ÿþ<!-- saved from url=(0022)http://internet.e-mail --> <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> <html> <head> <title>Jazz and Beyond - the Number One Australian music e-zine. News, gig guides, reviews, interviews.</title> <meta name="description" content="Jazz and Beyond - Gateway to Australian Jazz and Blues. 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<a href="#KimSanders"><font color="white">Kim Sanders</a>&nbsp;&middot; <a href="#SergeErmoll"><font color="white">Serge Ermoll</a>&nbsp;&middot; <a href="#BarneyMcAll"><font color="white">Barney McAll</a>&nbsp;&middot; <a href="#Evans"><font color="white">Sandy Evans</a>&nbsp;&middot; <a href="#SeanCoffin"><font color="white">Sean Coffin</a>&nbsp;&middot; <a href="#AdrianJackson"><font color="white">Adrian Jackson</a>&nbsp;&middot; <a href="#SpikeMason"><font color="white">Spike Mason</a>&nbsp;&middot; <a href="#AndrewRobertson"><font color="white">Andrew Robertson</a>&nbsp;&middot; <a href="#KevinJones"><font color="white">Kevin Jones</a>&nbsp;&middot; <a href="#MarkIsaacs"><font color="white">Mark Isaacs</a>&nbsp;&middot; <a href="#CampbellNgao"><font color="white">Judy Campbell & Bandika Ngao</a>&nbsp;&middot; <a href="#CatherineHunter"><font color="white">Catherine Hunter</a>&nbsp;&middot; <a href="#SteveMcKenna"><font color="white">Steve McKenna</a>&nbsp;&middot; <a href="#LloydSwanton"><font color="white">Lloyd Swanton</a>&nbsp;&middot; <a href="#GerardMasters"><font color="white">Gerard Masters</a>&nbsp;&middot; <a href="#Sanzone"><font color="white">Virna Sanzone</a>&nbsp;&middot; <a href="#Pochee"><font color="white">John Pochee</a>&nbsp;&middot; <a href="#Ind"><font color="white">Peter Ind</a>&nbsp;&middot; <a href="#Sinatra"><font color="white">Deana Sinatra</a>&nbsp;&middot; <a href="#Galeazzi"><font color="white">Michael Galeazzi</a>&nbsp;&middot; <a href="#Cutlan"><font color="white">Paul Cutlan</a>&nbsp;&middot; <a href="#Muller"><font color="white">James Muller</a>&nbsp;&middot; <a href="#Cunningham"><font color="white">Adrian Cunningham</a>&nbsp;&middot; <a href="#Waylan"><font color="white">Sean Waylan</a>&nbsp;&middot; <a href="#Nock"><font color="white">Mike Nock</a>&nbsp;&middot; <a href="#Keegan"><font color="white">Matt Keegan</a>&nbsp;&middot; </b></div> </td> <td background="bitmaps/bg_text.gif" width="76%" class="text" valign="top"> <!-- TEXT --> <h3>&nbsp;Interviews with<br> </h3> <table cellpadding="5" cellspacing="0"> <tr> <td colspan="2"><a NAME="Index"> <ul type="circle" class="maintext"> <li><A HREF="#SimonTedeschi">Pianist Simon Tedeschi 6/06/2008</a><br> <li><A HREF="#KimSanders">Band leader Kim Sanders 4/05/2008</a><br> <li><A HREF="#SergeErmoll">Pianist and band leader Serge Ermoll 2/12/2007</a><br> <li><A HREF="#BarneyMcAll">Pianist Barney McAll 15/10/2007</a><br> <li><A HREF="#Evans">Saxophonist Sandy Evans 26/10/2007 and 14/11/2004</a><br> <li><A HREF="#AndyFiddes">Trumpeter and composer Andy Fiddes 19/10/2007 and 2/07/2006</a><br> <li><A HREF="#SeanCoffin">Saxophonist and composer Sean Coffin 23/09/2007 and 20/08/2006</a><br> <li><A HREF="#TonyGorman">Saxophonist, composer and arranger Tony Gorman 09/09/2007</a><br> <li><A HREF="#TimBruer">Pianist Tim Bruer 11/05/2007</a><br> <li><A HREF="#AdrianJackson">Wangaratta Jazz Festival Artistic Director Adrian Jackson 29/05/2007</a><br> <li><A HREF="#SpikeMason">Saxophonist and band leader Spike Mason 29/04/2007</a><br> <li><A HREF="#AndrewRobertson">Guitarist Sam Rollings and saxophonist Andrew Robertson 29/04/2007</a><br> <li><A HREF="#KevinJones">Jazz critic Kevin Jones 29/04/2007</a><br> <li><A HREF="#MarkIsaacs">Pianist and band leader Mark Isaacs 15/03/2007</a><br> <li><A HREF="#CampbellNgao">Judy Campbell & Bandika Ngao 4/02/2007</a><br> <li><A HREF="#CatherineHunter">Vocalist Catherine Hunter 8/10/2006</a><br> <li><A HREF="#SteveMcKenna">Guitarist and band leader Steve McKenna 10/09/2006</a><br> <li><A HREF="#LloydSwanton">Bassist and band leader Lloyd Swanton 23/07/2006</a><br> <li><A HREF="#GerardMasters">Pianist and band leader Gerard Masters 28/05/2006</a><br> <li><A HREF="#Sanzone">Singer Virna Sanzone 02/04/2006</a><br> <li><A HREF="#Pochee">Drummer/leader John Pochee 10/11/2005</a><br> <li><A HREF="#Ind">Musician and writer Peter Ind 1/10/2005</a><br> <li><A HREF="#Sinatra">Deana Sinatra 4/9/2005</a><br> <li><A HREF="#Galeazzi">Bassist Michael Galeazzi of the Java Quartet 24/7/2005</a><br> <li><A HREF="#Isaaks">Classical/jazz pianist/composer Mark Isaacs 12/6/2005</a><br> <li><A HREF="#Cultan">Saxophonist/composer Paul Cutlan 29/5/2005</a><br> <li><A HREF="#Muller">Guitarist James Muller 24/4/2005</a><br> <li><A HREF="#Cunningham">Saxophonist and clarinettist Adrian Cunningham 24/4/2005</a><br> <li><A HREF="#Wayland">Pianist/composer Sean Wayland 17/4/2005</a><br> <li><A HREF="#Masters">Gerard Masters 5/9/2004</a> <br> <li><A HREF="#Campbell">Singer/bandleader Judy Campbell 14/11/2004</a><br> <li><A HREF="#NOck">Pianist and composer Mike Nock 25/7/2004</a> <br> <li><A HREF="#Keegan">Saxophonist Matt Keegan 18/7/2004</a> <br> </ul> <hr width="100%" size="2" color="brown"> </td> </tr> <tr> <td colspan="2"> <table cellpadding="0" cellspacing="0" align="justify" class="maintext"> <!--//////////////////////////////////////////////--> <tr> <td> <A NAME="SimonTedeschi"><b>Peter Wockner's interview with pianist Simon Tedeschi 6 June 2008</a></b><br> <table><td><img src="bitmaps/SimonTedeschi.jpg" width=180></td> <td class="maintext"> <p><b>&quot;& one of the best musicians of his generation worldwide&quot; - Leslie Howard</b></a></font><br> <a href="http://www.simontedeschi.com">Simon Tedeschi</a> is quite often described by respected critics and musical peers as &quot;one of the finest artists in the world&quot; making the young pianist's mark on music both undeniable and admirable.<br> 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.<br> 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.<br> While working with the <b>Melbourne Symphony Orchestra</b> 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.</td></table> More recently, Tedeschi was awarded a <b>Centenary of Federation Medal</b> 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 <b>Young Jewish Pianist Award</b> and was featured in 'New York's Emerging Artist' series held in New York's Museum of Jewish Heritage.<br> In 2000, Tedeschi signed a recording deal with <b>Sony Music Australia</b> 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.<br> The versatility and scope of Tedeschi's appeal is exemplified by having shared the stage with numerous acclaimed musicians, including jazz pianist <b>Kevin Hunt</b>, jazz violinist <b>Ian Cooper</b> and flautist <b>Jane Rutter</b>, 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.<br> 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.<br> Highlights of his career include meeting and playing for Pavarotti, aged 13 years and working with <b>Musica Viva Australia</b>  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.<br> 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 <b>Queensland Symphony Orchestra</b> under the baton of Richard Bonynge, which was released in September 2005.<br> 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<b> Tadeu Coelho</b> and Cellist <b>Trish O'Brien</b>. 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 <b>Royal Highnesses the Crown Prince and Princess of Denmark</b>. Tedeschi was later invited back to Nagoya, Japan, to perform in EXPO Hall for International Marine Day.<br> Charitable performances and commitment to worthwhile causes have been most prominent in Tedeschi's career. Among these special performances includes playing for the <b>Dalai Lama</b> 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 <b>Roving Ambassador for The Australian Children's Music Foundation </b>and the patron of the <b>Bowraville Cultural Festival.</b><br> 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 <b>Archibald Prize</b>, one of Australia's oldest and most prestigious art awards, for her work entitled Simon Tedeschi Unplugged. He is also attached to the <b>Oscar-winning movie 'Shine'</b>, playing the hands of acclaimed pianist <b>David Helfgott</b>.<br> In 2007, the piano virtuoso returned from the USA to Australia for a two piano recital with <b>Roger Woodward</b>, 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 <b>Benjamin Northey.</b><br> Tedeschi also recorded the Mozart Piano Concerto K488 with the <b>Tasmanian Symphony Orchestra </b>under Alexander Briger. He performed in the Sydney Opera House in September 2007 as part of the <b>APEC</b> (Asia-Pacific Economic Co-operation) Cultural Event, in front of hundreds of world leaders and presidents including <b>George W Bush</b>, <b>Vladimir Putin</b>, Chinese President <b>Hu Jintao</b> and Japanese <b>Premier Shinzo Abe</b>.<br> 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.<br> <b>Peter Wockner:</b> What do you recall about the first moment you realized that jazz could be another passion for you? <br> Simon Tedeschi: I realised when I was about 15, when I first heard Fats Waller play on recording. Like with classical piano, it was an instant, organic spark that took hold of me and never relented.<br> <b>PW:</b> What are the specific qualities of jazz that initially attracted you to it?<br> <b>ST:</b> The rhythm (of course), the forward movement and the harmonic logic of it. The sense of joy! <br> <b>PW:</b> Who are your main jazz influences and do they necessarily have to be piano players? <br> <b>ST:</b> Working with Kevin Hunt has been a major influence in my musical life - not only necessary within the 'Jazz' idiom, but in every way - spiritually and holistically. Working with Ian Cooper has shown me that classical virtuosos CAN get an amazing jazz groove. Ralph Sutton is a huge hero of mine. For me, he combines both refinement and gusto to such a degree. For later styles, Monk, Tommy Flanagan, Lennie Tristano. In terms of other instrumentalists, our own Bob Barnard is a melody machine...I still listen to him and wonder how much musical beauty can exist in one man! But I could go on....Michel Camillo, Mark Isaacs, Don Burrows, Chuck Yates... <br> <b>PW:</b> Of course there are numerous other classical pianists who have also forged a pathway in jazz; eg Michel Legrand, Andre Previn, our own Mark Isaacs. Where do you want to take this and how are you defining your style? <br> <b>ST:</b> I am still at the rawest, most formative stages of this exciting language. I want to take this to where I already feel I take Mozart and Beethoven (on a good day) - to a level of recreation at every performance. I am defining my style by listening to everybody I can, practicing slowly and trying to emulate the sounds of voices and horns. <br> <b>PW:</b> Most jazz players have an obsession about creating their own identifiable sound on their given instrument, is that necessarily important to an artist playing classical music? <br> <b>ST:</b> I would say that it is equally important for me as a classical player, especially in a time when classical musicians have been so streamlined. There was a time when you could recognise the sound of a classical pianist and immediately identify who he/she was. However, whether improvising or not, it is vital to have your own voice - organically, not affectedly. It can't be rushed. <br> <b>PW:</b> How would you describe your jazz sound? <br> <b>ST:</b> My sound is still growing and developing. It s a work in progress. <br> <b>PW:</b> Does composing for jazz come easy for you? <br> <b>ST:</b> I have done no composing at all - for some reason, it is just not part of my musical landscape. <br> <b>PW:</b> At only 26 years of age, there is no doubting your level of accomplishment in classical music. Do you see yourself striving to similar levels of accomplishment in jazz? What would those benchmarks be? <br> <b>ST:</b> It s still too early for that! I am only setting myself benchmarks that relate only to sound production and style.<br> <b>PW:</b> Do you find it difficult to cross genres within a single performance? <br> <b>ST:</b> Not at all. It's one of my weird quirks that I am able to take off one hat and put on another with minimum fuss. <br> <b>PW:</b> Do you have any special regimen prior to a performance to get yourself into a certain jazz or classical frame of mind? <br> <b>ST:</b> If I am playing jazz, I need to drink a beer. One day it all came to me in a flash why these great players drink alcohol before a performance. They are as tense as I am! It might sound obvious to most, but it was a bit of an epiphany for me. However, classically - if I was playing a concerto with orchestra, for instance, it would be a disaster, because it would ruin the controlled tension that is an inherent part of the creative process. <br> <b>PW:</b> In a jazz sense, what is on the horizon for Simon Tedeschi? <br> <b>ST:</b> More work with Kevin and Ian. Working with Judy Carmichael in NY. Doing a NSW Jazz Action Society gig later this year with some of my favorite performers. It doesn't get any better! <br> <A HREF="#Index">Back to Index</a> </b><br> <hr width="100%" size="2" color="brown"> </td></tr> <tr><td height="5"></td></tr> <tr><td class="myline" valign="top">&nbsp</td></tr> <!--//////////////////////////////////////////////--> <tr> <td> <A NAME="KimSanders"><b>Frank Presley's interview with band leader Kim Sanders 4 May 2008</a><br><br> <table><td><img src="bitmaps/KimSanders.jpg" width=160> </td> <td><font color=brown><b>'...Duke Ellington once said that there were only two types of music: good music and bad music...'<br><br> <a href=../sound/KimSanders.mp3>Listen whole interview</a></font></td></table> <br><A HREF="#Index">Back to Index</a> </b><br> <hr width="100%" size="2" color="brown"> </td> </tr> <tr><td height="5"></td></tr> <tr><td class="myline" valign="top">&nbsp</td></tr> <!--//////////////////////////////////////////////--> <tr> <td> <A NAME="SergeErmoll"><b>Frank Presley's interview with pianist and band leader Serge Ermoll 2<sup>nd</sup> Dec 2007</a><br><br> <table><td><img src="bitmaps/SergeErmoll.jpg" width=160> </td> <td><font color=brown><b>'...Revolution is always bloody...'<br><br> <a href=../sound/SergeErmoll.mp3>Listen whole interview</a></font></td></table> <br><A HREF="#Index">Back to Index</a> </b><br> <hr width="100%" size="2" color="brown"> </td> </tr> <tr><td height="5"></td></tr> <tr><td class="myline" valign="top">&nbsp</td></tr> <!--//////////////////////////////////////////////--> <tr> <td> <A NAME="BarneyMcAll"><b>Peter Wockner's interview with pianist Barney McAll 15<sup>th</sup> October 2007</a></b><br> <table><td><img src="bitmaps/BarneyMcAll2.jpg" width=220></td> <td class="maintext"><b>Peter Wockner:</b> You're album <i>Mother of Dreams and Secrets</i> [MODAS] came to bear fruit by recording the rhythms remotely, but authentically in the heart of Cuba and then having the melodies juxtaposed in New York.&nbsp; Is any of this<br>'layering' happening in your new album with Kurt Rosenwinkle and if so <br>how will this translate to live performances in Australia?<br> <b>Barney McAll:</b>This new album &quot;Flashbacks,&quot; is more live with the layering happening on the fly in the studio...  I did add some textural stuff to it but its more about playing in the moment with the whole band. &nbsp;There are some rhythmic layers I may have enhanced after the fact as well but not to the extent I did on MODAS.  This new CD is a different animal but I really like what it appears to be. As far as playing the material live, its going to be a lot of fun and will translate well... hopefully it will have the same effect that the MODAS stuff did which is that people relate to the rhythmic foundation and want to tap their feet as... well as their brains...<br></td></table> <b>PW:</b> You've been working with Kurt Rosenwinkel for some years now.  What is it about his playing that fits with the sound you are trying to create?<br> <b>BM:  </b>Well I toured Kurt s &quot;Heartcore&quot; album with him and before that I worked with him in a few situations in NY, but I have always found his sound to be a statement relating to the present moment. When I would go to hear Kurt I would often be moved, emotionally as well as amazed with his virtuosity...why was that? What moves people musically anyway? Why do you get goose bumps? its hard to say , its so subjective but I personally am moved by Kurt's music.  Kurt and Mark Turner (Tenor Sax) very consciously set out to develop their own language and they have embarked upon an original journey that I can relate to and that I aspire to. I remember reading an interview with Timbaland where he was saying that he and Missy Elliot took years to find and refine their own sound...and wouldn't stop until they had... <br> Gary Bartz told me that when he was learning his instrument it was only about creating an individual sound and copying was frowned upon. Miles Davis said that he felt sorry for those people still re-hashing what he did in the 60s and that they were like folk musicians confined to playing in museums and &quot;local as a mofo&quot;.&nbsp; Miles said &quot;a man can t go back into his mother's womb&quot; ...Long and short of it is that Kurt has such a beautiful and distinctive sound of his own&nbsp; <br> and his sense of music has influenced me so much...he really gets to the core of his music...so I'm just stoked to have him interpret my music, maybe some of it will rub off!<br> <b>PW:</b> &nbsp;Yes a leading Sydney based pianist recently told me how much he was influenced by the guitarist James Muller; not only for his playing but also for his compositional talent. &nbsp;The guitar has really moved to the forefront of jazz hasn'tit?<br> <b>BM:</b> I don't know about the guitar but certain guitarists!...for sure.<br> <b>PW:</b> The National Jazz Awards have become an important jazz institution <br>in Australia. You're success at the National Jazz Awards 17 years ago<br>was one of your first major stepping stones.&nbsp; In hindsight, how<br>important was that win in cementing the early stages of your career?<br> <b>BM: </b>Competitions are tragic in some ways because they're so merciless...<br> especially since music can be so unpredictable with what comes to you on a certain day...so I was just glad I won on the day and it gave me enough money to study and hang out in NY. It gave me confidence too and I suppose confidence can create motivation. It s interesting how much music has changed since that first competition, I was really impressed with last years piano competition because It seemed to me that the Australian players had so much individuality to their playing whereas it feels like when I did the competition, there was more blatant plagiarism.<br> <b>PW:  </b> In reviewing your last album 'Vivid' in 2006,&nbsp;I proposed that it would also appeal to followers of that poorly chosen term 'World Music'.&nbsp; Has the inclusion of more regional music in 'Mother' and 'Vivid' widened your audience?<br><b>BM:</b>I don t know about that...sometimes I wonder about audiences anywhere these days.  I feel like it s hard to be noticed on a radar screen that is completely covered in green blips....no blip brighter than another...thanks to myspace and youtube and illegal downloading and everyone s home CD making kits... I certainly didn't set out to widen my audience by delving into other cultural musics, I just starting hearing things that way... and ideally I would like to create another radar screen, a fresh one. Maybe I should start a website called <a href="http://ourspace.com/" target="_blank">ourspace.com</a> that funnels its advertising monies to each artist on the site?...because I feel like sites like myspace are destructive ...as well as... sort of useful. Sort of.<br> They are certainly destructive in the way they destroy focus and act as a narcissistic and convenient decoy from stuff that s going on&nbsp;in our&nbsp;world today, the immense corruption seems to be looked over.  Sorry, I m getting off track here but I just read an article in Harpers by Naomi Klein called disaster capitalism <br> which I would highly recommend. That's it, off my soapbox.  Getting back to your actual question! I do enjoy playing this new music myself and I suppose that enjoyment translates to audiences...I've certainly gotten very positive responses from those last two recordings.....and I feel like I'm finding my way with each new recording.<br> <b>PW: </b>&nbsp;You raise an interesting point in relation to these networking sites. &nbsp;Are you saying that they are contributing to the lack of personal contact between people or even reducing live music audience levels?</span><br> <b>BM:</b>Yes , I'm saying that its seems like people are connecting on these sites but in actual fact they create a less 'nutritious' text to text relating as opposed to person to person relating. &nbsp;It sort of fractures relationships because it edits out anything you might not want to reveal and you can portray yourself as anything really but this means you don't have to deal with the truth.  I remember where Carl Jung said you have to relate in some way to ten people every day in order to know who you are, to get and accurate sense of self.  In his book &quot;the Cult of the Amateur&quot; Andrew Keen sites an example of one myspace band that had literally millions of hits and millions of downloads on youtube and myspace but.. they didn't make a cent!... and they couldn't book a tour of their cyber popularity either.  That's amazing to me and telling.<br> <b>PW:</b> You've composed a considerable amount music for other mediums, <br>particularly film.&nbsp; How has this influenced your improvisational skills as a pianist?<br> <b>BM:</b>  Well film writing has helped me to understand further all the myriad of things music can mean, how many possibilities there are for one sound against another, different sounds against certain images...I have been learning a lot about just how much sound can influence perception when melded well with film. I love the three dimensional aspect of film.&nbsp; I ve always loved the way Wayne Shorter composed for images in his mind or for certain head spaces and I can hear that in his music...he has described these things in interviews and on some of his record or CD covers and you can hear the place he's composing to or improvising to in a way. I suppose one of the best things about composing with images in mind, or...trying to manifest some dreamscape or memory with your music is that you get away from theory and you are describing something with music and this creates some other flow. This to me is interesting although there's more than one way to skin a cat of course. Studying counterpoint is also one of them. <br> <b>PW: </b> In a city as rich in culture as NYC, do you ever tire or find yourself short on inspiration?<br> <b>BM</b>: I feel grateful for all the external stimulus I have had in NY over these years. I am especially grateful for all the wonderful playing experiences I have had and the meeting of these hardcore musician freaks who have shown me just how dedicated you can be. Two words. Ben Monder! I do however feel like going out less and just delving inwards a little more these days. I go out and check some stuff out in NY but not like I used to. I love the energy in NY for sure but it has without a doubt changed here and I think the political situation on a global scale and the new technological extremes we have reached have put creativity itself in a holding pattern for a bit... It feels like poker players waiting for at least someone to show a hand and then a domino effect of creative response will follow. Maybe the 2008 elections in the US will show a hand and things will shift...will a&nbsp;new Miles Davis emerge. Kanye West? I don't know...This is of course my own weird angle on things but it feels like we are in a transition period, a germination period globally and when whatever finally flowers, we will see what has been growing...NY can also surprise you like no other place. Time moves fast here it seems and next thing you know, everything I just said is irrelevant. <br> <b>PW:</b> &nbsp;People have been waiting for years for the next Miles Davis. &nbsp;With the relevance of jazz today, can another influence like Miles emerge and be recognised?<br> <b>BM:</b>  A new Messiah, I mean Miles Davis doesn't have to appear in the Jazz world. Jazz seems to have morphed further and further into all sorts of other categorisations anyway, but I believe there could be a new artist with that much influence and well, magic ...and that artist could emerge at a crucial time (like now)&nbsp;as a sort of healer shaman freak whose music or art could get us through and be recognised. That's what Miles did, amongst other great artists. I hope people will always recognise someone like that but as I say it s more difficult because the radar screen is completely green.<br> <b>PW:</b>  You've been based in New York City now since 1997, what do you<br>miss about Australia&nbsp;and in indeed the Australian music scene?<br> <b>BM:</b>  Well I recently did a recording in here in NY with fellow Aussies Steve Magnussen, Julien Wilson and US musicians Jim Black and Mark Helias. Steve, Jules and I pottered about in my basement and experimented with the music they were writing&nbsp;before we rehearsed with Jim and Mark.  It was really so much fun to explore with them and we moved this piano I found on the street down there which my American friends refused to do! It was eye opening to be work shopping again with fellow Australians... I don t know why but it felt really good and they are such top notch&nbsp;players... it was a reminder of my music making in Australia and how&nbsp;that was. I can pinpoint what it is but there is a different kind of freedom I experienced& ..When I fly back to OZ, which I'm about to do to make this tour, I always look at the land when we finally fly over dry land...and the land color and everything about it has this ...ring of familiarity to it. It s like that with many people who grew up somewhere and then return I suppose but&nbsp;that sensation is a good way to explain what I miss;&nbsp;it s my home and you can t beat it. It just is. There are fewer venues and fewer musicians in Australia obviously but there is a lot of fertile stuff going on in OZ and I m looking forward to connecting with it all. I will be in OZ from Nov until mid Jan.<br> <br>&nbsp;<b>PW:</b>  What future plans do you have musically and are you now based in<br>NYC indefinitely?<br> <b>BM:</b>&nbsp;&nbsp; I still haven't decided and I may not have in another ten years... but if the republicans steal another election next year, that will make up my mind for me. I would leave&nbsp;the US&nbsp;to avoid the actualization of Madmax..  There are too many Hummers on the streets as it is.  As for future music plans, I would like to get more involved with film writing and I have a number of things on the horizon along those lines. I mostly would like to have some time to practice and develop as a player, but these days that is difficult.  I intend to do some private teaching in Australia while I'm there and at the same time get into some composing and shedding. I want to learn to play kalimba as well<br> <b>BARNEY MCALL Septet  featuring KURT ROSENWINKEL- NOVEMBER  07 AUSTRALIA TOUR</b>&nbsp;<br> One of Australia s finest and most dynamic jazz practitioners, ex-pat New York based pianist <b>Barney McAll</b>, joins forces with one of the world s great innovative jazz guitarists <b>Kurt Rosenwinkel</b>, in a collaborative US/Australia national tour between 1 and 12 November to include Sydney, Wangaratta Festival of Jazz, Brisbane Powerhouse Jazz Weekend, Melbourne and Darwin. &nbsp;<br> The music of Barney McAll blends Afro Cuban Rhythms and ethereal melodies to create hypnotic, interlocking landscapes of sound. <b>This Australian tour will also see the CD Release for Barney's new CD&nbsp;&nbsp; recorded in New York and featuring Kurt Rosenwinkel on guitar.</b> &nbsp;<br> The touring group s line-up comprises some of Australia s best jazz musicians:&nbsp;<br> &nbsp;<br> <b>Kurt Rosenwinkel</b>  Guitar - (US)&nbsp;<br> <b>Barney McAll</b> - Piano, Chucky - (Aus/US)&nbsp;<br> <b>Shannon Barnett</b>  Trombone - (Aus)&nbsp;<br> <b>Sam Lipman</b>&nbsp;&nbsp;&nbsp; - Tenor Saxophone - (US/Aus)&nbsp;<br> <b>Javier Fredes</b>  Percussion - (Aus)&nbsp;<br> <b>Phillip Rex</b>  Bass - (Aus)&nbsp;<br> <b>Danny Fischer</b>  Drums - (Aus)&nbsp;<br> The tour schedule:<br> <b>Thurs: </b>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <b>1 Nov: Sydney The Basement </b>- <a href="http://www.thebasement.com.au/" target="_blank"><b>www.thebasement.com.au</b></a> </span><br> <b>Frid/Sat:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2&amp;3 Nov: Wangaratta Festival of Jazz  </b><br> <a href="http://www.wangaratta-jazz.org.au/" target="_blank"><b>www.wangaratta-jazz.org.au</b></a></span><br> <b>Sun:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 4 Nov: Brisbane Powerhouse Jazz Weekend - </b><a href="http://www.brisbanepowerhouse.org/" target="_blank"><b>www.brisbanepowerhouse.org</b></a></span><br> <b>Wed/Thurs:&nbsp; 7&amp;8 Nov: Melbourne Bennetts Lane - </b><a href="http://www.bennettslane.com/" target="_blank"><b>www.bennettslane.com</b></a></span><br> <b>Sat:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 10 Nov: Darwin Entertainment Centre  </b><a href="http://www.entertainment.com.au/" target="_blank"><b>www.entertainment.com.au</b></a></span><br> <b>&quot;Kurt Rosenwinkel is one of the finest and most creative jazz guitarists playing today&quot;</b>&nbsp;<br> &nbsp;- John Scofield &nbsp;<br> <b><i> Barney McAll is a musical conjurer of the highest order</i></b>  &nbsp;<br> &nbsp; -CMJ REVIEW<br> <b><i> There was a virtual absence of familiar bop riffs, extended bop harmonies or&nbsp; precise bop rhythms. Instead, Rosenwinkel's pieces offered&nbsp; turbulent, thickly textured waves of sound, mostly produced by&nbsp; Barney McAll's impassioned keyboard work . </i></b>&nbsp;<br> &nbsp; - LOS ANGELES TIMES&nbsp;<br> <b> McAll displays an immediate feel for each pattern and the stamina to sustain them without sounding automatic. McAll also &nbsp; contributed some of the most successful solos, playfully blending his parts of the arrangements with bleeding voicings and darting accents&quot;&nbsp;<br></b>&nbsp;&nbsp; -THE BOSTON GLOBE&nbsp;<br> &nbsp;<br> <b>About&nbsp; BARNEY MCALL - </b><a href="http://www.barneymcall.com/" target="_blank"><b>www.barneymcall.com</b></a><b> - </b><a href="http://www.myspace.com/barneymcall" target="_blank"><b>www.myspace.com/barneymcall</b></a><b> </b>Pianist/composer Barney McAll moved to NYC from Australia in 1997 to join Gary Bartz' band and continues as a member of the Gary Bartz quartet as well as with the Josh Roseman Unit, Fred Wesley and the JB's and &quot;The Groove Collective&quot; who were nominated for a Grammy this year for &quot;Best Contemporary Jazz Recording &quot; for their album &quot;People People Music Music&quot;.&nbsp; Barney wrote eight tracks on this recording and continues to compose for film and various other projects as well as lead his own band. &nbsp;</span><br> Barney&nbsp; McAll s tenure in New York has&nbsp; afforded him the opportunity to perform/record/tour with the likes of: Kurt Rosenwinkel, Billy Harper, Jim Black, Maceo Parker, Vincent Herring, Matt Wilson, Bernie Worrell, Ben Monder,&nbsp; Billy&nbsp; Kilson, Charlie Hunter, Kenny Garrett, Vernel Fornier, Mike Clarke,&nbsp; Tim Ries, Marvin Stamm , Badal Roy,&nbsp; Stefon Harris, Wallace Roney, Seamus Blake,&nbsp; Peter Apfelbaum, Andy Bey, David Binney, Jeff Ballard,&nbsp; Louis Hayes, Gerry Gonzales, Mark Turner, Bobby Sanabria, Steve Turre ,The Groove Collective, Rodney Holmes, Jimmy Cobb, Andy Bey, Dave Gilmore, Chris Speed, Reggie Washington, Ben Perowsky, Scott Colly, Adam Rogers, Ron McClure, David Gilmore, Brad Jones, Eddie Henderson, Roy Ayers and Liberty Ellman <br> <b><i>&nbsp; Using space and simplicity, Barney McAll conjures mighty music </i></b> - KEN MICALLEF&nbsp;<br> Barney's recent solo CDs include :&nbsp;<br> <b>VIVID</b> with Badal Roy, Fred Wesley and Rufus Cappadocia&nbsp;<br> <b>MOTHER OF DREAMS AND SECRETS</b>&nbsp; recorded at Egrem&nbsp; Studios&nbsp; Havana, Cuba and nominated as best Jazz CD in the Australian 2006 Bell Awards&nbsp;<br> <b>RELEASE THE DAY</b>&nbsp;featuring Joey Baron, Gary Bartz and Kurt Rosenwinkel . Voted in the Top Ten Jazz CDs of the year : Village Voice 'Pazz and Jop' Awards, Best Newcomer CD: by Los Angeles Times music critic Don Heckman and was one of the Top Ten CDs of&nbsp; 2003 by CD now music critic Drew Wheeler. &nbsp;<br> <b>WIDENING CIRCLES</b> featuring Billy Harper, Vincent Herring and Ben Monder&nbsp;<br> <b>EXIT&nbsp; </b>featuring Jimmy Cobb, Vincent Herring, and Dale Barlow&nbsp;<br> &nbsp;<br> <A HREF="#Index">Back to Index</a> </b><br> <hr width="100%" size="2" color="brown"> </td></tr> <tr><td height="5"></td></tr> <tr><td class="myline" valign="top">&nbsp</td></tr> <!--//////////////////////////////////////////////--> <tr> <td> <A NAME="AndyFiddes"><b>Frank Presley's interview with trumpeter and composer Andy Fiddes on 23/09/2007 and 02/06/2006</a><br><br> <table><td><img src="bitmaps/Andyfiddes.jpg" width=150> </td> <td><font color=brown><b> 23/09/2007: <a href=../sound/AndyFiddes1.mp3>'...As a youngster I was a guitarist so I listened to a lot of 70's + early 80's rock...'</a><br><br> 02/06/2006: <a href=../sound/AndyFiddes.mp3>'...I don't mind hecklers, it makes the gig a lot more fun...'</a> </font></td></table> <br><A HREF="#Index">Back to Index</a> </b><br> <hr width="100%" size="2" color="brown"> </td></tr> <tr><td height="5"></td></tr> <tr><td class="myline" valign="top">&nbsp</td></tr> <!--//////////////////////////////////////////////--> <tr> <td> <A NAME="SeanCoffin"><b>Frank Presley's interviews with saxophonist and composer SeanCoffin on 23/09/2007 and 20/08/2006</a><br><br> <table><td><img src="bitmaps/CoffinBrothers.jpg" width=150> </td> <td><font color=brown><b>23/09/2007: <a href=../sound/SeanCoffin1.mp3>'...The rate of pay for musicians hasn't gone up since the 1970's...'</a><br><br> 20/08/2006: <a href=../sound/SeanCoffin.mp3>'...You don't have to live in New York to be a thriving jazz musician...'</a> </font></td> </table> <br><A HREF="#Index">Back to Index</a> </b><br> <hr width="100%" size="2" color="brown"> </td></tr> <tr><td height="5"></td></tr> <tr><td class="myline" valign="top">&nbsp</td></tr> <!--//////////////////////////////////////////////--> <tr> <td> <A NAME="TonyGorman"><b>Frank Presley's interview with Saxophonist, composer and arranger Tony Gorman 9<sup>th</sup> Sept 2007</a><br><br> <table><td><img src="bitmaps/TonyGorman.jpg" width=160> </td> <td><font color=brown><b>'...If it's a thing of beauty then it's art...'<br><br> <a href=../sound/TonyGorman.mp3>Listen whole interview</a></font></td></table> <br><A HREF="#Index">Back to Index</a> </b><br> <hr width="100%" size="2" color="brown"> </td> </tr> <tr><td height="5"></td></tr> <tr><td class="myline" valign="top">&nbsp</td></tr> <!--//////////////////////////////////////////////--> <tr> <td> <A NAME="TimBruer"><b>Frank Presley's interview with pianist Tim Bruer 11<sup>th</sup> May 2007</a><br><br> <table><td><img src="bitmaps/TimBruer.jpg" width=160> </td> <td><font color=brown><b>'Suddenly I was improvising and I [said] "That's what I want to do"...'<br><br> <a href=../sound/TimBruer.mp3>Listen whole interview</a></font></td></table> <br><br><A HREF="#Index">Back to Index</a> </b><br> <hr width="100%" size="2" color="brown"> </td> </tr> <tr><td height="5"></td></tr> <tr><td class="myline" valign="top">&nbsp</td></tr> <!--//////////////////////////////////////////////--> <tr> <td> <A NAME="AdrianJackson"><b>Peter Wockner's interview with Wangaratta Jazz Festival Artistic Director Adrian Jackson 29<sup>th</sup> May 2007</a></b><br><br> <table><td><img src="bitmaps/AdrianJackson.jpg" width=180></td> <td class="maintext"><b>Peter Wockner:</b> The Wangaratta Festival of Jazz has been an annual event now since 1990. How do you measure the success of the festival from year to year from an artistic perspective?<br> <b>Adrian Jackson:</b> My first measure is what I've heard : did the bands live up to my expectations ? Did they perform at their best ? Of course, I can't get to hear everyone who is playing at the Festival, so I also rely on feedback from others whose opinion I can trust, whether they be musicians, fans, other industry figures or reviewers.<br> I do pay attention to what is said in reviews, and of course there is also feedback from patrons, which might vary from a casual comment in the street to a letter sent to the Festival's website or PO Box.<br> <b>PW:</b> Do you think your decisions as an artistic director are more influenced by the festival attending public or by a group of jazz reviewers?<br> <b>AJ:</b> Hard to say.........as I said, I do pay attention to what certain reviewers have to say; at the same time, you can't ignore it if punters are crowded outside a venue trying to get in to hear a particular act, or staying away in droves.</td></table> <b>PW:</b> As the artistic director of arguably Australia's most important or influential jazz festival, how heavily do you feel the weight of responsibility in influencing the future direction of jazz in this country?<br> <b>AJ:</b> Well, I don't think I influence the future direction of jazz, that's a matter for the musicians themselves. I do try to ensure that the Festival reflects and presents the more interesting developments in Australian and international jazz today ; hopefully there will be some relationship between the artists I book now, and those who will come to be seen, at some future point, as having been important figures in jazz of this era or the next decade.<br> At the same time, I've always thought it appropriate to present what's new in jazz 'today' alongside exponents of earlier styles, who still have something to say ; I don't expect that to change in the near future.<br> <b>PW:</b> Do you have a longer term vision for the festival that you are working towards?<br> <b>AJ:</b> Not really.........I think the stylistic mix in the program has been about right for some time, and the program is kept fresh by the influx of new bands and artists every year, plus the ongoing development of those artists we have presented in previous years.<br> <b>PW:</b> You have no aversion to risk taking as an artistic director: (as evidence I point to last years pairing of Elliot Dalgleish and Misha Mengelberg) What is the riskiest experiment you've presented at the festival and do you believe it was a success?<br> <b>AJ:</b> I guess the biggest risk is pairing a couple of musicians who haven't played together before, or perhaps not as a duo, and hoping they can make it happen without any prior rehearsal. Most of these (e.g., Mike Nock & Niko Schauble, Judy Bailey & Sandy Evans, Paul Grabowsky & Dale Barlow, Roger Frampton & Keith Hounslow, Tony Gould & Eugene Ball, Han Bennink with Paul Grabowsy or Sandy Evans or Scott Tinkler) have in fact worked beautifully. Maybe it isn't such a risk when you're working with musicians of this calibre.<br> With regard to Misha and Elliott last year, I thought it was masterful playing, but they were on different tangents ; I tended to agree with some reviewers who thought it didn't work.....although I should add that Elliott insists that it did work, and he has offered to send me a recording of the concert to prove it!<br> There have also been projects involving players from different cities and countries (eg Horace Tapscott Orchestra, Odean Pope's Saxophone Choir, Mike Nock Project) that were put together with less rehearsal time than they required..............but still produced some memorable results......maybe even because of the added risk factor!<br> <b>PW:</b> When the 2007 festival finishes when do you start planning for the 2008 festival?<br> <b>AJ:</b> Pretty much ; although I do have to assemble a draft program for the 2008 Festival before 1 June 07, for a grant application to the Australia Council.......so you could say it's a never-ending process.<br> <br><br><A HREF="#Index">Back to Index</a> </b><br> <hr width="100%" size="2" color="brown"> </td></tr> <tr><td height="5"></td></tr> <tr><td class="myline" valign="top">&nbsp</td></tr> <!--//////////////////////////////////////////////--> <tr> <td> <A NAME="SpikeMason"><b>Frank Presley's interview with saxophonist and band leader Spike Mason 29<sup>th</sup> April 2007</a><br><br> <table><td><img src="bitmaps/SpikeMason.jpg" width=160> </td> <td><font color=brown><b>'You know it's funny - Warne Marsh was a swimming pool teacher...'<br><br> <a href=../sound/SpikeMason.mp3>Listen whole interview</a></font></td></table> <br><br><A HREF="#Index">Back to Index</a> </b><br> <hr width="100%" size="2" color="brown"> </td></tr> <tr><td height="5"></td></tr> <tr><td class="myline" valign="top">&nbsp</td></tr> <!--//////////////////////////////////////////////--> <tr> <td> <A NAME="AndrewRobertson"><b>Frank Presley's interview with guitarist Sam Rollings and saxophonist Andrew Robertson 29<sup>th</sup> April 2007</a><br><br> <table><td><img src="bitmaps/AndrewRobertson2.jpg"> </td> <td><font color=brown><b>'It's really just the music that we play and it definitely appeals to people...'<br><br> <a href=../sound/AndrewRobertson.mp3>Listen whole interview</a></font></td></table> <br><br><A HREF="#Index">Back to Index</a> </b><br> <hr width="100%" size="2" color="brown"> </td></tr> <tr><td height="5"></td></tr> <tr><td class="myline" valign="top">&nbsp</td></tr> <!--//////////////////////////////////////////////--> <tr> <td> <A NAME="KevinJones"><b>Frank Presley's interview with jazz critic Kevin Jones 29<sup>th</sup> April 2007</a><br><br> <table><td><img src="bitmaps/KevinJones.jpg" width=180> </td> <td><font color=brown><b>'The more you listen to music and the more you write about it, the more you have that knowledge...'<br><br> <a href=../sound/KevinJones.mp3>Listen whole interview</a></font></td></table> <br><br><A HREF="#Index">Back to Index</a> </b><br> <hr width="100%" size="2" color="brown"> </td></tr> <tr><td height="5"></td></tr> <tr><td class="myline" valign="top">&nbsp</td></tr> <!--//////////////////////////////////////////////--> <tr> <td> <A NAME="MarkIsaacs"><b>Frank Presley's interview with Mark Isaacs 15<sup>th</sup> March 2007</a><br><br> <table><td><img src="bitmaps/MarkIsaacs.jpg" width=180> </td> <td><font color=brown><b>'Everything I do is completely accessible to everyone...' <br><a href=../sound/MarkIsaacs.mp3>Listen whole interview</a></font></td></table> <br><A HREF="#Index">Back to Index</a> </b><br> <hr width="100%" size="2" color="brown"> </td></tr> <tr><td height="5"></td></tr> <tr><td class="myline" valign="top">&nbsp</td></tr> <!--//////////////////////////////////////////////--> <tr> <td> <A NAME="CampbellNgao"><b>Frank Presley's interview with Judy Campbell and Bandika Ngao 4 February 2007</a><br><br> <table><td><img src="bitmaps/CampbellNgao.jpg" width=180> </td> <td><font color=brown><b>'We always think of our music as World Jazz...' <br><a href=../sound/JudyCampbell.mp3>Listen whole interview</a></font></td></table> <br><A HREF="#Index">Back to Index</a> </b><br> <hr width="100%" size="2" color="brown"> </td></tr> <tr><td height="5"></td></tr> <tr><td class="myline" valign="top">&nbsp</td></tr> <!--//////////////////////////////////////////////--> <tr> <td> <A NAME="CatherineHunter"><b>Frank Presley's interview with vocalist Catherine Hunter 8 October 2006</a><br><br> <table><td><img src="bitmaps/CatherineHunter2.jpg" width=150> </td> <td><font color=brown><b>'Throughout that entire tune, I take myself on the journey...' <br><a href=../sound/CatherineHunter.mp3>Listen whole interview</a></font></td></table> <br><A HREF="#Index">Back to Index</a> </b><br> <hr width="100%" size="2" color="brown"> </td></tr> <tr><td height="5"></td></tr> <tr><td class="myline" valign="top">&nbsp</td></tr> <!--//////////////////////////////////////////////--> <tr> <td> <A NAME="SteveMcKenna"><b>Frank Presley's interview with guitarist and band leader Steve McKenna 10 September 2006</a><br><br> <table><td><img src="bitmaps/SteveMcKenna.jpg" width=150> </td> <td><font color=brown><b>'When you are playing for a German audience you can hear a pin drop most of the time...' <br><a href=../sound/SteveMcKenna.mp3>Listen whole interview</a></font></td></table> <br><A HREF="#Index">Back to Index</a> </b><br> <hr width="100%" size="2" color="brown"> </td></tr> <tr><td height="5"></td></tr> <tr><td class="myline" valign="top">&nbsp</td></tr> <!--//////////////////////////////////////////////--> <tr> <td> <A NAME="LloydSwanton"><b>Frank Presley's interview with bassist and band leader Lloyd Swanton 23 July 2006</a><br><br> <table><td><img src="bitmaps/LloydSwanton.jpg" width=150> </td> <td><font color=brown><b>'The way we compose in the studio, nine times out of ten we stare at each other and see what ideas come out...' <br><a href=../sound/LloydSwanton.mp3>Listen whole interview</a></font></td></table> <br><A HREF="#Index">Back to Index</a> </b><br> <hr width="100%" size="2" color="brown"> </td></tr> <tr><td height="5"></td></tr> <tr><td class="myline" valign="top">&nbsp</td></tr> <!--//////////////////////////////////////////////--> <tr> <td> <A NAME="GerardMasters"><b>Frank Presley's interview with pianist and band leader Gerard Masters 28<sup>th</sup> May 2006</a><br><br> <table><td><img src="bitmaps/GerardMasterstrio.jpg" width=250> </td> <td><font color=brown><b>'I usually find myself thinking "Should I be doing less?"' <br><a href=../sound/GerardMasters.mp3>Listen whole interview</a></font></td></table> <br><A HREF="#Index">Back to Index</a> </b><br> <hr width="100%" size="2" color="brown"> </td></tr> <tr><td height="5"></td></tr> <tr><td class="myline" valign="top">&nbsp</td></tr> <!--//////////////////////////////////////////////--> <tr> <td> <A NAME="Sanzone"><b>Frank Presley's interview with Singer Virna Sanzone 2<sup>nd</sup> April 2006</a><br><br> <table><td><img src="bitmaps/VirnaSanzone.jpg" width=150> </td> <td><font color=brown><b>"I really feel I have to be able to relate to the lyrics..." <br><a href=../sound/VirnaSanzone.mp3>Listen whole interview</a></font></td></table> <br><A HREF="#Index">Back to Index</a> </b><br> <hr width="100%" size="2" color="brown"> </td></tr> <tr><td height="5"></td></tr> <tr><td class="myline" valign="top">&nbsp</td></tr> <!--//////////////////////////////////////////////--> <tr> <td> <A NAME="Pochee"><b>Frank Presley's interview with drummer/leader John Pochee 10<sup>th</sup> November 2005</a><br><br> <table><td><img src="bitmaps/JohnPochee.jpg" width=150> </td> <td><font color=brown><b>"For everyone there that saw the concert, it just had everything"<br><a href=../sound/JohnPochee.mp3>Listen whole interview</a></font></td></table> <br><A HREF="#Index">Back to Index</a> </b><br> <hr width="100%" size="2" color="brown"> </td></tr> <tr><td height="5"></td></tr> <tr><td class="myline" valign="top">&nbsp</td></tr> <!--//////////////////////////////////////////////--> <tr> <td> <A NAME="Ind"><b>Frank Presley's interview with musician and writer Peter Ind 1<sup>st</sup> October 2005 </a></b><br><br> <table><td><img src="bitmaps/PeterInd.jpg" width=150> </td> <td><font color=brown><b>"It's a matter of finding yourself in the music..."<br><a href=../sound/PeterInd.mp3>Listen whole interview</a></font></td></table> <br><A HREF="#Index">Back to Index</a> </b><br> <hr width="100%" size="2" color="brown"> </td></tr> <tr><td height="5"></td></tr> <tr><td class="myline" valign="top">&nbsp</td></tr> <!--////////////////////////////////////////////////// --> <tr> <td> <A NAME="Sinatra"><b>Frank Presley's interview with Deana Sinatra 4<sup>th</sup> September 2005 </a></b><br><br> <table><td><img src="bitmaps/DeanaSinatra.jpg" height=210> </td> <td><font color=brown><b>"I picked Frank's album up, toddled over to my mother and said 'Daddy'..."<br> <a href=../sound/DeanaSinatra.mp3>Listen whole interview</a></font></td></table> <br><A HREF="#Index">Back to Index</a> </b><br> <hr width="100%" size="2" color="brown"> </td></tr> <tr><td height="5"></td></tr> <tr><td class="myline" valign="top">&nbsp</td></tr> <!--////////////////////////////////////////////////// --> <tr> <td> <A NAME="Keegan"><b>Frank Presley's interview with saxophinist Matt Keegan 18<sup>th</sup> July 2004</a></b><br><br> <table><td><img src="bitmaps/MattKeegan.jpg" width=150> </td> <td><font color=brown><b>"It wasn't just rock and it's not just Jazz. It never is. It's all just music to me."</font></td></table> <b>Frank Presley:</b><br> Matt Keegan who are your musical heroes and what are the most important things you've learnt from them?</b><br> <b>Matt Keegan: </b><br> It's such an in depth question. Off the top of my head, I guess the first saxophone player I really got into and whom I love his sound was Joe Henderson. I was a big fan of the way he sort of made a saxophone sound and the way he played Jazz and approached it. So that was a big influence and I had an album of he and John Scofield together so I started listening to those two guys and John Scofield is another big influence. Just the sort of rocky and the more funky elements that he brings to the music and through John Scofield I discovered Eddie Harris who is a fantastic saxophone player and one I fell in love with and wanted to sound like basically. Then of course there are other people like well Miles Davis of course is a really big influence in his use of space and just focus and playing. People like Stevie Wonder and I could go on. Recently I've been listening to a lot of Keith Jarrett, especially his European quartet and his American quartet not the recent one but the one that doesn't play so many standards. Not that I don't like that but I think he wrote some amazing music and I'm just sort of getting into that as well at the moment. <br><b>Frank Presley:</b><br> You mentioned Jan Garbarek recently as being an influence. <br><b>Matt Keegan:</b><br> Yeah he's in that Keith Jarrett European quartet. He's the saxophone player in that. Jan was someone when I was younger I could never get into just because his sound is very different from the general saxophone tradition. But even the sound that I like coming out of Eddie Harris and Joe Henderson and those guys. Stan Getz is someone like that I love as well. It's a dark sort of hard to describe when you're playing the saxophone sort of like a harder reed kind of sound. It sounds like you've got to make more of an effort to play the thing but Jan's is a very bright sound, it's still a very beautiful tone. I'm just learning and I got past that and I'm into his music and he's a beautiful sax player and I'm glad that he's sort of becoming more a part of me now too. <br><b>Frank Presley:</b><br> So were there some thoughts and influences with the tune 'Norway' (off the album 'Moving Sea Between')? <br><b>Matt Keegan:</b><br> Not actually, 'Norway' is more about a trip. I went to Norway and my experiences there and the beauty and the grandeur of the country. I wasn't actually no thinking of Jan at the time but I guess thinking back maybe a little bit something like that snuck in there I'm not sure. <br><b>Frank Presley:</b><br> Were you performing in Norway? <br><b>Matt Keegan:</b><br> No I didn't perform I was living in Sweden and studying music there and I was playing some music there as well but I made some friends with a group of foreigners as you do when you're in a foreign country you sort of hang out with. You don't really hang out with the locals you hang out with the other people who are foreign and a couple of those were Norwegians and so they took me to Norway on a skiing trip for a week on a remote mountain at the beginning of the alps in their grandfather's cottage with no electricity or running water and it was an amazing experience. <br><b>Frank Presley:</b><br> Matt what is the favourite part of your job performing, composing or recording? <br><b>Matt Keegan:</b><br> Well I have a favourite but each of them is a very integral part of my life and becoming more and more a part of my life and I love each of them. Recording in a good studio is every musicians, It's like being a kid in a lolly store or toy store. You go into some of these studios and there are these beautiful microphones and machines and getting a chance to record your music and get it down to tape if that's the way you choose to do it. I also love composing. Composing to me is like building something. It's like creating it. You start with a little musical phrase and out of that you develop it into like a piece of music that you start rehearsing with the band until you get it sounding or looking the way you want. Sort of like sculpting or building a table or a chest of drawers. You sort of get it just right until you're happy with it but definitely my favourite is performing and getting on stage with other people and getting into the moment and really trying to connect with the other people in the band on one level and through that hopefully out to an audience on some level I hope. <br><b>Frank Presley:</b><br> Does composing come easy to you? Dale Barlow once said that he tried to compose at least one piece once a day. <br><b>Matt Keegan:</b><br> In some ways it comes very easy and in some ways it's very hard. Often when I'm walking or having a shower that I suddenly hear something in my head and I think that's kind of cool and it's only a little bit and I'll quickly go and write it down or play it for a bit or write it down and I'll come back to it a week later or whenever I have a spare moment. Then from that musical phrase I sort of, the way I compose anyway, I build from there what logically to me comes next. I let the music dictate the way that the piece grows. I don't try and force anything on to it. So I love doing it. For me it's one of those things where you start doing something like that and you get so lost in it and hours and hours pass and you don't realise it's been so long that you've been sitting there. Your cold and hungry but still doing it. It's sort of like WHY? <br><b>Frank Presley:</b><br> You also take credit on the album for playing the maestro. What is a maestro? <br><b>Matt Keegan:</b><br> On a few albums that I've recently recorded I've been using it and my names become synonymous with this maestro and I think people think I'm some kind of power freak. "Oh the maestro leading the band". But no it's actually a box. The way I describe it, it's like a shoebox. It looks like an organ with the big buttons that say bassoon or strings and you press these big chunky buttons. It comes with a mouthpiece that you stick on your sax and you plug in a wire that goes into the box and then I run it through a whole bunch of guitar pedals and some other things to make it sound a little bit better. It takes the sound of the saxophone and puts it into an electrical pulse or whatever and makes these weird weird kind of sounds that come out of it that I really love. <br><b>Frank Presley:</b><br> So what sort of sounds are you trying to create on 'The Pint'? (from the album Moving Sea Between- Jazzgroove records) <br><b>Matt Keegan:</b><br> Well this is very early days in my maestro use. I recorded the album a few years ago now. I've developed my maestro sound since then but I was just trying to get the best sound out of the machine actually. I had something in mind a kind of drum and bassy kind of sound and some sort of keyboardy kind of sounds. <br><b>Frank Presley:</b><br> I suppose some Miles Davis influence? <br><b>Matt Keegan:</b><br> Miles was actually a big influence on my playing of the maestro because of his use with the wah wah pedal and I think that's one of the funkiest things ever so I've tried to recreate that sound that's very true with the way I play the maestro. On this I play with the wah wah pedal <br><b>Frank Presley:</b><br> There's a current trend to play the horn over top of a DJ playing the turntables. <br><b>Matt Keegan:</b><br> I do a lot of that kind of stuff as well down at the Opera Bar (Sydney Opera House) with my friend James Fletcher who is a great DJ. It's just the way the world is going no. There are not so many dance bands and things. But luckily DJ's are smart enough to realise that things are a little bit hipper if you get some live musicians in there to help the sound and it can be really fun especially if the DJ is good and can spin good beats and you can get some interesting interactions going. I use my maestro a lot in that situation. It gives me a really great chance to put some really weird effects over the strange things the DJ might be doing. <br><b>Frank Presley:</b><br> One of the first times I experiences something like that was at the Umbria Jazz Festival in 1998. A trumpet player by the name