Between 1993 and 2002, 53 editions of the bi-monthly magazine JazzChord were published as part of the National Jazz Co-ordination Program. This folder includes a selection of articles from those editions. Articles published in JazzChord appear on this site also in the JOHN CLARE, JAZZ CO-ORDINATION, BOOK REVIEWS, CONTRIBUTIONS and OBITUARIES folders. Readers can click on the INDEX button for a list of articles in this folder.
JOHN SANGSTER: AN IMPROMPTU RESPONSE TO HIS DEATH
by Bruce Johnson
JazzChord, Oct/Nov, 1995
On October 27, 1995 I tape recorded the monthly broadcast Home Cooking, to go to air the next day on 2MBS-FM. The series is devoted to special features on Australian jazz and this one was devoted to the part played by the music in the representation of national identity. The programme opened and closed with the work of Dave Dallwitz and John Sangster respectively. I described them as leading figures in the articulation of the Australian experience through jazz composition and performance. I said: “We could not conclude this survey of jazz and the sense of Australianness without reference to John Sangster…"
THE WANGARATTA FESTIVAL: A HISTORY OF ITS GESTATION
By Eric Myers
JazzChord, Jul/Aug, 1994
On May 11, 1994, ABC-TV showed the first of a series of programs filmed at the 1993 Wangaratta Jazz Festival. The broadcaster Jim McLeod, then best known for his Jazztrack program on ABC Classic FM, introduced the first program. I was very interested to hear what he said. “The Wangaratta Jazz Festival is the most important jazz festival in Australia”, said Jim, “and it has been since 1990, when the first one was hailed by the critics and the musicians, and by the public thankfully, as ‘the most exciting festival’…
ON ARTHUR JAMES RECEIVING THE OAM
by John Sangster
JazzChord, Jan/Feb, 1994
I’ve been lucky enough to have spent the first half of my life as a musician in the ‘trad’ or 'Dixieland’ idiom, where the emphasis is on dancing and having a good time, and generally whooping it up; and the second half of my life in the ‘modern’ jazz framework, where the audiences prefer to sit and actually listen to the musicians. The ten years I spent playing with, and composing for, the various groups at Arthur James’s El Rocco jazz club were, I think, highly significant, not only for my own musical development, but for a host of other ‘modern’ jazz players and composers...