut Schafer, PITA, Roscoe Mitchel, NUDE, Peter Brotzmann, Jeff Henderson...

OK, so here goes with the high five"...

1. MARK SIMMONDS - Melbourne 1996-97
What I write about here is not so much about any one concert, but about a period of time. I saw Mark live a number of times with different incarnations of his group 'The Freeboppers', and within a short period ( maybe 6 or so months in 1996-97 ) I played with Mark about 10 times ( rehearsals, private sessions and a few low-key gigs ), however playing with him and listening to him left a huge mark on my musical life.
I have always been a sucker for the saxophone and saxophone players, many of the most inspiring and influential musicians for me are saxophonists (Coleman Hawkins, John Coltrane, Wayne Shorter, John Gilmore, Sonny Rollins, Ornette Coleman, Dewey Redman, Albert Ayler, Archie Shepp,  Roscoe Mitchel, Peter Brotzmann, Henry Threadgill, Jim Denley...). Mark was kind of a walking history lesson in terms of saxophone playing, and music in general. He was a virtuoso instrumentalist, incredibly well-learned and had truly consumed much of the jazz history, however he never sounded like so many jazz-cliche sax players, he always sounded like he came out of the history, but remained himself. It's silly to talk about him only in terms of saxophone as he had more rhythmic sophistication than any drummer I ever met let alone sax player(!)
Some of the things that most impressed me were his sound (so strong, clear and so personal it was frightening), how he built his solos (in terms of thematic structure and form, building intensity with sound),  and his band concept (firstly he HAD a band concept! He never just soloed over the group, always listened, always had a concept for how the whole band could sound and what was possible, never played the guy out the front who soloed over the rhythm section )...
Playing with (and listening to) Mark was one of the most uplifting, riveting and scary experiences, l knew the effect of music could be as powerful as this however I had never witnessed it with such intensity in the flesh. In a scene that leans more towards conservatism than looking forward, Mark is truly missed on the Australian jazz scene.

2. REN WALTERS  Melbourne - 1995-98
Again this is not just one gig but many, and I also spent a lot of time playing and talking with Ren. His music sacred the shit out of me! His command over the instrument was frightening, as was his sound and compositions. For me there is nothing more powerful than hearing someone who sounds like THEMSELVES! Like no other, I guess Ren and Mark (and others such as Chris Abrahams, Oren Ambarchi, Greg Sheehan, Greg Kingston) both had this impression on me as you can hear their influences but it never directs or governs the music, only adds to it. I was listening a lot to what was called the 'punk-funk' music from the late 70's early 80's, the electric bands of Miles Davis, Ornette Coleman's PRIME TIME, James 'Blood' Ulmer, Ronald 'Shannon' Jackson's DECODING SOCIETY and the like. I was fascinated by this floating time and harmony concept, (what Ornette vaguely describes as 'Harmolodics', whatever that is?!) where everything sounded together yet somehow completely detached, where lines, melodies and rhythms could enter in and out, sideways and long ways and work within the music. 'Pulse' related music (that always had time) yet the rhythm or time signature was open. I remember seeing Ren for the first time in his trio TIP (with Chris Bekker and Nico Schauble) and it was really clear to me that Ren had also looked at this language (among many other things) and it was a part of his playing.  Ren's playing in completely 'free' improvised settings with David Tolley & co also really opened my mind in terms of trying to find different sounds and ways of playing, to play in a way that is concerned more with 'sound', as apposed to instrumental playing and history-onics.

3. JIM DENLEY & ROBBIE AVENAIM - Make It Up Club - 2000/2001 ?
I remember this gig well as it was really one that made me think, "I have NO idea of what is happening here at all, but I know something IS happening!" Here was a saxophone player and a percussionist playing together in duo, very quiet, very minimal, completely improvised, with absolutely NO sound they made ever sounding like a sax or percussion. It was one of the first times I heard improvised music not sounding at all like improvised music, not coming from jazz, from contemporary new music, not even sounding like music, but a collection of sounds so perfectly placed together, put in the space at the right time that somehow it made the experience COMPLETELY musical! And to my ears it sounded 'new', unlike anything I'd ever heard. This gig really turned me on to people such as Keith Rowe & AMM, Taku Sugimoto, Tetuzi Akiyama and many other musicians working in much more minimal and subtle musical areas. Both Jim and Robbie are continuing inspirations for me as musicians who continue to push the bounds of their instruments, (which are somewhat paradoxical as the 'instrument' is longer of such concern for this type of music) and concepts of sound. Class!

4. SALIF KEITA - Union Chapel - London - 2001
I'd be surprised if this concert doesn't forever stick in my mind as one of the most powerful musical experiences I've ever had. After being a fan of "the golden voice of Africa" for a long time I went to this concert just after he released his 'Moffou' CD. This period for him was a return to an acoustic band, using only African instruments and apparently getting back to his roots of more traditional Malian music. This was truly a sublime concert. The band was SO together, clean, controlled, and tight playing these heavy rhythms, yet totally light, loose and grooving. The quality of Salif's voice, the human-ness, the richness of his sound is indescribable...Salif sings in a way that goes straight to your heart. He did a short acapella piece that totally spun my head, the kind of music that makes you want to scream and cry at the same time. A master!

5. WHITEHOUSE - Nouveau Casino - Paris - 2003
I went to this concert with a friend after being in Paris for only 2 days. Complete sonic assault on all senses and an utterly devastatingly unforgettable musical experience! WHITEHOUSE's music has been compared to the feeling of glass shattered all over your face and I guess from that description I wasn't disappointed. It had an incredible energy with a sound so enormous that it shook the insides of my brain for the next three weeks! Sound as physical electronic energy, noise mayhem yet completely in control, lyrics and general concept in links with much of the music I love from my youth (Public Enemy, Dead Kennedys etc) where the listener is literally forced into some kind of submission to the music.

Recent projects include performances with Elvis Costello and the SSO, Ruby's Story with Archie Roach, Ruby Hunter and the Australian Art Orchestra, Paul Grabowsky's song cycle "Before Time Could Change" us as well as concerts with Paul Grabowsky, Joe Lovano, Ed Schuller and Scott Tinkler, performing Tales of Time and Space. He has also been touring Europe and the US with Lucinda Peters and has been working in Australia with Katie Noonan.
He occupies the drummers chair regularly with many of Australia's finest jazz groups including Vince Jones, Scott Tinkler Trio, Cameron Undy's 20th Century Dog, The Phil Slater qt and the Matt McMahon Trio. Simon has also played with many international touring artists including Claire Martin, Sheila Jordan, Gary Smulyan, John Hicks and Carlos Ward.
Equally active in the jazz education field Simon gives workshops and private tuition at universities throughout East Asia including the Beijing Central Music Academy, Mahidol University (Thailand), All That Jazz series (Hong Kong), Hanoi Jazz co-op (Vietnam), Seoul Jazz Academy (Korea) and the Christchurch Polytech (NZ). In 1998 and 2000, he was a guest performer for the Canberra School of Music's Jazz Initiative. In 2005 he was guest lecturer and moderator at The University of Canterbury, Christchurch.

In July/August 2005, Simon traveled throughout Korea with filmmaker Emma Franz to create a documentary exploring the physical and spiritual elements of Korean Shamanic music.
His interest in developing new music with East Asian musicians has also led to collaborations with Drummer/composer Won Il (Seoul, April 02), and improviser Kim Dae Hwan (Seoul 99). In 2003 and 2004 Simon was a guest speaker for the Asialink Leadership program and in 2002 was awarded an Asialink residency grant to engage with musicians and arts agencies in South Korea for three months.
Kimnara records has two new releases out this month: Matt McMahon – "Paths and Streams", and Band of Five Names – "Empty Gardens".
We're delighted to have Simon Barker as our first percussionist as Artist of the Month.

1. TONY WILLIAMS QUINTET - Village Vanguard NYC 1989
I was very fortunate to hear Tony's group many times in 1989. During his stint at the Vanguard I was able to sit in the "drummer's seat" right up next to his high hat every night for a week. Being so close to such an amazing musician had a profound effect on me and I can still clearly remember his enormous sound and incredible power, energy and creativity. A life changing experience that I'll never forget. During this time I was also able to hear other great stylists including Billy Higgins, Edward Blackwell and......

2. JACK DEJOHNETTE SPECIAL EDITION- Blue Note NYC 1989
Jack Dejohnette has been my favourite drummer since hearing him on a few Keith Jarrett and Ralph Towner records that my parents had when I was a teenager. Seeing his group with Gary Thomas, Greg Osby, Mick Goodrick and Lonnie Plaxico live was a dream come true and I was left blown away by his seemingly endless ideas and energy. I heard this group many times and never understood anything they played but walked away each night inspired and uplifted. Jack is still one of the most daring and creative drummers in the world and a constant source of inspiration.

3. JACKY ORSZAZKY -Harbourside Brassiere Sydney (many times)
Jacky/Hamish Stewart/Arnie Hanna/various other musicians. Hearing Hamish Stewart play is always a moving experience, he's one of the most diverse and soulful musicians I've heard and whenever he plays, the music feels great. I've heard Hamish with Jack and Arnie many times and am always knocked out by their unbelievable groove and empathy. Every time I turned up to hear this group I was awestruck with Hamish's playing, he would use a very simple kit and knock everyone out with the amount of music he could draw from it.

4. JIM BLACK - Jazz Now Festival Opera House 2005
I've been a huge fan of Jim's since hearing him with Ellery Eskelin at the Bimhaus in Amsterdam in 1997. This gig at the Jazz Now Festival was an extraordinary display of virtuosic, thoughtful, powerful improvising from a great musical mind. I was astonished at how he was able to captivate an audience for over an hour with his drumming. Jim is at the forefront of modern music and I feel really lucky to have seen this performance.

5. KIM SEOK CHUL SHAMAN RITUAL PUSAN - South Korea 2006
I've been traveling to Korea to study, perform and teach since 1997. In 1998 I came across a recording of a Korean Shaman ritual by musicians on the East coast of Korea (Kim Seok Chul and family). After hearing this astonishing music I decided to dedicate a large part of my life to finding out more about Korea's magnificent musical history. In 2006, while traveling throughout Korea, I was able to attend what turned out to be Kim Seok Chul's final ritual. Before the ritual Mr Kim shared some of his thoughts on Korean music and his family's rich musical history (his family's involvement in music dates back 600 years) . After eating, the ritual began and continued all night, the music was extraordinary and I feel honoured to have been there.

Some of Joe's awards and acknowledgements include:
2002 MO award for Australian Jazz Instrumental Performer of the Year and nominated for the same award in 2003.
2004 MO award for Australian Jazz Instrumental Performer of the Year.
Awarded chairman's Bell award for outstanding achievement for 2004
Bell award for best classic jazz album of 2006. "Live at Umbria Jazz 05"
ABC television documentary made about his life and career, Joe Chindamo - Profile of a Jazz Pianist in 2000.
ABC people's choice award for best jazz album of 1997, Anyone who had a heart (Burt Bacharach song book) and nominated for an ARIA award.

Joe recorded The First Take (a.k.a. A Brief History of Standard Time), with the father of the modern jazz bass, Ray Brown (of Oscar Peterson Trio fame) and Reflected Journey with Michael and Randy Brecker. He has also recorded and performed with Randy Brecker, Ernie Watts, Brian Bromberg, James Morrison, Olivia Newton John, Graeme Lyall and US drummer Billy Cobham (with whom Joe made two CDs as sideman and toured the world 20 times throughout a ten year association. Joe has also performed with Lee Konitz, Shirley Bassey and Dame Kiri Te Kanawa.

Active as a studio pianist, Joe has worked on more than 60 film soundtracks, including Babe, The Man From Snowy River II, A Cry in the Dark, Warlock, and Missing in Action II.
In 2000, he began recording for the Sawano record company in Japan, where his album Joy of Standards, reached Number 1 on that country's HMV Modern Jazz Charts. Other releases also became best sellers in Japan.America – Joe Chindamo Trio plays the Paul Simon Song Book, Joy of Standards Vol.2 and Anyone Who Had a Heart.
In 2005, he appeared at Umbria Jazz Winter in Orvieto, Italy in January, and Umbria Jazz in Perugia in July, where he joined a distinguished lineup of jazz greats, including Oscar Peterson and Tony Bennett. (Recorded first solo CD, Joe Chindamo, Solo- Live At Umbria Jazz 05 at this festival). This album went on to receive the Bell Award for the best classic jazz album of 2006.
In August 2005 he performed in Taiwan (with James Morrison and vocal group Idea of North) and in November was invited by the Australian/Israeli Cultural Exchange to play in Israel, where he gave a concert in Tel Aviv and a nationally televised solo recital at the Jerusalem Museum. In December, performed at Norfolk Island, with Australian jazz legends Don Burrows and James Morrison.
In late 2005 he recorded his first collaborative CD with James Morrison called James Morrison and Joe Chindamo 2X2. Album was released in April 2006.
In 2005 Joe completed a two year Australia Council Fellowship (awarded by the Australian government in 2003) which enabled him to compose a modern orchestral work, Concerto for Accordion and Orchestra.

"When Jazz and Beyond asked me to name and write about my five favourite gigs, my first response was (as others in this similar predicament would no doubt agree) that it's impossible. How can one choose 5 gigs from dozens of memorable nights, and hundreds of memorable moments? Further, many of the greatest musical moments have emanated from soloists whom I might have been accompanying at the time. To write about these would be far too immodest, and not in keeping with the spirit of the task at hand. However, I will deviate from the norm more than a little and use the 5 gigs as a landscape on which to build a commentary - a melange of nostalgia and thoughts that come to mind in relation to these experiences and the general jazz scene ( with particular reference to institutionalized jazz today). I might like to do some venting as well. (The Italians don't complain - we vent, and HATE to be told to chill out while we're doing it). I've used italics when ever I've deviated considerably from talking about the gigs, for the benefit of those who may wish only to restrict their reading to my experiences of the actual concerts. Finally, these are not necessarily the best gigs I've ever witnessed, but those which meant a lot to me at the time, and for which my anticipation had been overwhelming. Also, I can't give you exact dates, as they happened a long time ago and I never kept diaries."

1. OSCAR PETERSON AND JOE PASS - Dallas Brooks Hall - Melbourne 1977?
This was a concert I was so looking forward to. I worshipped Oscar at this time (I was 15 or 16), and had never heard him live. I'd also never heard the guitar played as masterfully as Joe Pass did. In fact, as my first instrument was accordion, I owned a few Art Van Damm records, and particularly loved the one on which Joe Pass appeared as side-man (It's a blue world??). He was by far the best thing on that album, but I was also incredulous as to why he wasn't famous (or more so). It was with great pleasure (and small sense of personal satisfaction at being able to pick a great without allegiance to anyone else's opinion) when I found out that Oscar had also 'discovered' Pass. (Remember, I was a 15 year old kid.) I couldn't believe what that man was doing on the guitar -on his own! I approached Pass after the gig and told him I had the Van Damm record and some other record of his (I forget which one now) and he quipped "that's all I ever made".

Oscar was a giant of a man, physically and spiritually. I thought I was going to burst with excitement when he first walked onto the stage. He also seemed really old to me, and it's with some degree of horror that my maths tells me that he was only 52 at the time. It was the first time I had seen -as well as heard- playing of this order. I loved his left hand in particular. I don't know how much of the concert I actually heard, since I was in a state of drunken wonder throughout.
Much has been written about Oscar - his technique in particular, and it always surprises me how much his prowess at the piano has come under fire. To me, this is penis envy mixed in with inverted snobbery. The first bit is self explanatory, and the latter might have something to do with the idea that amateurishness is imbued with sincerity, while studying is destructive to one's natural instincts. How many times, have we heard that so and so can't read music, has very little technique, has never studied - but BOY, what a natural, and how many times, do we hear people lament over players with nothing else going for them than technique. Interestingly, I've never heard anyone criticise the musicality of someone with lousy technique. Is it possible that all people with no technique are blessed with natural ability?

It's almost as if some jazz players (and some critics) take it as a personal offence that Oscar got so good - it's undemocratic, to have this kind of ability. It's analogous to someone who has too much money: it's considered unfair. And in much the same way that one should never demean the poor, it's considered poor taste to kick a man when his technique is down. In a way, I'm copping the same thing at this stage of my career, and it always amuses/ annoys me that many of the pianists who have claimed in interviews that technique is not important and subtly crucify those of us who value piano playing highly , have knocked on my door in order to improve their own. One young and up and coming musician actually named me, claiming that did not need my kind of technical command - because he "heard music differently". What he failed to add was that he had asked me for lessons the week before. There is an unstated understanding that instrumental command is trivial, and far inferior to the conceptualization of the idea. This is analogous to the many modern English teachers who claim that vocabulary and grammar are not as important or creative as 'the idea". True, but... one cannot exist without the other. Poor Oscar Wilde. Poor Shakespeare - men who were bogged down by too much scholarship. The analogy to sport is always worth mentioning. Intellectually, I know how to beat Ian Thorp in a swimming race - it's really easy- all I have to do is swim faster! Intellectually the problem is solved: the only thing which remains is the realization of the idea through teaching my body how to obey my mind. Playing an instrument is no different. You can't rely on the idea alone to get you to your destination without learning how to translate a mental image physiologically. Generally the greatest musicians of all time were virtuosi. Bach, Mozart, Beethoven, Scarlatti, Bartok, Rachaminov, Prokofiev, Debussy, Armstrong ... do I need to go on? I can hear the howls of dissent; 'but Miles didn't have a great technique." Actually he did, because he had a great sound, and sound is a huge part of technique. It's not about speed.
Oscar was superior than other players in many other ways too, which were overlooked. His harmonic sense was incredible, for instance, and he had some of the best ears in the business. He has been a beautiful accompanist to many a great soloist and singer.
Having said all this, if I'd heard recording of that concert, it's quite possible that it wouldn't rank amongst the greatest music I've heard ( not even from Oscar ) but it was a milestone in my life, one which certainly kept me inspired for years.

2. PAT METHENY GROUP – Comedy Theatre 1985
I was playing in Vince Jones' band at this time, and the whole band went along to hear Metheny, Lyall Mays, et al. We had such a great time. Doug De Vries (a master of the guitar) was in the band, as were Gary Costello, Allan Brown, Paul Williamson and Bruce Sandell. Vince was so impressed that he ordered me to bring a synthesizer on subsequent gigs and play string pads. The idea doesn't appeal to me now, of course. But you know, I strongly believe that all like what we get used to, especially if the particular genre in question is part of the zeitgeist. This was the age of Midi and the drum machine (probably the worst things to have happened to music). I used to live in the studio , playing on movie sound tracks, commercials, TV shows, pop record, jazz rock bands in those days, and this band Incorporated much that was relevant to the era, and it was one of the very the finest around at what it did. Miles was doing his electric thing at the time, but quite frankly I think others did it better. Herbie, Chick, Metheny, The Brecker Bros, and the greatest of them all, Weather Report. A little aside here: Randy Brecker once told me that during this period, Miles asked his brother Mike to join his band, but the latter refused the offer, deciding instead to pursue the Brecker Bros. Stan Getz was also a great admirer of Brecker and used to go" eye ball"(Randy's term) the latter's at gigs . I couldn't bare to listen to the Metheny band for quite a few years , but played one of their recordings recently, and notwithstanding some of the dated Synth sounds ( they date so quickly, don't they) really enjoyed it, and kicked off a Metheny season in my car. The guitar playing is really amazing. One of the great melodists, whose music, is full of joy.

3. PHIL WOODS - Beaconsfield Hotel, Melbourne (circa 1979/80?)
I remember attending this gig with a whole bunch of college kids. By the way, for the record, I never went to the Vic College of the arts, but rather, the State College (the old teachers' college) which has since been swallowed up by Melbourne University, and basically doesn't exist anymore. I did a double major, music and maths, which entailed taking classical piano lessons, a few of the performance based classes, wagging most of my maths classes - and practicing a lot. I actually did quite well at the maths course, considering they hardly saw me. The piano lessons were the first I'd ever had, since I was originally an accordionist and didn't even own a piano until I was nearly 16. (I've never had a jazz piano lesson in my life, incidentally). Anyway, I'm getting off the point. There was a good energy at this place, and it was positive: unlike some of the tertiary venues now, which seem to me, to be places where the young musician goes to broaden his vision, and narrow the mind. It doesn't help that many students adopt their lecturers' tastes and prejudices far too soon, before they've ( the students, not the lecturers) learnt their craft and developed their own ideas about music. In fact, many of them wish to be artists before learning their craft - which is absurd. You can't become a great musician before becoming a good one. Now, some of these teachers would have listened to all the great players when they were starting out, and as they've gotten older, have distilled their sensibilities to the point where they like only a hand -full of artists. This is natural, and in a sense, I'm not immune to this process either, but it's very damaging for an 18 year old kid , who's around this kind of influence, to emerge believing Keith Jarrett to be the only pianist worth listening to, or that jazz rock is all shit, that Mike Brecker is not really a jazz musician, and finally, that there are sacred cows in jazz who must be worshipped unconditionally and never questioned, challenged... or even disliked. I always remember a quote ( forget who said it ) that every body demands the right to free speech, but not many exercise the right of free thought, and jazz today, with colleges all over the world acting as its engine rooms, has become gentrified, whereupon the very qualities that were once its raison d'etre, are viewed with suspicion and often reacted to with ridicule. Jazz has become a domain where free thought is only permitted within the parameters of established streams - which of course, means, there is little room for free thought and much pressure to conform to the middle ground The middle ground is not wedded to style either. There are middle grounds in all styles. There is no rebellion involved in playing Giant Steps or Monk's music anymore, and the playing of so called avant guard music is as conformist as it is to play Gershwin, because it's ALL been done before. So, whilst it is everyone's individual right to like what they like, to value one style over another is to indulge in pure snobbery.
Further, in jazz, style seems to automatically dictate the level of creativity of the musician, and less regard is given to the level of creativity he brings to the style. For instance, is Anthony Braxton more creative than Stan Getz, because the former chooses to express himself through atonality (which seems to be beyond criticism and is not to be subjected to the same scrutiny as other methods of expression) and the latter, by way of 'less adventurous" mainstream? I would rather look at the creativity that the player brings to the style than assume his creative worthiness by his choice of style.

The other phenomenon which intrigues me is that an artist's worth is more than often measured by his subject area. Moreover, the expression of darker emotions seems to indicate to greater artistic achievement. This happens in Hollywood all the time. Peter Sellers never won an academy award, because he played the funny man, but almost got one for "Being There", because his role involved playing a mentally challenged character. Interestingly, Geoffrey Rush (notwithstanding his prodigious talents), received better critical acclaim for his portrayal of Sellers than that original actor ever did for his work. In music, this happens all the time. Emotional struggle is admired far more than effortlessness. In jazz, "striving" for an idea is better than actually mastering one. This is perhaps why Jarrett or Monk is regarded more highly than Garner or Tatum. I've studied the latter intensely and have found that at times he out Monked Monk, but because he tossed it off so fleetingly,
effortlessly and masterfully - and in the spirit of normality- this aspect of his genius was overlooked. Garner's 'Concert By the Sea' is a treasure trove of some of jazz's - correction- music's most impassioned melodic moments (or in his case, quarter hours), and I've never heard anyone call Garner a lyrical player - an adjective normally used to describe Jarrett [a great artist, whom, to my mind, plays between his ideas much too often}. Garner, whose music is a celebration of life, gives the air that we had better grab those joyous moments when we can, because they don't last. With Jarrett, whose playing exudes seldom matched beauty sometimes, I get the feeling, that his is a constant struggle to express a humanity which Garner manages to establish in the first bar. But maybe W.Somerset Maugham said it best (and applies to music as well as literature). "Make him [the reader] laugh and he will think you a trivial fellow, but bore him in the right way and your reputation is assured."

Back to my college, okay, we had to put up with a little of the typical jazz bullshit about who's art was more important, who was hip that week and who wasn't, etc, but it wasn't as nasty or one- eyed has it seems to be today. In addition, we actually went to hear gigs, which is something a lot of kids aren't doing these days. Further, all the concerts we went to , including the Woods gig, were extensions of our daily life at the college, and it's in this spirit that I remember that event. I remember lots of laughing and excitement around me and thus particularly enjoyed sharing the Woods concert with my class mates. I remember our singing along to a couple of his famous endings to songs - he must have been thrilled at having inspired a sing-a-long, I'm sure! An amazing player with a deliciously sexy tone and flawless phrasing. This guy was a pro, in the old fashioned sense of the word. It was the first time I'd heard Bob Sedergreen live, and thought he gave an inspired performance - he sounded great. Unfortunately, I don't remember who the rhythm section members were. This was another gig that filled my petrol tank and kept me going for a long time.
We were looking forward to another such outing to an upcoming gig, at the same venue, but unfortunately Bill Evans died a few months before he was due out.

4. MAURIZIO POLLINI – Salle Pleyel Paris 1999
I'd been a fan of classical pianist Pollini since I was a teenager. I was heard him on the record he made shortly after he won the Chopin Warsaw piano competition - the heaviest of them all. This was the competition that launched the careers of Argerich and Ashkenazy, to name two others. Pollini was 18 and the playing was staggering, with that 'parting of the waves' technique of his. And to hear him live for the first time, in a hall where Chopin and Listz played (not to mention Ravel, Debussy and Stravinsky, who gave first performances of their works there) was transcendental for me. I remember thinking, there is no one on the planet who can play the piano better than this, and for the first time, since having the shit kicked out of me by some of the Marist Bros at school, I started to think of that maybe the existence of a god was strong possibility. This was human achievement on the highest level. He played an all Beethoven programme.

5. GRAEME LYALL (MIETTAS WITH TONY GOULD) - circa 1991 and every other time he's ever played.
Graeme Lyall is the greatest living altoist, as far as I'm concerned. I know of at least half a dozen other people who agree with me, and I want to shake anyone who dismisses him with a cool "Yes, he's really good." Harmonically he's driving on the wrong side of the road much of the time, but disguises it so well, through his logical weaving together of impossible melodic lines, that hardly anyone notices just how advanced he is. He is the Australian musician who influenced me more than any other, and I endeavoured to adopt his harmonic sense for my own playing from the time I first heard him. This is probably why my own subversive 'wrong side of the road" playing is often confused with mainstream.

I can't really pinpoint a gig as such, and the one I've mentioned will serve as an example. Actually the 'gig' where he really did bowl me over was a TV appearance Sammy Davis Jnr made on the Don Lane show, where upon Graeme played under the famous entertainer and then ripped into a great solo. I think I was about 13 at the time, and it made me proud to be Australian (I wasn't venting at the time - so I wasn't been Italian).
By the way, what the %#?! happened to music on TV these days and how did it get so bad?

Carl was born in 1969 and started playing guitar at age nine. He obtained his first electric guitar when 12 years old and started playing the music of Jimi Hendrix, Carlos Santana, The Police and George Benson. He started studying Jazz guitar at age fourteen and began playing extensively with long time friend and bassist / composer Cameron Undy. He was accepted into the Canberra School of Music preparatory Jazz studies program during year 12 and went on to complete a Diploma of Music. He completed a Masters Degree in Music in 2001.

Carl leads his own group the Carl Dewhurst Quartet. The group has released two CD's : "Put Put Put"(2000) and "CDQ Live" (2004). Since forming in 1998 the Carl Dewhurst Quartet has performed at the Sydney Opera House, the Big Day Out, The Basement, The Seymour Centre and at the Wangaratta Jazz Festival. Carl and drummer Simon Barker joined forces in 2005 to release an album of improvised duets entitled "Showa 44". They traveled to Korea to perform and are appearing at the 2007 Brisbane Biennial of Music. The Carl Dewhurst Trio is a new project commenced in 2006. The trio featuring Cameron Undy and Evan Mannell plays music drawing from a wide range of influences, from jazz, rock, electronica, ambient minimalism and free improvisation. Since 2000 he has been a member of the Australian Art Orchestra led by Paul Grabowsky and has performed works such as Testimony, Love In The Age of Therapy, Into The Fire and most recently the celebrated Ruby's Story featuring indigenous artists Ruby Hunter and Archie Roach.

Carl's performing credits include many of Australia's leading Jazz artists including James Morrison, Vince Jones, Dale Barlow, Mike Nock, The Catholics, Cameron Undy, Phil Slater, Scott Tinkler, Susan Gai Dowling, Bernie Mc Gann, Steve Hunter, Lily Dior and Michelle Nicolle. He has also worked with artists such as Paul Capsis, Jade Mc Rae, Delta Goodrem, James Reyne, Tim Freedman and EON to name a few.Carl has played with international touring artists Terumasa Hino, Bobby Previte, Mose Allison, Bobby Shew, Andy Bey, and most recently with drumming virtuoso Jim Black.

Carl was the winner of both the judges and peoples choice awards at the Ike Isaacs International Jazz Guitar competition in 1998 and was runner-up at the National Jazz Awards in 2000. He has been a guest lecturer at several universities and is on the judging panel for the 2006 Music Council of Australia Freedman Fellowship. Carl was a founding member of the Jazzgroove Association.

1. PETER BROTZMAN AND PETER KOWALD - Canberra School of Music 1987
As a young high school student these two German musicians were unknown to me. I didn't know how they played but expected some intimate Saxophone and Double Bass duets. When they came out on stage and assaulted us with an hour of frighteningly intense improvisation I thought I was going to die of shock! I wasn't sure if I dug it but the spontaneity and sheer energy of these two stayed with me for a long time.

2. ROGER FRAMPTON - Strawberry Hills Hotel, 1990
Roger was on fire this night. He was joined by Eddie Bronson, John Pochee and a youthful Cameron Undy on bass. They played a set that seemed to go on forever. Roger would direct the band so that they would meld from one tune to the next without stopping. It was like a DJ set! Softly as in a Morning sunrise became a blues and then something else without you really noticing. It was Roger the magician at work!

3. SONNY ROLLINS QUINTET - The Village Gate NYC, 1993
Hearing Sonny live was a dream come true for me. An added buzz was long time associate Bob Cranshaw on bass. Sonny just seemed to produce endless waves of sound that had me totally absorbed. Everyone on the bandstand was vibing off his playing. There was a lot of smiling and laughing. Sonny seemed like an artist totally inspired. He had the kind of aura that touched everyone. Truly sublime!

4. PAUL MOTIAN - The Village Vanguard NYC
For this gig Paul was joined by guitarist Bill Frisell and saxophonist Joe Lovano. As they wove their way through standards and Monk tunes I realized these guys were really doing something special. The unique voice of each musician spoke with total clarity whilst the musical result was one of true symbiosis. It was amazing to hear a traditional repertoire played with such daring and invention.

5. STEVE COLEMAN & THE FIVE ELEMENTS – Live studio recording for album "Tao of Mad Phat". NYC
This was the first time I'd seen Steve Coleman's group and it was really incredible. It was just one big lesson in rhythm. They all rocked from side to side in unison whilst navigating some of the most rhythmically complex grooves I'd heard. Guitarist Dave Gilmour's playing left an indelible impression on me that night, as did the drumming of Gene Lake. Of added weight was the fact that this was a live recording for an album and everything was played down once only. Heavy.

Carrie Lakin is an enigmatic singer who hails from Sydney's Northern Beaches. A skilled and polished entertainer, Carrie performs a wide variety of musical styles from Jazz, Blues and Pop through to Soul and RnB.
For the past six years, Carrie has been busy performing at events where her engaging personality and professionalism have delighted audiences. Some highlights have been knockout performances at the Manly Jazz Festival, the Hawkesbury Jazz Festival together with her highly acclaimed support of Yvonne Kenny's Opera in the Vines and Cliff Richard at Wyndham Estate, Hunter Valley.

Carrie also enjoys performing as a lead soloist with the impressive jazz-gospel vocal ensemble, Jubilation, led by internationally renowned artists, Joy Yates and Dave MacRae. Carrie and Jubilation have featured at Tauranga (NZ), Manly, Bellingen, Dubbo and Darling Harbour Jazz Festivals. They have performed with Alex Lloyd for Crown Princess Mary, at the LIVE sites for the 2000 Olympics and Paralympics and at regular shows at The Basement. For the past four years, Carrie and Jubilation have performed at the Carols in the Domain TV spectacular backing Marcia Hines, Julie Anthony, and Australian Idol's Paulini, Guy Sebastian and Casey Donovan. You will have seen Carrie as a featured soloist on the 2005 show performing the pumping and thumping gospel belter, "He's All Over Me".
International experience features in Carrie's career with a successful six month season at the Hilton Hotel, Tokyo in 2004. As lead singer of Le Nouveau, she performed at the prestigious St Georges Bar and delighted the international and local patrons of this highly regarded nightspot.
Carrie recently completed a nine-track CD that she recorded with some of Australia's finest musicians. This CD showcases Carrie's ability to deliver classic songs with emotional depth and beauty and has earned her glowing reviews from all who hear the music!

1. BONNIE RAITT - Enmore Theatre, Sydney, February 2004
Prior to this gig, I was relatively unaware of Bonnie Raitt. Of course I knew of some of her mainstream hits, but I was wholly unprepared for the impact that her talent as an artist and performer would have on me. The whole atmosphere of the night was set up superbly by the support act of Jon Cleary. His trio infused the Enmore with foot-stomping New Orleans funk and soul. And then Bonnie came on stage. She had such presence and command in every song that she performed. As lead singer, lead guitarist and bandleader, she does it all with such an earthy and humble nature. And her band played together as a brilliant unit and even featured Jon Cleary on keys and backing vocals. Playing her massive catalogue of songs that encompass blues, folk, rock, country, pop and funk, Bonnie just kept on giving to the performance and to the audience. My favourite part of the gig was when the house lights were up, and with satisfied smiles we, the audience, were going home, and Bonnie walks back on stage and humbly asks if she could play one more tune. I've never seen an audience move so quickly back into their seats! She played us one more. I think it was "Angel of Montgomery" and it was the perfect final gift of an outstanding performance.

2. DEE DEE BRIDGEWATER – Iridium Club, New York, February 2002
I arrived in New York on Valentine's Weekend, and was eager to check Time Out to see who was playing. Well… What a weekend it was to be! Luther Vandross, Oleta Adams, and Cassandra Wilson were all in town, but I was most excited to see that Dee Dee Bridgewater would be playing at Iridium. So, on a cold Sunday evening I made my way to Broadway and 51st Street to catch her gig. This intimate club was perfect for Dee Dee, as she thrives on connecting with her audience and brings them with her on the musical journey. She is a truly innovative and spontaneous jazz performer, which was illustrated by the infectious interplay she had with her trusty band, led by her long time collaborator, keyboard player Thierry Eliaz. She even called up her ex-husband, trumpet player and arranger, Cecil Bridgewater, for a few songs that they had recently recorded. She performed a lot of songs off her album "Live at Yoshi's", like Cherokee, Love For Sale, and Midnight Sun, and I was astounded by her ability to create such diverse sounds and pictures with her tone and choice of notes. And the natural exuberance that features on her recordings was also in full flight, and I am yet to see a more energetic and dynamic performer!

3. ROY AYERS - Ronnie Scott's, London, January 2005
Finally I was going to a show at the famed Ronnie Scott's! And to see an artist that I had wanted to see for a long time, singer and vibes player, Roy Ayers. A fellow singer and I had secured front row seats in the already intimate venue, and after the under whelming support act, we were ready for Roy and his band, and we were not to be disappointed. The first song blew us away! The band was just so tight and pulsing with cohesive energy that we just smiled the whole nightlong. Every song was a different musical trip, and the band played through the different feels and rhythmic patterns with ease and effortless mastery. As the bandleader, Roy knew when to hold the reigns and when to let the young lions roar! The outstanding drummer "Leadfoot" Troy Miller kept the whole band together, and the guitarist Tony Smith poured raw and unabashed rock energy into the already mixed melting pot of musical flavours. The band played two lengthy soulful sets and after hearing the old favourite Everybody Loves The Sunshine and many others, my friend and I left Ronnie's inspired and satisfied to no end.

4. JOY YATES – "Global Vocal Focal" Concert Performances
Joy Yates is an amazing singer whose career has spanned over four decades and has taken her all around the world from her home in New Zealand and finally to Sydney, Australia, where she has built up a school nurturing young singers with her husband, master pianist, David MacRae. For the last 11 years, Joy and David have put on an annual workshop called "Global Vocal Focal". This weekend-long workshop began as a relatively small event culminating in one concert but it has now evolved into a highly intensive program featuring three immense performances. And it is these concert performances that never fail to thrill me. From the young singers performing in public for the first time to the semi-professionals really nailing "it" and the more senior singers reclaiming their space as an artist, the concerts are often filled with false starts and tears, but with the amazingly supportive musical foundation of the band led by David, there is always a great sense of achievement, satisfaction and joy. I love these concerts because they allow you to remember where you came from and all that your have learnt, and let you dream of where you want to go.

5. NATALIE COLE - Blue Note, Tokyo, June 2004
I was doing a six-month contract gig in Tokyo and Natalie Cole and her band happened to be staying at the hotel I was working at! So after meeting some of her band members, me and my band members decided to go to see their gig at the Blue Note. I was well aware of the success that Natalie had had with her Unforgettable:With Love album, and was eager to see her perform. I was not disappointed. She is a true professional, and her performance was a complete "show". From the band playing as such a tight musical unit, to the song choices and arrangements, to the way Natalie held herself, I was constantly impressed with the combined skill of the whole production. But putting aside the polished exterior, I was most affected by Natalie's rich tone and intonation and her ability to deliver each song with emotional depth. She is a true star.

Paul has been steadily building his reputation on the Australian jazz and improvisation scene as an individual voice in trumpet and composition since graduating from the Victorian College of the Arts in 1995 with a Bachelor of Music (Jazz Improvisation), the year he also was awarded the Ivan Oliver Scholarship. He currently leads the Paul Williamson Sextet, and has released four CD's through Newmarket Music: Non-Consensual Head Compression (2001), Talk It Up (2002) and Mutations (2003), for which he received an Australia Council Presentation and Promotion Grant. In May 2005 Paul recorded On the Surface, In the Core with his sextet with the assistance of an Australia Council Presentation and Promotion Grant. He was also the recipient of a New Work Grant to compose new music for a chamber ensemble.
In addition to his original projects, Paul is actively involved in playing, composing, and recording with various collaborations and projects. Currently these include: Los Cabrones, Jamie Oehlers Quintet, Trumpet A-Go-Go with Scott Tinkler, Rumberos, and Bingo Wings with Grabowsky/ Bloxom/ Oehlers and Aravena.
In 2003, he was a finalist in the National Jazz Awards. He was also the recipient of an Australia Council 'Skills and Art Development' grant. He has studied with Dave Douglas, Ingrid Jensen, Bill Frisell, George Lewis, Mark Feldman, James Genus and Jason Moran at the 2004 Banff International Workshop.
Paul has played at many major Australian jazz festivals and workshops, including Wangaratta International Jazz Festival, Melbourne International Jazz Festival, St Kilda Festival, WOMAD, Montsalvat Jazz Festival, Melbourne International Brass Festival, Sydney Bacardi Latin Festival, Apollo Bay Music Festival, Brunswick Street Festival, and the Chapel Street Festival. He has also toured Noumea and China with Los Cabrones.

'It's hard to choose a top five as most gigs/ performances have very special and memorable moments. I have restricted myself to improvisation-based gigs. These particular five gigs have stuck out in my memory for their spontaneity, group interaction, and the powerful unified group identity (sound) they projected.'

1. WAYNE SHORTER QUARTET - Melbourne Concert Hall 2005
The dynamic power of Brian Blade, Jason Moran, and John Patittucci provided a great vehicle for the effortless flow of Wayne Shorter's ideas. The bands interaction and openness to go in any direction with the music was pure joy to this listener!

2. WALLACE RONEY – in N.Y, 1996.
Whilst I'm not a big fan of Wallace's recorded material, I was blown away by the conviction and energy, which he and his band played live - very raw and exciting. Wallace was really stretching out beyond his uses of chromatic idiosyncrasies. The band included Lenny White, and Geri Allen and they went hard!

3. ROY HARGROVE SEXTET - at the Village Vanguard, 1996.
Whilst the band played straight ahead tunes imbued with many cliches, they played with so much spirit and fun it became infectious to the listener – in the same way one becomes an instant fan when they hear Australia's own, the Hoodangers. Hargrove's Sextet that night was a perfect example of the saying 'it's not what you play, but how you play it'.

4. DAVE DOUGLAS QUARTET at Banff 2004.
This gig highlighted the power of two great leaders – Dave Douglas and Bill Frisell, both endowed with the power to draw the band (James Genus, Clarence Penn) with them on wild and fiery journeys. Frisell's industrial and highly personal guitar effects were beautifully integrated into revamped music of both leaders.

5. SCOTT TINKLER TRIO at Capers in 1999.
Playing to a small audience in possibly the wrong venue for the music, the trio featuring Adam Armstrong and Simon Barker were 'on' from the first note irrespective of the environment. As a listener it felt like every technical and musical venture they tried worked – one of those nights when everything clicked.

Al has been a highly regarded professional trumpet player in Sydney for 20 years. Originally from Melbourne with brass band and traditional jazz roots he arrived in 1986 to do the Conservatorium jazz course. Studying under James Morrison, Roger Frampton, Paul McNamara and Judy Bailey etc he developed a firm grounding in the more modern styles of jazz. With recognition as one of the truly versatile musicians in Sydney, Al is at home playing authentic 'trad' jazz, be bop and beyond, Latin, and is an established lead trumpeter in big band sections. He has recently independently released his first CD 'Sleeping in', stylistically in tribute to his traditional roots but plans to leap ahead many years for his next recording coming very soon. More information is available on his website.

1. FREDDIE HUBBARD - Adelaide 1983
The most memorable gig I ever witnessed was Freddie Hubbard. I'd just joined the 3MD Melbourne Army Band and we were in Adelaide for a few days. The 'jazz heads' in the band told me Freddie was playing that night. "Freddie who?" I replied. I'd never heard of him or heard any live contemporary jazz so I didn't understand a thing he was playing, but the shear power and audacity of this bear of a man blew me away. I likened this experience to people hearing a young Louis Armstrong for the first time in the early thirties.

2. BOB BARNARD at the Melbourne Jazz club, 1984
Accompanied by Neville Stribling and Ade Monsbourgh who both played riffs all night behind Bob's beautiful lyrical soaring cornet. Magical!

3. JAMES MORRISON – Tivoli Jazz Club, Copenhagen July 23 1987
Ones debut hearing of James is like 'What the ………'. He was booked into the Tivoli Jazz Club (part of a giant amusement park) for two nights. I missed the first night as I was checking out the park. James' audience was small on the first night but word had got around and the second night was full, with many musicians who had bought their horns. I'd heard James countless times so it was interesting seeing the reaction of the locals. James fires under pressure and it was 'take no prisoners'. As the night wore on the locals drank heavily in disbelief, and all horns were pushed securely under seats. The encore was a beautifully executed left hand piano/ right hand flugal ballad that reduced some of the audience to tears.

4. JOE COCKER at the Festival Hall Melbourne, Oct 1972
Joe had been arrested in Adelaide for possession of marijuana and was facing deportation, so they squeezed his last two concerts into one night. I was 14 but still got to the 2nd (midnight) concert. Not having any weed and probably totally pissed off, Joes other vice; 'alcohol' came to the fore. Joe was introduced and staggered to centre stage. With a dozen cans of Fosters at his feet and bottles of spirits strewn around on amps, he swayed during solos to any bottle and glugged heartily. Miraculously he reeled back to the mike just in time; every time, to deliver. And he DELIVERED!

5. NICK HEMPTON at the Unity Hall Hotel Balmain, Jan 8th 2006
Guesting with the Dan Barnett Big Band. His solo on 'Apple honey' – astonishing! This guy has the whole package!

Having released her highly acclaimed, debut album in 2005, Virna Sanzone is emerging as one of Australia's finest singers. Born in Sydney to a Sicilian father and an Armenian / Chaldean mother, Virna graduated from the Sydney Conservatorium of Music in 1998, where she studied with Australian greats including Mike Nock, Judy Bailey & Kerrie Biddell, attaining a Diploma in Jazz Studies. Since that time she has worked consistently, both in Australia and overseas, rapidly winning the admiration and respect of audiences and contemporaries alike.

Opening for Ernest Ranglin / Monty Alexander and Roy Ayers on their most recent tours, and having worked with the likes of Paul Mac, Paul Capsis, Jackie Orszaczky, and a who's who of Australian jazz luminaries, Virna has been an integral part of projects that have seen her move across a diverse range of genres, including jazz, soul, world music and a cappella to name a few. She has appeared as a guest vocalist with both local and international artists including Lulo Reinhardt, grand-nephew of the great Django Reinhardt, South African singer and freedom songwriter, Vusi Mahlasela, and the recently reformed Australian "acid jazz" band, D.I.G. She has also featured with some of Sydney's most respected bandleaders, including Jonathan Zwartz, Judy Bailey and most recently with Matt McMahon at the Darling Harbour Jazz Festival.

Virna has performed at festivals around the country, including the Melbourne Women's International Jazz Festival, the East Coast Blues Festival and the Bellingen Global Carnival. Aside from her own album, she appears on various recordings including bassist/composer Steve Hunter's album, "Condition Human", both as soloist and in duet with Jackie Orszaczky. Virna's self-titled, debut album was originally commissioned by ABC Jazztrack, and features some of Australia's finest, including Matt McMahon, Sam Rollings, Brett Hirst, Hamish Stuart, James Greening and Phil Slater.

Virna is currently working on material for her second album.

"Writing about music is more difficult than it seems. There have been so many moments in my life when I have found myself moved by a sound that, although I may have been able to notate it, identify it's time signature or the key in which it was played, I would never be able to fully explain the sensation it gave me or my reaction to it. So I've done my best…

Five is a small number. Unfortunately I had to leave out some musical experiences that gave me goose bumps and brought tears to my eyes - like the traditional music I heard emanating from a church in Aitutaki, Cook Islands in November 2005, and the Addicts Rehabilitation Choir that I heard in Harlem in April 1999. It was difficult enough to narrow it down to five so here they are in chronological order."

1. RAY CHARLES at the New Orleans Jazz and Heritage Festival April 25th, 1999.
Perhaps it was the festival atmosphere, or the fact that I was in New Orleans for the first time, or maybe the remnants of the unusually stubborn, feverish condition (intensified by the heat and humidity of that city) that had landed me in Tullane Hospital a few days earlier, and only went away when I saw the price of the medicine that was supposed to cure me. I cured myself, and just in time. Ray Charles was everything I could have imagined and more. This was totally unrestrained and joyful performance - had there been a roof it would surely have lifted. I feel so fortunate to have had the opportunity to witness the greatness of Ray Charles, in an environment where he was clearly at ease. This is a memory I will treasure like an old family heirloom.

2. JON CLEARY AND THE ABSOLUTE MONSTER GENTLEMEN at Ernie K-Doe's Mother In Law Lounge, New Orleans April 28th 1999
Gospel and soul music has been a huge influence for me ever since I was a very young girl and something I naturally gravitated towards. I had been immersed in the most sublime gospel music during this trip, so by the time I got to Ernie K-Doe's Mother In Law Lounge my ears were primed. I had never heard of Jon Cleary prior to this gig - I recall being shuffled off in a taxi with some friends to a part of town that looked a bit deserted. The venue was small and packed with people and I found myself wondering what I was doing there. Then the music began and I didn't wonder any more. This band was straight out of church with the deepest groove and singing the most beautiful harmonies. I would hear the band many times in Australia in subsequent years, but that gig was like catching a wave for the first time - totally thrilling.

3. DIANNE REEVES at The Blue Note, New York City, May 1999
I knew her name back then, but I had never heard Dianne Reeves sing before. Fortunately the venue was the perfect size to allow for the intimacy of this music. She revealed herself to be a totally engaging performer with a beautiful spirit, big tone and a technical facility and depth of expression that I had only heard on recordings up until then. The arrangements were loose enough to allow for plenty of space and the band was supportive and sensitive. In hindsight I realise that what I heard that night embodies a great deal of what I aim for in my own singing and arrangements, and in the musicians I gravitate towards. It took me a while to come down from my high after this gig.

4. SHIRLEY HORNE at La Cigale, Paris, 9th July 2003
I feel as though I had only just begun to discover the greatness of Shirley Horne when I saw her at La Cigale, and was terribly sad last year when I heard she had passed away. She was in a wheelchair for the duration of this performance, but the physical barrier did not translate into the music in the slightest. This was one of the most grounded performances I have ever heard and the closest thing to perfection I think I have encountered. Shirley Horne's mastery of phrasing was fully evident - nothing was sung that didn't need to be sung, and yet nothing was left out. There was a rare spaciousness and purity to this performance that made it a very moving experience for me.

5. THE ALCOHOTLICKS Jazzgroove Association Night, Excelsior Hotel, Surry Hills, late 2004
There are so many wonderful musicians and great bands in Sydney and this is definitely one of them. The Alchohotlicks have a raw energy that, combined with their collective skill and the freshness of their ideas, makes for a very exciting performance. The core of the group consists of Ben Hauptmann and Aaron Flower, both on guitar, and Evan Mannell on drums - their special guest guitarist on this particular night was James Muller. The instrumentation may be unusual, but so is the intensity that their performances generate. Everyone in the packed Excelsior Hotel seemed to be glued to their seats at this gig. This was one of the most satisfying musical experiences I can recall having in my hometown.

World Music pioneer Kim Sanders has performed/recorded with Gypsy wedding bands in Macedonia, with the Libidorr Jazz Band in Gambia, as a soloist on National Radio in Bulgaria and at the Jintai Museum in Beijing, with the Istanbul State Modern Folk Music Ensemble in Turkey, with Phanari tis Anatolis in Greece and in Indonesia with singers Oppie Andaresta and Setiawan Jodi. He has also worked with Bulgarian singers The Bisserov Sisters, Zimbabwean mbira-player Stella Chiweshe, Iranian singer Bahar and Turkish singer/saz-player Zülfü Livaneli. In Australia he has performed with Silvia Entcheva (Bulgarian), Brassov (Gypsy jazz), GengGong (Indonesian), Trio Dingo (multicultural), Chichitote (Latin American), Aziz N'Diaye (African), Nakisa (multicultural), Far Seas (Persian), Descendance (Aboriginal/Islander) and Flamenco Dreaming (Spanish/Aboriginal).

Kim also works with his own small ensembles, known collectively as Kim Sanders & Friends. See the review of Kims Sander's latest release Trance'n'Dancin on our website.

"There have been many other memorable gigs: Frank Zappa (tight!), Ray Charles (Ray was great, the band was great, the Raelettes were great!) and Jethro Tull ("feeling like a dead duck, spitting out pieces of his broken luck") all at the Hordern Pavilion in the 70's (why can't I remember the dates?) Also many Bernie McGann gigs at Jenny's Wine Bar and Morgan's Feedwell in the 70's and early 80's, Nadka Karadzhova bringing tears to the eyes at a concert in Sofia in 85 (Bulgarians know how to do a slow tear-jerker), Okay Temiz and his Magnet Band kicking ass in Istanbul in 93, Archie Shepp in Istanbul in 94 (sweet, heart-wrenching ballads), Miles at the Entertainment Centre (was it 91? editors note 27th & 28th April 1988) - he only played eleven notes all night, but bejasus they were nice ones - and the Salvos round the corner from my house in December 05, a cameo from a bygone era before real estate values had become more important than basic human rights…

Read our May 2007 review of Kim Sanders and Friends live at the Sound Lounge

1. ROLAND KIRK at The Basement, Sydney (73?)
He had played a great gig at the Town Hall: manzello, stritch, three horns at once and all. Word was that he would be sitting in at the Basement later, so I went down and waited. After an hour or so The Great Man arrived, Galapagos Duck had the decency to give the stand over to his band, and for over an hour non-stop Rahsaan Roland Kirk played tenor sax like a banshee. People were screaming.

2. THE LAST STRAW their last gig at The Pinball Whizz, Sydney (74?)
A feature of The Last Straw's residency at the Whizz was McCoy Tyner's tune "Atlantis", but this was only the starting-point. John Clare improvising crazed thought-dreams about derelict civilizations and underwater themes, rhythm-section (John Pochee, Jack Thorncraft, Tony Esterman) firing, Bernie McGann and Ken James going further and further out and all the musicians bouncing off each other like molecules in a gas on a flame, the punters totally tranced out…

3. IVO PAPAZOV, somewhere near Sofia, Bulgaria, 84
Officially there were no ghettos in Bulgaria in 84, but someone took us to a wedding at the Gypsy ghetto that didn't exist, because "the best clarinet-player in all of Bulgaria" was playing there, a guy called Ibryam Hapazov (even Gypsies and Turks had to have proper Bulgarian names at that time). Even though the combination of crappy PA, volume and reverb both up to 11 and tin shed acoustics, you could hear him wail! Definitely not Milesesque. He later became familiar in the West as Ivo Papazov.

4. UNKNOWN GROUP IN DACCA, Senegal, June 1985
I was tired. I'd been on the road for 15 months, living out of a rucksack and dealing with Ramadan in Turkey in summer (long, hot days), arrested in Jugoslavia for alleged spying and in Greece for busking in the subway, battling the beastly Bulgarian bureaucracy (had to leave the country five times), practising gaida in a tent in sub-zero temperatures, learning several foreign languages…and suddenly there I was in Africa, 35 degrees, someone put a big spliff in my hand and I had to smoke it (so as not to cause offence), then it was off to the local big tin shed, where the band asked me to sit in and it felt so sweet…that was a nice gig and I was in it!

5. DULWICH HILL PRIMARY SCHOOL BAND, Nov 98
But the one that moved me most was at my daughter's primary school concert. A group of little kids (it was their first gig) played one note (Miles Davis eat your heart out): "D", all within a semitone, it made me cry…"

New Zealand born pianist/composer Mike Nock is one of the acknowledged masters of jazz in Australasia. His reputation rests partly on his imposing international experience which includes ....

* twenty-five years working in the USA with many of the world's top jazz musicians such as: Coleman Hawkins, Yusef Lateef, Dionne Warwick, Michael Brecker, etc...
* a large catalogue of critically acclaimed, internationally released recordings
* his role as leader of the 1970's seminal jazz-rock group The Fourth Way
* a substantial body of original compositions in print and on recordings

Widely recognized for his abilities, his honours include the New Zealand Order of Merit ONZM in 2003, for services to jazz. His most recent recording Mike Nock's BigSmallBand LIVE ( ABC/Jazz ) was voted Australian contemporary CD of the year at the 2004 Australian Bell Awards and he has twice won New Zealand Jazz Re-cording of the Year ( in 1987 for OPEN DOOR, a duo recording with drummer Frank Gibson Jr., soon to be re-released on CD, and in 1989 for his trio CD, BEAUTIFUL FRIENDSHIP ) He was awarded top piano/ keyboard honors at the Australian Critic's Awards in 1991,'92, & '93 and his quartet won Australian Jazz Group of the Year at the 1991 MO awards.

Recipient of three US National Endowment Fellowships for composition ( 1972, 1975 & 1978 ) in 1999 he was awarded a two year Australian Arts Council Fel-lowship. From 1996 to 2001 he was music director of Naxos/Jazz records, over-seeing the production of more than 70 critically acclaimed jazz CDs, from all corners of the world.
The Jazzgroove recording The Jazzgroove Mothership Orchestra plays the music of Mike Nock was released in January 2006. Read our review of Mike Nock’s duo album with saxophone great Dave Liebman on Birdland records ‘Duologue’

"Where to start and what to include? This list of five memorable gigs could have easily been a lot longer, starting with the El Rocco's early days" .......

1. ORNETTE COLEMAN at the Five Spot NYC 1961.
In 1961, fresh off the boat from England, I found myself listening to Ornette Coleman at the original Five Spot, a very small club in downtown New York. Don Cherry was playing trumpet, Ed Blackwell drums and Jimmy Garrison on bass. Musical bliss!

2. MILES DAVIS QUINTET WITH FREDDIE HUBBARD at the Village Vanguard NYC
The first time I heard Miles Davis was at the Village Vanguard with Wynton Kelly, Jimmy Cobb, Paul Chambers and Hank Mobley. Miles allowed trumpeter Freddie Hubbard to sit in for much of the night, which was an in-teresting comparison with the master. The music of course, was sublime.

3. SONNY ROLLINS TRIO at the Village Vanguard NYC
Another memorable gig was hearing Sonny Rollins with his trio, bassist Henry Grimes and drummer Roy McCurdy, at the Vanguard, one Sunday afternoon. I don't remember anyone else soloing, but everything Sonny played that day sounded inevitable, like a great symphony. The kind of musical experience one dreams about.

4. STEVE LACY WITH ROGER FRAMPTON at the Basement
I heard Roger Frampton display his awesome talents countless times, but the time I felt his genius really shone through was at the Basement with saxophonist Steve Lacy, John Pochee and Steve Elphick. It was at a late stage of his illness and Roger rose to the heights of his genius, playing like a man possessed.

5. MICHEL PETRUCCIANI
I went to a piano concert where the first hint I had of something different was the strange contraption someone brought out and at-tached to the piano pedals. This person then re-appeared with a bundle in his arms which he deposited at the piano, which turned out to be Michel Petrucciani. I remember thinking - if this guy can play anything worth hearing it would be OK, as the only things normal sized about him were his hands and head. Was I in for a surprise. It was an awesome performance. God was truly in the house that night!

Sandy Evans is recognised as one of the leading saxophonists (tenor and soprano) and composers in contemporary jazz in Australia. She leads the Sandy Evans Trio, and co-leads the internationally acclaimed Clarion Fracture Zone. She is a member of Ten Part Invention, The catholics, the Australian Art Orchestra, austraLYSIS, The Kristen Cornwell Quintet, Guy Strazzullo's Passionfruit and Kim Sanders and Friends. With percussionist Tony Lewis and koto player Satsuki Odamura, she co-leads the innovative world music trio Waratah. In 2004, together with composer Tony Gorman Sandy launched a new 8 piece ensemble GEST8. Sandy's composition Testimony about the life and music of Charlie Parker with poetry by the Pulitzer prize winning American poet Yusef Komunyakaa has been a highlight of her career in recent years. Testimony, commissioned originally by ABC Radio, was premiered by The Australian Art Orchestra in the Concert Hall at The Sydney Opera House for The Sydney Festival in January 2002.

Some of Sandy's Awards include:
2003 Designer Rug Bell Award for Australian Jazz Artist of the Year
1997 Australian Recording Industry Association Award (ARIA) for Best Australian Jazz Recording -Playground by Bernie McGann
1996 Young Australian Creative Fellowship. (Sandy was one of ten young Australian artists to receive this award, colloquially known as a "Baby Keating")
1996 ARIA Award for Best Australian World/Folk/Traditional Release - Ruino Vino by MARA!
1995 APRA Award for Jazz Composition of the Year for her suite 'What This Love Can Do'
1996 Mo Award for Jazz Performer of the Year in and for Female Jazz Performer of the Year in and three ARIA Awards.
1993 Mo Award for Female Jazz Performer of the Year
1990 ARIA Award for Best Australian Jazz Recording -Blue Shift by Clarion Fracture Zone

Sandy's biography was obtained from her website www.jazz-planet.com/sandy

"I want to preface this by saying that I had to choose five gigs out of 100s that have stood out over my years listening to and loving jazz. These aren't the "definitive" best, but rather five I chose because if I didn't settle on something, you'd never get to read this!"

1. THE BENDERS AND MARK SIMMONDS FREEBOPPERS At the Paradise Room Darlinghurst Rd, Kings Cross 1982
I'm cheating a little bit here to squeeze 2 bands into one gig. I was lucky enough to see both of these bands many times at this legendary Kings Cross venue in the early 1980s. These two bands were probably my biggest formative influences. Seeing them live over a period of several years when they were at a high point in their development was a great thrill for me.
The line up of The Benders was Dale Barlow- tenor (Jason Morphett replaced Dale later when Dale went overseas)
Chris Abrahams - piano
Lloyd Swanton - bass
Andrew Gander - drums
The band always put on fantastic high energy performances, inventive, contemporary music of the highest level of skill. I couldn't get enough of this band.
The line up of The Freeboppers varied but always included the extraordinary tenor virtuoso Mark Simmonds. With a golden sound that could express the infinite power of the universe Mark took my young ears on many adventures to deep and exciting worlds. Some of his outstanding collaborators in the Freeboppers at that time were Greg Sheehan (drums), Miroslav Bukovsky (trumpet), Kees Steen (guitar) and Rob Gador (bass).

2. CECIL TAYLOR TRIO at the Brecon Jazz Festival, AUGUST 1992 (I think)
I went to a workshop with Cecil Taylor in New York in 1986 where he spent the best part of 2 hours reading his poetry in an inaudible mumble from behind the piano. An interesting happening........but when I finally got the chance to hear him perform live I was completely blown away. This was at the Brecon Jazz Festival in Wales during Clarion Fracture Zone's second European tour.
I mostly remember this performance for Cecil's extraordinary inventiveness, sustained intensity and colourful dialogue with drummer Tony Oxley.

3. HUGH MASEKELA AT WORLD EXPO in Aichi, Japan, July 2005.
It was a heat wave in Japan in the middle of summer, perhaps a fitting climate in which Expo was to celebrate Africa's National Day. I trudged down to the gargantuan Expo Dome, which was of course miles away from where I was performing. I wasn't expecting a whole lot of this gig, mainly because of the Stadium acoustics which I thought would make it hard to have any meaningful experience of the music. Boy was I in for a surprise! Hugh Masekela's songs and stories about liberation in South Africa, his beautiful flugelhorn playing and his funky and sensitive band made this gig incredibly moving. Hugh is an artist whose vast experience of life combines with his musical talent to communicate a very profound humanity.

4. HERBIE HANCOCK QUARTET WITH BRANFORD MARSALIS, RON CARTER AND AL FOSTER, The North Sea Jazz Festival Mid 1990s
I kept crossing this gig off my list to try to fit others in, but in the end it had to stay because it was simply the best jazz playing on standards I've ever seen. These four musicians really had a good time playing together. They sounded like old friends who were totally relaxed with themselves and each other. They took standard jazz tunes and language as their starting point and went wherever the musical ideas took them, creating beauty and groove every steep of the way. The kind of gig you never want to end.

5. WILLEM BREUKER COLLECTIF
A Festival somewhere in Germany, 1986
I have included this gig because it's the most I've ever laughed in my life! Use these guys instead of Prozac.