DISCHORDS

JazzChord, the newsletter of the jazz co-ordination program based in Sydney, New South Wales, commenced in magazine form with  Edition No 11 (Jan/Feb, 1993). In Edition No 15 (Sep/Oct, 1993) a column called 'DisChords', usually written by Jazz Co-ordinator Eric Myers, was introduced to canvass issues that were currently alive in the jazz community. Generally it was a forum for the editor of JazzChord to air his personal views, and to document the achievements of the jazz co-ordination program. Additional photos, not possible in JazzChord, have been included.

DISCHORDS

A column by Jazz Co-ordinator Eric Myers

JazzChord, Oct/Nov, 1995

The sad death of John Sangster on October 26, 1995, was inevitable given that his liver cancer was diagnosed as terminal about three years ago. Still, it’s a tribute to the resilience of this remarkable man that he continued to perform until well into 1995. The last time I saw him, at Neil’s Brasserie early in 1995, he was playing the vibes as beautifully as ever. But I’m told he was often in severe pain, despite the morphine. I didn’t know John Sangster well (so never called him ‘Sango’), but I listened to a lot of his music, and our paths crossed occasionally…

DISCHORDS

A column by Jazz Co-ordinator Eric Myers

JazzChord, Summer, 1995/96

I was interested to stumble across the Summer 1995/96 edition of Café: An Interview Magazine, which included an interview with the Sydney pianist Bobby Gebert (unfortunately mis-spelt throughout as ‘Gefert’). Bobby dishes out a few serves. “There are different organisations like SIMA subsidising one portion of the industry, giving money to anyone who makes a noise and calls it avant-garde music,” he says…

DISCHORDS

A column by Jazz Co-ordinator Eric Myers

JazzChord, Mar/Apr, 1996

The Sydney Theatre Company’s production of William Shakespeare’s As You Like It was a delightful experience including, as it did, six great jazz compositions by Sydney pianist/composer Michael Bartolomei. Lyrics were by Shakespeare, and the tunes were beautifully sung by Kerrie Biddell. The backing tracks used in the production were pre-recorded by Michael on piano, with Craig Walters (soprano & tenor saxophones), Scott Tinkler (trumpet), Adam Armstrong (bass), and Andrew Gander (drums). I don’t know whether jazz has been used in this way in Shakespeare before,  but it was very effective, bringing the play to life for me…