EDITORIAL There has been quite a substantial gap between editions of this eNews now - 10 weeks - mainly because we have not been able to present any live music in this period. Apart from our usual three week break over the new year, and a fortnight during the MIJF, the MJC has been presenting weekly performances for around 30 years, so this has been a very drastic departure for us!
We have still been very busy, and continued to disseminate information to both our audience members and musicians via our Facebook Page (or emails to musicians). But I did not think that readers needed yet another "A Message From Our CEO..." to tell you what we were doing to support our community (when we really powerless to provide what really was needed - performance opportunities and paid employment). While I feel that the essence of jazz is the interactions between both the musicians, and the musicians and the audience, with our rather limited finances we too have come to the point of creating a small online series as a means of supporting and promoting our musicians (while providing some paid employment).
We have commissioned three filmed concert performances from three contrasting ensembles, with all being delivered as in a concert situation.
I feel that the intimate nature of the all-acoustic Ball-Hanlon-Schulz ensemble perfectly suits the video format, while the Dasika-Carbo Quartet brings together some outstanding Emerging Artists. Peter Lamont of Hand-Made Films has produced the effort of a real artist too, with some great camera angles and a wonderful intuitive feel for the right shots for the music.
In this period the MJC has been busy with JobKeeper, 2021 MRC Artist submissions, and grant applications too, submitting for all three categories of the Australia Council's Resilience Fund (with the two larger grants almost totally and directly benefitting musicians, through Composer Commissions and concert videos).
If we were successful with all of the applications, it would benefit quite a spread of composer/ bandleaders and the musicians in their ensembles, but it would still only be a partial contribution towards a huge problem.
The Federal Government has made some effort to support musicians - they have even done the previously 'unthinkable' of giving extra funding to both the Australia Council and the ABC, specifically to provide short-term funding to artists (via the AC's Resilience Fund, and the ABC's Fresh Start commissioning program).
But considering the scale of the problem, and the number of artists affected, this level of funding is totally insufficient.
Music Victoria and some other bodies stepped up to advocate strongly on behalf of the Music Industry, and the Victorian Government obviously reacted to this with their funding support of the free online streams of high-profile pop and Rock artists in "The State of Music" (curated by Frontier Touring). The MIJF's free online shows, "These Digitial Times", are, clearly the jazz equivalent of these. While such programs have the potential to expose some local artists to a very large audience, they still are again only benefitting a small proportion of the jazz eco-system.
Adam Simmons, under his TUoA advocacy, surveyed a large cross-section of jazz musicians, and confirmed what we already suspected: that mental health is currently a significant issue within quite a large proportion of this sector.
Hopefully the donations to Support Act are being utilised to assist some of these jazz artists.
Ensuring the funding of the major companies is one obvious measure for Governments to assist the 'arts' and artists (except if like the MSO, they initially put the retaining of the Administrative staff ahead of employing the musicians), but they also need to produce something more meaningful than 'trickle down' support for those struggling independent artists. After the $60 billion 'miscalculation' in the JobKeeper program, there seems to be even less justification for not extending it to include the large number of casually employed musicians (Long-term, it would great to see a program like one in France, where jazz musicians can receive a minimum social security payment throughout the year once they can demonstrate that they are working enough gigs).
It seems to have been a particularly bleak period for the U.S. jazz scene, with the passing in recent months of so many respected and experienced artists - Jimmy Heath, Sonny Fortune, Harold Mabern, Henry Grimes, Onaje Allan Gumbs, Lee Konitz (pictured), and Jimmy Cobb, amongst others (I was unaware of the loss of Boston drummer Bob Gullotti in January, who toured here 4 or 5 times since the late '80s). Some artists whom I was fortunate to work with, and some very distinctive voices now silenced. Vale. Lastly, we are obviously looking forward to our return to gigs on June 28 at The Jazzlab, and a program to book! ▪ Martin Jackson
| Sunday, June 7, 7.30 pm, online on the MJC YouTube Channel, via a link. Tickets $10 via TryBooking Leading up to our return to live gigs at The Jazzlab, the MJC is presenting a series of three specially-commissioned filmed one-hour concerts, to be screened on Sunday nights, 7.30 pm, on the MJC’s YouTube Channel.
The first presentation is the Ball-Hanlon-Schulz ensemble, which delivered a truly beautiful concert last June at The Salon, M.R.C. (as an MJC co-presentation). This collaborative all-acoustic ensemble
has an unique sound, not only through its combination of trumpet, piano accordion and double bass, but because its draws together the diverse musical worlds of its members. Multi-award winning trumpeter Eugene Ball is a well-known jazz soloist; bassist Ben Hanlon is a young lion of the orchestral scene & MSO member; accordionist Anthony Schulz is best known for his work with Frock, and Zulya. They produce intimate dialogues and subtle interactions, performing a program of original compositions.
Tickets can be purchase here | Sunday, June 14, 7.30 pm, online on the MJC YouTube Channel, via a link. Tickets $10 via TryBooking The Dasika-Carbo Quartet, which premiered for the MJC is December, brings together three of our most promising Emerging Artists in trumpeter Niran Dasika, alto saxophonist Flora Carbo, and drummer Maddison Carter, together with experienced bassist Sam Anning. All four are bandleaders, and all contribute original compositions in this performance. Runner-up in 2017 National Jazz Brass Award at Wangaratta, Dasika received the 2019 Young Jazz Artist of the Year at the Australian Jazz ‘Bell’ Awards, and the 2019 APRA AMCOS Professional Development Award, while also being nominated for the Freedman Jazz Fellowship. Twenty-three year old Flora Carbo was a finalist in the 2019 Young Jazz Artist of the Year, and has just released her second album, VOICE. Dasika and Carbo discovered their musical empathy when both attended the 2019 Banff Workshop for Jazz and Creative Music in Banff, Canada. Tickets can be purchase here | Doug DeVries-Jex Saarelaht - CANCELLED Saturday, July 11, 8 pm at The Primrose Potter Salon, M.R.C. The premiere duo pairing of guitarist Doug de Vries and pianist Jex Saarelaht occurred casually in late 2017 at a Jazz Benefit concert, delivering one of the musical highlight performances. These two incredible musicians have a strong relationship going back decades, to Williamstown High School days. Together the musical architects of what became the Vince Jones band in the early 1980s, in following years they have worked with an A to Z of Australian and international artists. With several albums each as leader, their repertoire will feature distinctive originals, influenced by jazz and Brazilian music, from their large body of compositions.
Tickets here | THE JAZZLAB ANNOUNCES RE-OPENING ON JUNE 22 The Jazzlab is re-opening on Monday, June 22, with Andrea Keller's group. There will be a limit of 50 patrons, with an earlier start and finish time. As Club Manager, Jeremy Jankie, explains: "We're adapting as the situation unfolds, but as of the moment, doors are at 7:30 for an 8pm start with 2x 30-45min sets and a 15-20 minute break. Until the social distancing rules etc. are scaled back that's what we have to work with". | AUSTRALIAN JAZZ FEATURE in JAZZWISE MAGAZINE (U.K.) The April edition of the UK magazine, "Jazzwise" has just arrived at Australian newsagents, and it has a special feature on "Jazz Down Under" by the respected author Stuart Nicholson - "Wizards of Oz" and an interview feature with Andrea Keller - as well as a compilation CD, Australian Jazz Snapshot.
EDITORIAL Opinion: Overall, it is a great presentation, with brief information about each track from the artist/composer. The CD description states that is is skewered towards young artists (but, in addition, it is virtually all Sydney and Melbourne artists). Nicholson's article (which has the odd inaccuracy) does mention Brisbane's Trichotomy, but not included are Adelaide's James Muller, Perth's Jamie Oehlers, or successful expatriates Shannon Barnett and Troy Roberts (amongst others). Wonderful exposure for the Australian jazz scene, and especially for some younger artists (such as Flora Carbo and Niran Dasika). A great coup! | SIMA's ONLINE SERIES: "Jazz: NOW - Wired" For more than 35 years, the Melbourne Jazz Co-op and Sydney Improvised Music Association have been central in supporting and promoting Australian jazz. Collectively the two non-profit organisations have provided an unwavering platform for the presentation of local and touring jazz musicians. Established artists are championed, while emerging players are encouraged to develop their own voice. Their programs occupy a special place in the Australian arts community by celebrating innovation, excellence and the Australian sound. The impact of COVID on the live performance industry has seen artists face unprecedented circumstances and highlights the importance of organisations such as the MJC and SIMA who continue to advocate and provide opportunities for the jazz community. The digital realm means that you can now attend a Sydney Improvised Music Association performance and experience the best of Sydney’s creative artists. This year SIMA’s Jazz:NOW season will be delivered digitally bi-weekly.
Beautifully shot studio performances are paired with bonus vintage footage from the Australian jazz documentary The Pulse and features iconic artists including The Necks, Barney McAll, Darren Percival, Scott Tinkler. Opening the season on Saturday June 6, National Jazz Award-winning bassist and Thirsty Merc rocker Phil Stack meets celebrated jazz and soul vocalist Virna Sanzone, followed by the Bernie McGann Trio with Sandy Evans and the Mike Nock’s Big Small Band. Purchase the season and enjoy exclusive quality content, available to watch on demand 30 days after the event and receive a complimentary SIMA membership. Book Now! https://sima.org.au/jazznow-wired/ | ABC's FRESH START FUND Closes June 12 ABC Jazz is offering grants of $6000 for the commissioning and recording of albums of original works.This funding stream offers practical support to emerging, underrepresented and professional Australian musicians and composers, in conjunction with existing initiatives across ABC national music networks such as triple j and ABC Classic.
Details can be found via this link | MIJF DIGITAL SERIES The MIJF announced: _"On the last Saturday of May, June and July, we’ll be warming up your winter with live music and entertainment from acclaimed Australian and international artists. _ We're kicking the series off next Saturday 30 May, with a program including multi-ARIA award-winning vocalist Kate Ceberano, music for little jazz lovers from the Teeny Tiny Stevies, an album launch from Melbourne jazz supergroup STOCK and a performance from Gretchen Parlato and Mark Guiliana from their home in L.A."
Flora Carbo Trio was also included. The video is available on their website without a fee (but with regular suggestions to make a donation). For the MIJF website, visit here | AN OPEN LETTER REQUESTING A RESCUE PACKAGE FOR THE ARTS WE THE UNDERSIGNED REPRESENT THE CROSS SECTION OF THE AUSTRALIAN CONTEMPORARY MUSIC INDUSTRY AND IMPLORE THE AUSTRALIAN GOVERNMENT TO PROVIDE SECTOR SUPPORT TO ENSURE OUR SURVIVAL. Australian music is a proud national asset that entertains, comforts, and uplifts our communities. It helps to define who we are as a nation, is a central pillar of our health and well-being and is a key driver of learning in schools. Our artists and industry are always there to come to the aid of our nation during a crisis. Now it is time for the nation to come to our aid. The Australian music sector fell off a cliff on 13 March when Government made the correct and prudent decision to shut the nation down. Without the ability for artists to play and venues to open around the country, the industry lost billions of dollars in revenue. It is estimated the box-office loss in relation to live music alone will be half a billion dollars over six months. Since then much has been said about the plight of the hundreds of thousands of people who work and pay taxes as musicians, songwriters, crews, managers, promoters, production houses, ticketing companies, agents, background music suppliers and those who work in venues and the entire infrastructure needed to publish, record, promote and present Australian music. From the smallest music venues and festivals in cities, suburbs and towns to the major concerts and events, the Australian music industry is an intricate and complex breeding ground for some of the most acclaimed live talent at home and around the world. Our corner of the global music market has produced a generation of industry operators and professionals that are taking Australian music to the world in a way that is both unique and enviable. While much of the economy starts to re-open, the ongoing restrictions on large gatherings means our industry will continue to be held back from returning to work. Without immediate government intervention, the Australian music sector will be hit twice as hard as the rest of the economy and thousands of jobs will be lost within months. The long-term cost to Treasury, the economy and the damage to our cultural infrastructure will be immense and long-lasting. We commend the NZ Government for recognising these factors and their announcement of a significant package to save their arts and music industry. We are a highly skilled workforce with thousands of businesses that continuously adapts to technological change. We contribute $16 billion to the economy and we are an asset that is a lynchpin for the tourism and hospitality sectors and a powerful driver of metropolitan and regional economies and export to the world. The four thousand plus venues that present live music across Australia are now closed with no certainty as to when a restart is likely or viable. Every $1 spent on live music circulates $3 into the broader community. There is no clear plan to ensure our sector’s workers are going to be supported through this enforced hibernation. Our industry is resilient, innovative and creative. We fight to stand on our own two feet and in normal circumstances we are self-sufficient. Yet these are not normal times, and we need the support of the Australian Government to help us get to the other side of this crisis. We acknowledge the Australian Government’s economy-wide packages to deal with the crisis and the dedicated funding for Support Act, Australia’s only charity delivering crisis relief services to artists, crew and music workers. With Australia flattening the curve, there is a huge opportunity for the local music sector to be a boon for a recovering economy. There is the golden opportunity for federal, state and territory governments to incentivise a greater creation and presentation of music. From songwriting in schools, to rebates on recording local content and tax offsets to present live music, we could also be one of the first global destinations for major touring acts. We understand that the Australian Government is working on an assistance package to the entertainment industry. As part of any assistance, we implore the Australian Government to: Extend JobKeeper for the music and broader entertainment sector beyond September to ensure the skilled workers, businesses and venues remain viable until trade is realistic
Expand JobKeeper to those artists and workers in our industry who work gig-to-gig and contract to contract
Establish a specific $40million Australian Music Recovery Fund in partnership with state and territory governments, and as part of a broader $345m live performance industry recovery package, to catalyse Australian music nationally and ensure the sustainability of music businesses, service providers and venues over the next twelve months
Boost Australia Council funding with $70 million across all artforms to ensure individual artists including musicians and songwriters can access grants as part of the cultural recovery
Commit to reducing red-tape and incentivising the sector with a rebatable tax offset for live music to support long term rebuild and sustainability for venues and touring, provide an immediate rebate on existing excise to support the recovery of venues and introduce rebates for the recording of Australian music THE OPPORTUNITY OF COVID 19 IS TO REIMAGINE FEDERAL, STATE, TERRITORY AND LOCAL GOVERNMENT SUPPORT FOR THE AUSTRALIAN MUSIC INDUSTRY. AND THE TIME TO DO THAT IS NOW. If you are willing to sign please write, “I am happy to sign this open letter” and EMAIL Nick Pickard directly: NPickard@apra.com.au | "The current circumstances of jazz in Australia" by Richard Letts The link to this article in one of our previous eNews did not work because the website was down. It has now been republished on the Music in Australia Knowledge Base, and the link to that is here. | AUSTRALIA COUNCIL'S 4-YEAR FUNDING RESULTS FOR M.I.J.F. and the AUSTRALIAN ART ORCHESTRA The AC's announcement of 4-Year Funding support produced many concerned responses from the Arts sector, including two articles. The ArtsHub article here noted that 65 arts organisation lost their AC funding, as The Guardian's article, with a title of "Cultural Bloodbath" here, put this result in the context of Federal cuts over many years now. The Sydney Morning Herald article here, centred on the loss of support for the long-running La Mama Theatre, which has had to deal with a fire that destroyed their theatre
While the Wangaratta Festival of Jazz was not successful in its application, the Melbourne International Jazz Festival ($947,200) and the Australian Art Orchestra ($1,510,000) both received substantial levels of funding for their 2021-2024 Programs. | NEW ALBUM RELEASES BandCamp is currently waiving its usual fees on the first Friday of each month, 5 pm to Saturday, 5 pm, in support of all independent artists. Next dates is July 3. CHRIS CODY: Astrolab (Chris Cody Music CCM 011) Sydney pianist Chris Cody's 9-part Suite inspired by the voyage of La Perouse. Astrolabe features an octet including Thomas Avgenicos (trumpet), Paul Cutlan (clarinets, sax, flute), James Greening (trombone, didgeridoo and conch), Emily Rose Sarkova (accordion), Susie Bishop (violin), Lloyd Swanton (double bass), Fabian Hevia (percussion), and Chris Cody (piano).
It is available at Bandcamp here JOHANNES LUEBBERS DECTET: Other Worlds: 10x10x10, Vol.1 The Melbourne edition of the JLD in their first album PAUL WILLIAMSON QUARTET: Dark Energy (FMR CD570-0120) Trumpeter Paul Williamson, with Theo Carbo (guitar), Hiroki Hoshino (bass) and Miles Henry (drums), available here ROB BURKE, BEN MONDER, TOM RAINEY & BEN GRAYSON: Slip Sliding (FMR Records 2019: FMR CD 559-1119) Rob Burke (tenor/alto/soprano saxophones/bass clarinet), Ben Monder (guitar), Tom Rainey (drums), Ben Grayson (electronics and editing)
Reviewed here by Chris Cody TROY ROBERTS: Stuff I Heard Troy Roberts (saxophones, electric and double bass,) with Jimmy Macbride (drums), available on iTune, Apple Music & Amazon RADIOSUCCESSI Radiosuccessi have released "Genuinely Radiosuccessi" - genuine Italian Jazz - with Ilaria Crociani (voice), Mirko Guerrini (saxophones, piano, nose flute, backing vocals), Ryan Griffith (guitars, clarinet), Tom Lee (double bass), Niko Schäuble (drums, backing vocals) available on Bandcamp here TINKLER & VELTHEIM Trumpeter Scott Tinkler and violinist Erkki Veltheim have recorded an album of duets, available on Bandcamp here. | VOCAL BOOK co-authored by CHRISTINE SULLIVAN Well-known for her long stint on Melbourne's jazz scene (and her participation in the 2008 Thelonious Monk Vocal Competition), vocalist Christine Sullivan and arts worker Monika Roleff released a book in December,"The Singers' Companion: Personal Wisdom from the Global Music Industry". It is available through Amazon and her website.
A unique singers' and musicians' companion, a go-to manual for help and support, a keepsake, a reference book - concept curated, compiled, and edited by two experienced, Australian based, arts supporters. Christine Sullivan is an international singer, recording artist, performer, and teacher, Monika Roleff is an arts worker, word and arts festival co-ordinator, writer, and author. Both are voice enthusiasts with a rich ancestral heritage in the field. The vision was to pull together a valuable tool in book format, using a selection of questions, anecdotes, quotes, and words of wisdom, directly from professional artists, technicians, musicians, and singers. The project provides an inspirational platform of experience-based advice for aspiring students, teachers, arts/music organisations, and the general public, interested in the life and journey of the singer. Primarily, it's a gift of words of wisdom from industry elders, and emerging talents from different musical generations, genres, and age groups, to be used by the reader as an industry guide. | FLORA CARBO article in THE AGE Saxophonist Flora Carbo was featured in an article here by Mikey Cahill in The Age on April 27 about the impact of COVID-19 on her career, as she launches her second album, but had to cancel a six-week European tour.
Picture: Roger Mitchell | BARNEY McALL & DAVID JONES amongst musicians offering ONLINE LESSONS Barney McAll started a Patreon page. He wrote: "I wont be gigging or touring for quite a while and i realised, i have an incredible amount of material that may be of interest to some people? and that I can make this Patreon page my new gig...kinda I will be posting stuff like; Music/Piano lessons - all levels
Unreleased Albums
Live Concerts
Bootlegs and live albums
Live archival gig videos never before seen
Interactive workshops _
My clowning life (Yeah i said it)
Raves about my approach to music and composition
Forth coming solo album of my Waves Of Nightingales Zither _
Chucky updates (a self made instrument)
My scores & charts
TopSecret St
Extensive writings/musings/reflections on my touring life with amazing artists like; Dewey Redman, Gary Bartz, Sia,The Groove Collective, Josh Roseman, Daniel Merriweather, Billy Harper, Fred Wesley and the JBs And ...pretty much anything you wanna know?" https://www.patreon.com/barneymcall DAVID JONES David Jones writes: "I'm offering lessons online through a wonderful new platform called Aeyons. I'm so impressed with what the Aeyons team has created. It's high quality video and audio, without distortion, delay or buffering. Even if you just use your phone, you can get fantastic real-time video interaction with me, making lessons work smoothly. This is usually quite tricky for drumkit, so this is a huge step forward for teachers and students globally. Please check out my page on Aeyons.com where you can
1) see what classes I'm offering for drummers and also for instrumentalists and vocalists
2) book yourself in for a 15 minute initial consultation so we can agree on a plan for your lesson or series of lessons
3) book yourself in for your lesson or series of lessons
4) securely pay for your session
5) receive reminders in advance of your scheduled session. This is all awesome and so easy. It's been working like a dream so I have now moved all my private teaching onto this platform. So now whether you live interstate or overseas, you can book some time with me. I look forward to it! | Diana Allen’s History of Jazz Australia Eric Myers says that he is delighted to include on his Australian jazz history website Diana Allen’s History of Jazz Australia, which was written in 2016. “When I read this, I was highly impressed with the extraordinary amount of historical detail in the piece”, says Eric. “Diana confines herself basically to her own many initiatives over 30 years – her article doesn’t claim to be all-encompassing – but, in the process, she has produced what is basically a history of traditional and mainstream jazz in Melbourne between 1985-2015. As is my usual practice, I have illustrated the piece with copious photographs. Moving right along, I think it would be great if an articulate jazz writer in Melbourne could now write a similar history of the evolution of modern jazz in that city. As Bruce Johnson remarks in his monumental Oxford Companion to Australian Jazz, ‘the magnitude of jazz activity in Melbourne requires its own book’. Bruce’s ‘Melbourne’ entry in the Companion naturally ends in 1987, the year of the Companion’s publication. So one hopes that some of those who were active in the Melbourne modern scene during the post-1987 years, and are still alive, will put their memories into writing for the sake of posterity.” Diana’s History is at this link | STONNINGTON JAZZ Cancellation + A Message from Nichaud Fitzgibbon Nichaud Fitzgibbon wrote: "Last November l was recommended to program Stonnington Jazz 2020.
I was thrilled at the prospect of being involved with programming once again as l had curated music for The Belgian Beer Cafe for 10 years as well as the first Spiegeltent afternoon jazz tea soirees plus a series of jazz concerts on the lawn outside The Arts Centre and had curated the first St Kilda Memo Music Hall Jazz Summit in early November 2019.
I was introduced to the wonderful Stephen McAllan from the MSO and together we co - produced Stonnington 2020.
I selected artists who I thought would bring a diverse and creative vibe as well as celebrating some important miles stones..
We had exciting big dreams for our sensational program but alas due to the current health crisis it has now been postponed till 2021. It is with enormous heartache and great regret that we must now apologise to all the talented musicians and all involved. We will look forward to presenting it to you all early 2021.
Stay strong, safe and well through these challenging times.
Forever in the groove yours Nichaud Fitzgibbon xxx" This is the official statement from Stonnington... Stonnington Jazz CVODID 19 Update It is with a very heavy heart that we announce the Stonnington Jazz Festival 2020 is not able to proceed.
We had initially been working on options for presenting the festival in a virtual format, however the restrictions on gatherings and social distancing have escalated to a level that makes the festival impossible to present to audiences in any capacity in May 2020. All ticket holders will be contacted by Chapel Off Chapel and refunds issued in the coming week.
While we are devastated that this year’s festival will not go ahead, we are planning to present this exceptional program curated by Nichaud Fitzgibbon and Stephen McAllan in 2021. We are currently in negotiations with venues and artists and we look forward to announcing the new festival dates at an appropriate time.
We hope you are staying safe and staying home and we look forward to revitalizing musicians and sharing Stonnington Jazz with you in 2021. Warmest wishes
Stonnington Jazz | AUSTRALIAN JAZZ AWARDS suspended in 2020 The Australian Jazz 'Bell' Awards are being suspended for 2020 because of the uncertainty of the commitment of some sponsors (such as APRA AMCOS, which has currently suspended their funding program).
It is planned that the Awards will return in 2021, but will cover nominations for the 2019 and 2020 period. | MJC PROGRAM in THE PRIMROSE POTTER SALON, M.R.C. JOSH KELLY'S "DISPLACEMENT" Saturday, 8th. August, 8 pm Saxophonist/composer Josh Kelly is an Emerging Artist and the recipient of the PBS-FM Young Elder of Jazz Commission in 2019. The resultant work, ‘Displacement’, references the migrant experience when one’s sense of home and community feels somewhat displaced due to the uprooting of one’ s life, particularly within an Australian narrative. Displacement explores French Impressionism, modal jazz, and syncopated rhythm cycles through the lens of Josh's family's migration around the world. Commissioned specifically for club performance in the 2019 MIJF, Displacement seamlessly melds composed elements with featured improvisations to create a soundscape which blurs the lines between the known and unknown. The MJC is supporting a reprise of this work at The Salon, with the original Sextet personnel (including Sydney cellist Mary Capp).
Tickets here ALISTER SPENCE TRIO (Sydney) Saturday, 24th. October, 8 pm
Tickets here Tickets for each concert are $31/$25 con + Booking Fee.
Alternatively, purchase at the MRC Box Office and avoid a Booking Fee. | M.J.C. ASSOCIATE MEMBERSHIP: SUPPORT THE CO-OP & LIVE MUSIC IN MELBOURNE in 2020 MJC Associate Membership for 2020 is available in three tiers: Gold level is $75; Silver level is $30 ($20 concessions), and Bronze level is $10 for musicians. Associate Membership of the MJC costs just $75 for Gold Membership. When you sign up for Gold Membership you receive a free pass to one MJC Club performance by a Victorian ensemble and concession rates to all gigs all year, equating to large savings for frequent MJC audience members.
Silver membership costs $30 (or $20 for concession holders, $5 for Tertiary students). Silver members also receive one free pass to an MJC Club performance by a Victorian ensemble, as well as standard member benefits.
Musicians are encouraged to join at the special Bronze rate of only $10 per year and support the continued operations of the MJC, an organisation that supports them!
All members receive enewsletters and hard-copy or emailed brochures, and occasional discounts to sister businesses, or opportunities to win a range of giveaways (CDs, tickets and more) throughout the year.
For more information, email [melbournejazzcooperative@gmail.com] or visit our website for the easy, revamped Membership page here. | Do you have a gig coming up or a new album out? We would love to do a CD or ticket giveaway for you! email mjac@netspace.net.au or melbournejazzcooperative@gmail.com www.mjc.org.au | Founding Artistic Patron: the late Brian Brown, OA Artistic Patrons: Mike Nock, ONZM & Professor Tony Gould, OA MJC Chairperson: Eugene Ball | The MJC Program has been financially supported over 2019/2020 by a $3000 grant from APRA AMCOS, and by Creative Victoria over 2020/2021 | |
