This section includes essays on various jazz subjects, written by a number of writers. Contributions are welcome. Writers interested in contributing are welcome to contact the editor by filling out the form in the CONTACT tab. Photographs to illustrate those essays are welcome. Readers can click on the INDEX button for a list of articles in this folder.
MOVING ON: THE LIFE AND MUSIC OF BRIAN BROWN
Music education kit by Lorraine Milne, published by the Australian Music Centre
Reviewed by Ted Nettelbeck
April 11, 2019
Lorraine Milne is a pianist, composer and musical director whose commitment to music includes a life-long interest in jazz. She has long and very extensive experience as a music teacher in Victorian schools, within diverse forms of theatre, ABC radio and Musica Viva. She has produced many music resources, curriculum materials and personal development courses for music education at primary, secondary and tertiary levels. Currently an Associate Artist with the Australian Music Centre, she has designed this jazz music education kit for use by teachers to engage secondary school students in jazz participation.
CANBERRA’S SOUTHERN CROSS CLUB
by John Sharpe
Canberra Times, March 12, 2008
Retired elder statesman of Australian jazz, Graeme Bell says, “Among Sydney musicians it is regarded as a status symbol to be able to say that you had performed at the Canberra Southern Cross Club.” Bell was the first interstate jazz musician to play at the club and his band opened and closed the inaugural jazz series in 1980. Since its inception the Southern Cross Club has provided a wide variety of entertainment for its members and the Canberra public, but over the years jazz has held a special place, evidenced by the fact that a jazz series has been incorporated in its programming for the past 27 years…
THE GREAT AUSTRALIAN BASSISTS: MELBOURNE'S GEOFF KLUKE
by Adrian Jackson
Jazz Magazine, July/August, 1983
Before he moved to Melbourne in April, I had never heard Geoff Kluke play, but heard plenty about his playing — all of it to the effect that he was a truly exciting talent. Over the last few months, I have heard Geoff with Brian Brown, One Step Ahead, the Nichaud Fitzgibbon Quintet and with Bernie McGann, and on each occasion his playing has been nothing short of excellent. He gets a good, thick tone on the bass, his sense of time is impeccable, he knows how to drive a rhythm section, and how to respond to a soloist; and his solos are full of virtuosity, taste and daring…