ESSAYS

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.

THE BEAUTY OF THE FAMILIAR AND THE BEAUTY OF THE NEW

by Ian Muldoon

November 20, 2020

I’m a sucker for the familiar. As soon as I laid eyes on Diana Krall’s document called The Look Of Love (2001) which showed on its cover this seated leggy young-blonde-bimbo gazing longingly into the middle distance, leaning forward with her hands on her right tanned leg, revealed to the upper thigh, her loose black elegant evening wear, and impossibly fragile six-inch heels with delicate tiny black straps gently cradling her ankles and resting across her perfect toes, I thought this was the ideal cover for a cocktail pianist who is tapping into the nostalgia market, providing some relief for old men from the ennui of empty afternoons - this is also generally a cashed up demographic…

DEXTER GORDON: OUT OF THE CRUCIBLE CAME LOVE

by Ian Muldoon

November 28, 2020

There may be individual classical artists such as pianists which one prefers over others, as I prefer Claudio Arrau’s overall interpretation of Beethoven’s sonatas to any other artist, though Barenboim’s take on the early sonatas is so joyously beautiful and Kempff’s on the later sonatas so majestic, that one turns to them in those instances. But it’s still Beethoven… Dexter Gordon, as a person, composer, performer, in his appearance, art, manner, and presence like some warrior God of old, has enthralled me for 60 years…

BERNIE McGANN

by Bruce Johnson

2MBS-FM Stereo FM Radio Programme Guide, June, 1985

Bernie McGann was born in Sydney on June 22, 1937. His father, a drummer, used to have musicians over on Sundays to listen to jazz records, including those of Ellington, Goodman, Garner, Teddy Wilson and Waller. The young McGann became hooked and started playing drums, deputising occasionally for his father. Perhaps it was this early experience which has made him so surefooted throughout the most perilous cross-rhythms. Before he bought his own drum kit, however, he heard some saxophone on record that particularly appealed to him, and at the age of 18 he became a budding alto player…