Gender in music is indeed a problem, but talking about it continues to be risky business, as this university jazz students point of view above suggests. The more culturally revered and elite a musical practice is, the more sanctioned and durable are its gendered norms. This is evident in recent sexual crimes against women jazz musicians despite renewed calls for jazz as the last boys club of the music business to change.
Persistent gender injustices in jazz music are an indicator of an industry struggling to evolve. Despite calls for more disaggregated data about the gendered make-up of the music industrythere are no statistics currently available about female-identifying and non-binary musicians participation in the Australian jazz and improvised music sector. Diversifying jazz and improvisation appears to be a non-issue in Australian culture.
But addressing the exclusionary and harmful practices ingrained in jazz can inform the social change puzzle for other aspects of Australian culture where prejudice also prevails. Their work builds on the legacies of Australian artists who have been leading gender justice causes in jazz for decades, such as Judy Bailey, Judy Jacques, Sandy Evans, Andrea Keller and Sonja Horbelt.
Read more: Raising voices: Leadership from women in music benefits all. The problems regarding gender in music stem from a complex interplay of factors, including representation, sexist attitudes and behaviours, sexual misconduct and power relationships. Our initial response to this complexity is to research the experiences of tertiary music students as inheritors of the past and the leaders of the next generation. Their voices are surprisingly also absent in Australian research.
Over the past three years, there have been major interventions in gender equity at the Monash University School of Music as the means to reshape structures for inclusion. Working from the outside-in with the systems that reproduce gender bias is an essential first step towards a more just sector. Combined with work on the inside through reflective teaching and learning, the students and staff have begun the difficult and critical second steps of talking about gender in music.
Beginning the educational work to challenge gendered expectations for young musicians needs to occur as early and as often as possible. At the structural level, Monash is the only higher music education institution to intervene in gender equity through committing to the international KeyChange Pledge. These initiatives were originally met with some levels of resistance to change.
The 50 Best Australian Albums of the 90s
Male jazz music student, Monash University. Such gender threats are influenced by a zero-sum mentally that overlooks improvements for women driving success for the whole of society. Our research indicates young jazz musicians, regardless of gender, have a raft of fears associated with their identities. The Melbourne International Jazz Festival MIJF Take Note program is one educational initiative that promotes emerging female and non-binary jazz leaders by working directly with secondary school music students.
This has included award-winning female artists such Terri Lyne CarringtonKris Davis and Carla Bley, who are leading the turning tide. Research, education and music practice can align to ensure diversity in jazz is a new norm where the domination of white, middle-class, hetero, cis males is a historic moment in time, and an oddity of the past.Late nights, flickering neon and beer fueled dance freak-outs over a gravely wailing saxophone - think New Orleans meets Twin Peaks.
This is Jazz Party. An eight-piece powerhouse with a punk attitude, furious drums, soaring vocal harmonies and horns, Jazz Party features vocalist, pianist and heart breaker Hue Blanes, as well as former members of The Rackettes, bassist and cult hero Jules Pascoe and the supreme diva, Loretta Miller. Rebellious pleasure seekers and connoisseurs, Jazz Party combine New Orleans styled revelry with a punk attitude. You wouldn't be surprised to hear that this band have been cutting their teeth in dank clubs late at night through melbourne for years and years but it's nice to hear that the recorded output is seriously beautiful too.
Skip to main content. Rock N' Roll Graveyard. Played on triple j. Profile Gigs Reviews Followers. Tags new orleans gospel rock blues garage alternative indie. Website www. Bio Late nights, flickering neon and beer fueled dance freak-outs over a gravely wailing saxophone - think New Orleans meets Twin Peaks. Tommy Faith 14 Feb Triple J. Steph Hughes 19 Jan Triple J. Richard Kingsmill 06 Oct Triple J. Never been to New Orleans, but this took me halfway there.
Loving that climax. More Reviews.The 90s was one of the most exciting decades in Australian music. There were more bands than ever, all jostling for attention in a crowded but ever-so-rich music landscape. These acts generally cut their teeth playing live. Traversing our country's major highways to bring their best work to hungry young audiences in cities and towns across Australia. But many bands went one step further when it came to making records; crafting pieces of art that fast became the soundtracks to our lives.
The excellence of one Australian record would have a flow-on effect. Perhaps it was competition, or maybe just inspiration. But when one band made a great record, you could be sure there were plenty of their peers working hard to go one better. Last year we celebrated the songs of our country through the 90s, this year it's time to shine a spotlight on the albums. After countless hours of discussion and debate among the Double J team, and the ever-valuable feedback from you, the audience, we've come up with this list.
There are dozens of albums that don't appear here that easily could have. It's not until you're forced to start narrowing the focus to a mere 50 records that you realise the sheer volume of brilliant works that were made in this decade. We've all had to cut loose some of our favourite albums from this list, and some of your favourites are probably missing too. Tell us about them. To ensure we celebrate as much great music as possible, we had to implement one small caveat.
No artist was allowed more than two albums in the Top If they were to have more than one, there had to be a pretty damn good reason for it. Every single one of these works stands up as a testament to the strength of Australian music throughout the 90s. These albums are more than just grab-bags of good songs, they are focused collections that stand as great works of art.
You can stream a playback of the countdown here. Because Marvin The Albumthe record on which it appeared, is packed full of thoughtful and alluring indie-pop songs of easily as high quality. Most striking is Angie Hart's vocal out the front; a sweet, wondrous force that consistently makes you want to lean in and hear more.
Don't skip the singles, but listen beyond them as well. The music scene here in the 90s wasn't all indie guitar rock. Funk, soul, ska, jazz, reggae, and hip hop were also represented by various acts across the country. Sydney's Skunkhour managed to combine all these styles.
The group comprised two sets of siblings - the rhythm section of the S utherland brothers, plus the Larkins out front. The authentic flow of rapper Del Larkincombined with Aya's soulful melodies, quickly won them fans here as well as an international record deal. Reformations since their split demonstrates the affection still felt for them. Vika and Linda Bull were The Black Sorrows' greatest asset, broadening the band's sound and appeal at its commercial peak.
Going solo, the sisters' debut album marked the beginning of an ongoing working relationship with Paul Kelly. Producing and playing on the album, he also wrote five songs especially for them.
Reflecting their Pacific Islander heritage, the sisters pose like graceful Gauguin muses on the cover. Their gospel-raised, soulful voices blend with blues, rock, reggae and country tinged sounds. Pure, clear voices — Vika's low and gutsy, Linda's high and bright — meld into glorious harmonies, often the case with siblings but rarely done this well. The result is catchy songs with warmth at their core, both the comforting and the fiery kind.
Over half the album ended up as charting singles, its looped drums and ultra-slick production perfectly emblematic of what rock music was striving for in Let's not forget it spawned a bona-fide Aussie anthem. It almost tore the band apart, as heavy-handed producer Don Gehman frustrated members by bringing a sheen to their songs.Australia and New Zealand had long enjoyed vibrant music scenes before the '80s broke, but the decade that brought new wave seemed especially kind to artists from Down Under locales.
The two Down Under island nations contributed a wide array of styles and demonstrated unique tinges of eclecticism, all of which rounded out the decade and filled it with richness and character. One of the best, most layered guitar-centered pop bands of the last 25 years, this four-piece group made a huge splash in America inovercoming weak record label support to become a pop success rather independently. Still, while best-known for simpler numbers like "Something So Strong" and "Don't Dream It's Over," the band introduced a greater density to its sophomore release, 's Temple of Low Men.
Frontman Neil Finn has since proven himself to be one of the most prolific and moving singer-songwriters of his generation, and the band's reformation following the tragic death of drummer Paul Hester has yielded fine results so far. As a college rock stalwart during the '80s, this Australian band emphasized sonic textures to inject its music with ethereal, dreamlike qualities.
And although "Under the Milky Way" receives the lion's share of attention from mainstream music fans, the band's catalog has far more to offer than gentle, chiming pop.
Frontman Steve Kilbey's odd but mesmerizing vocals and evocative songwriting certainly define the music of the Church, but this is also one of the most capable and influential rock ensembles of the '80s. Rising out of the pub rock tradition of Australia during the late '70s, this hardworking band turned out to be Down Under's most smashing new wave success story. Riding in on the appeal of frontman Michael Hutchence's good looks and abundance of charisma, the band made some fine, underrated new wave in the early '80s before becoming full-fledged pop stars by 's Kick.
Still, for my money, the band's synth-flecked but hard-rocking earlier tunes "This Time" and "Don't Change" are its best, easily trumping the group's increasingly dance-inflected pop music released during its years of greatest success. The tragic death of Hutchence has made the INXS story even more gripping, especially given the band's continuing evolution during the '90s.
I really hate it when people use the term "one-hit wonder" incorrectly, and for some reason, that term is too often applied, always erroneously, to this tuneful bar band that dared to inject flute and saxophone into otherwise guitar- and keyboard-heavy compositions. In fact, the quintet enjoyed four Top 10 hits during a brief early-'80s career, two of them the remarkably solid "Who Can It Be Now?
I particularly favor "Overkill" and "It's a Mistake," the band's two "lesser" hits, both of which feature great guitar work. I also hate it when people present a band, a concept, or even a food as "love-it-or-hate-it.
Australian Jazz Quartet
Soap star and heartthrob Rick Springfield was able to embark fully on the career he'd always wanted inwhen his debut solo album, Working Class Dogbecame a huge hit in America. Come to think of it, artists from these two island nations seem to have in common a strong tendency to be criminally underrated. This Australian band never seems to get the appreciation it deserves for churning out a succession of not only hit singles but genuinely brilliant songs from the late '70s into the early '80s.
Tunes like "Take It Easy on Me" and "The Other Guy" may have had trouble breaking the top 10 on the pop charts, but they possess a melodic hold that persists proudly today. For whatever reason, artists from Australia, in any number of arenas, have become known for their sharp but somewhat odd senses of humor.As the jazz community bids farewell to some revered elders who passed away in Cecil Taylor, Randy Weston, Nancy Wilson, Bob Dorough, Sonny Fortune, Hugh Masekelasome intriguing new faces are emerging on the scene, bringing fresh visions and expanding the boundaries of the music in the process.
Here are a dozen to watch for in The Chilean-born musician is a bona fide triple threat—consummate guitarist, captivating singer, accomplished songwriter. The year-old Los Angeles pianist combines astounding chops and rare maturity that belies her young age on her latest album, Crime Zone. Creating an edgy blend of modern and traditional jazz, Han is pushing the music forward with her own unique vision.
It takes a lot of time and patience to internalize the essence and heartbeat of jazz. Following a three-week stint at UCLA, she began her professional career at age The expansive title track, for instance, draws its inspiration from films like Blade Runner and the Japanese animated film Akira. This record is really meant to be a statement about being rebellious but within the tradition.
One of the sparkling new voices on the jazz scene today, Swift has come to prominence in guest appearances with trumpeter Chris Botti, pianist Benny Green and fellow vocalist and Ambassador of the Great American Songbook, Michael Feinstein. Her album Lonely Woman garnered wide critical acclaim. Photo courtesy of Veronica Swift. The fiery, free-spirited trumpeter came to New York from Chicago, where she had been blending avant-jazz and punk for nearly a decade.
Her debut album Fly or Die garnered immediate attention, making her an in-demand figure on the Brooklyn-based improvisers scene. She later fell in with an avant-jazz crowd that included tenor saxophonists Ken Vandermark and rising star players like cornetist Josh Berman, vibraphonist Jason Adasiewicz, saxophonist Keefe Jackson and drummer Frank Rosaly. Stay tuned to see where this audacious new trumpet star will fly next. Photo by Peter Gannushkin.
His upbringing in the church instilled in him a passion for gospel music and he later became attracted to jazz through the music of John Coltrane and Thelonious Monk, drummers Tony Williams, Max Roach, Roy Haynes and Art Blakey and the Hartford-based alto sax great Jackie McLean, who headed the jazz department of the Hartt School of Music where Barber studied. Allen, Marcus Strickland and Abraham Burton. Offering a fresh blend of classic jazz with elements of gospel, rock, soul and fusion, Vision Ahead is the first step in what promises to be a stellar career.
Operating in this gift is how you give back to the world. Photo by Gulnara Khamatova. A native of White Plains, N. And if the harmony and rhythm are locked in, it makes for a better band. I want to connect to people like that. With the release of The Journeyhis debut recording produced by master drummer and mentor Michael Carvin, Beck pays homage to the classic straight-ahead style of jazz while infusing elements of his African roots and gospel upbringing. And his compositional skills place him in rare company among drummers.
This gentle giant is all in for the music and he understands how music can affect people. The Los Angeles native and current New York City resident is making her mark on the jazz world in a big way. But the year-old singer made an even grander entrance into the jazz world with the release of her acclaimed Concord Jazz debut, Changes.These ten CDs represent a cross-section of some of the most beautiful, exciting and dynamic music released this year — from the vocal stylings of Kristin Berardi and Vince Jones to the exquisite piano playing of Matt McMahon and Barney McCall to the hard-swinging bop of saxophonists Nick Hempton and Michael Griffin.
Two of our late, great talents are also remembered — drummer, poet, bandleader and composer Allan Vincent Browne and saxophonist David Ades. Recorded over two gigs in Februarythis moving album captures their spontaneity, strength and mercurial beauty.
Having played freely through twelve improvisations, without any master plan, he listened back.
March Paths and Streams Records. Part of what gives this album its magic is that he wrote the Sand Lines suite specifically for its members: Jackson Harrison pianoAlex Boneham bass and James Waples drums. November Earshift Music.
Released He taught piano when I studied there, and continues to do so to my knowledge. Your email address will not be published.
Save my name, email, and website in this browser for the next time I comment.
Australian Jazz Bands List
Leave a Reply Cancel reply Your email address will not be published. Stay in the loop Music Australia updates straight to your inbox Follow Like. Take a look at the latest opportunities available across the music sector.Many acts will perform a range of styles and can cater to any size of event, from a cosy duet, trio or quartet, through an impressive ten-piece big-band style setup.
Whether you want jazz that stays true to the classics to carry your guests back in time, or a unique take on jazz by transforming top 40 hits into groovy lounge music, our jazz artists have you covered. No matter what type of event you have, including a jazz band is sure to add finesse, style and class. From the sultry tones of a jazz singer to light up-tempo swing, to high energy grooves that gets guests dancing, we have the right professional talent for your event.
If you want the latest grooves, jazz artists who perform their own special takes on popular hits are an especially popular choice for events. Need help?14th AUSTRALIAN JAZZ CONVENTION, Cootamundra, December 1959
A well-selected jazz band will bring a unique and distinguished quality to their performances. So much so that you might feel as if you have stumbled on a rare and valuable find. With improvisation as their specialty, going with the flow of your event is all part of the performance for these talented jazz bands. Our performers will effortlessly adapt to the inevitable changing moods of your event to create the perfect ambience.
The sounds that weave their way through a venue from jazz performers resonate with old and young alike. Maybe this is what makes jazz an evergreen favourite for events. With such a wealth of professional acts to choose from, your biggest challenge will be to select only one!
Stylish events are made from setting the mood.