JOHN CLARE

This section is dedicated to the work of John Clare, who began writing in the early 70s, and has long been regarded as the doyen of Australian jazz writers. Helen Garner, in her preface to Clare's book Take Me Higher, describes how she used to cut out his writings under his Gail Brennan pseudonym and paste them into her diary. Originally she thought the articles were written by a woman. She describes his writing as "superbly literate and articulate, deeply informed, yet completely ordinary in tone, even at their most elated. A relaxed freedom flowed through everything he wrote. He was fearless. He rejoices. He celebrated. Years later, an art critic who admired him said to me: John Clare’s an ecstatic.” Many of John Clare's articles that were published previously in various publications are collected here. Click on the INDEX button for a list of articles in this folder.

AUSTRALIAN JAZZ IS ALIVE AND WELL AND BRINGING IN THE CROWDS

by John Clare

National Times, February 23-28, 1976

“Now, to these people who’ve been asking why we don’t play some jazz”  - a friend claims to have heard this announcement on Sydney’s rock radio station, 2JJ - “Can you imagine how boring it would be if we played jazz on this station?” As far as I know, 2JJ is under no obligation to play any jazz – though Chris Winter sometimes does — and the graceful way of dealing with a request should surprise no-one familiar with the personality involved... What did surprise me was the implication that there were enough enquiries to warrant any sort of reply…

DALE BARLOW: RETURN OF THE NATIVE

by John Clare (Gail Brennan)

Sydney Morning Herald, November 29, 1990

Dale Barlow's exceptional musical abilities were apparent at an early age, but he never seems to have been tempted to use them as a show business turn. Thus, he is not exactly a household name in Australia, but his single-mindedness has brought him success at the highest international levels. Barlow was, of course, the tenor saxophonist in the last band led by the late Art Blakey. On an earlier visit to America he was recruited by distinguished pianist and bandleader Cedar Walton. Back home for a month of concerts, he gave what amounted to a sneak preview at the Harbourside Brasserie. Despite the absence of publicity, the venue was full. What we heard was a honed and more intense presentation of the familiar elements of Barlow's style, plus a new and effective use of space, and a heightened sense of dramatic structure…

ROBIN EUBANKS ALEX DEUTSCH DALE BARLOW JAN GARBAREK

by John Clare (Gail Brennan)

Sydney Morning Herald, January 7, 1992

In a recent article we were told that Dale Barlow is being hailed in the United States as the new Coltrane. You could find some clown in America who would say that. Barlow is no Coltrane imitator (although that was once a danger), nor is he a comprehensive genius and sweeping innovator, as Coltrane was. In fact he has found his own important voice by studying pre-Coltrane tenor saxophone masters, such as Dexter Gordon and Hank Mobley. That Barlow's CD could be mistaken for an early 1960s Blue Note indicates a degree of traditionalism, vitality and sheer excellence that no Australian album of the past 12 months can match…