The MJC is delighted that our next two month cycle of performances features such a significant number of emerging talents (such as 2017 National Jazz Brass Award winner James Macaulay, and 2016 National Jazz Saxophone Award winner Mike Rivett, leading his Japanese band, Bungalow, together with entrepreneurial Sydney trumpeter Eamon Dilworth). Even younger artists are highly promising tenor saxophonist Stephen Byth (on a visit from studies in Boston), and the Carbo/Cater/Gunno quartet (both in late August).
Following last Sunday's impressive performance of originals by drummer Maddison Carter, the next few weeks will include two other drummer/composer/ bandleaders: Aaron McCoullough, and Alastair Kerr. Of course, drummers who compose date back to Louie Bellson and Max Roach (as well as some earlier examples from Kenny Clarke and others), with notable successors to them including Joe Chambers and Jack deJohnette (and recently Terri Lyne Carrington). But I have to think that, although not a prolific composer, the late drummer Allan Browne served as a good role for young Melbourne jazz drummers. June 13 marked the third anniversary of Allan's passing, and I believe that his legacy lives on strongly (especially in some of his close musical associates, such as Nick Haywood, Eugene Ball and Geoff Hughes).

Lorraine Gordon, owner of The Village Vanguard, passed away in early June at the venerable age of 95, and pianist Ethan Iverson has written a very touching tribute to her on his website.(Pianist Monique diMattina could add a tale or two, from her brief experience working as a waitress at the Vanguard when she first went to New York). In 1943 Gordon married Blue Note founder Alfred Lion, and she worked with him on the small label until the end of that decade. She was a strong early advocate for Thelonious Monk, facilitating Monk's first albums as a leader. In 1950 she married here second husband, Vanguard founder Max Gordon, and she took over the running of the venue after his passing in 1989. Together with Francis Wolff (Lion's partner at Blue Note), these four jazz 'warriors' - all from the Jewish community - did so much to champion and promote jazz as an artform (not as a business).
Again, the legacy will continue (one hopes) with the Vanguard booked through 2019 and beyond.

Speaking of history and legacies, in the last eNews, I provided some links to articles on Eric Myers' website, but apparently the links went only to the website's Home page, rather than the specific articles. So I have included the direct links below. Eric is doing some wonderful (voluntary) work of documenting much of our Australian jazz history, which I certainly appreciate.

I am taking my longest period of LSL since I started the MJC 36 years ago, with a full school Term of 10 weeks+. I have booked virtually all of 2018 now, and MJC Chairman Eugene Ball and other MJC Board members are stepping up to cover various tasks (while the baby grand piano at home has been tuned for a certain pianist to, hopefully, compose lots of new pieces on it whilst house-sitting). I expect to catch some good music in the USA, Cuba and Europe, and it will be great to forget about grant deadlines, audits and acquittals (not to mention School Reports and Professional Development requirements) for a while. But I know that I will also be missing some interesting gigs here. Enjoy some of them for me!

▪ Martin Jackson
Martin Jackson


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NICK HAYWOOD TRIO (Hobart/ Melbourne)

Sunday, July 1, 8.30 pm-11 pm, at The Jazzlab, 27 Leslie Street, Brunswick $20 & $15 concessions

Nick Haywood’s trio with pianist Colin Hopkins and drummer Niko Schauble first began performing and recording in 2003, when they recorded a live performance at Bennett’s Lane Jazz Club for ABC’s Jazztrack. They are looking forward to making this rare appearance and will be exploring new material inspired by Tasmania’s landscape and history alongside some repertoire from their critically acclaimed album Many Rivers (released on Jazzhead in 2017). The focus of the group’s playing is a continuation of Haywood’s obsession of taking simple themes and allowing musical stories to unfold as a collective process. The trio’s performances invite the listener to participate in the exciting musical journey that unfolds throughout. All three musicians are very excited to be playing together again, and their repertoire will feature compositions by all trio members, alongside some open improvisations and not-so-standard tunes by artists such as Jimmy Cliff and Stevie Nicks.

“Many tunes here, including originals, are actually quite simple but what this band does is layer them with complexity. Their gift is that rare ability. It's the capacity to draw listeners in and take them on a journey”. - Leon Gettler, The Age _
“This album, created by three masters of the form, is a shining example of the superb and world class talent we have in this country.” – Barry O’Sullivan, Fine Music_

Aaron McCoullough - Original Colour


Sunday, July 8, 8.30 pm, at The Jazzlab. $20/$15 con.

This performance will see drummer/
composer Aaron McCoullough play compositions from his two releases: ‘Provenience' (2018), and 'Portrait of Thoughts' (2013). The concert will feature regular collaborators Claire Strasser (tenor saxophone), Matt Hoyne (guitar), James Bowers (piano), and Sam Anning (bass). Aaron's latest release 'Provenience' is embedded in the reflection and rediscovery of specific localities unique to the Illawarra region (where he grew up), with each composition representing a personal response to the constructs of ‘time’ and ‘place’. Visit:

Alastair Kerr Panorama do Brasil med


Sunday, July 15, 8.30 pm, at The Jazzlab. $20/$15 con.

After spending the last few years deep in the world of Afro-Brazilian ceremonial drumming, drummer/composer Alastair Kerr launches a new edition of his jazz quartet. With former colleagues Marc Hannaford and Sam Zerna firmly entrenched in NYC, Al has put together a new band including brilliant trumpeter Paul Williamson, and the exciting young talents of Daniel Mougerman (piano), and Jordan Tarento (bass). With a focus on Kerr's compositions, this group blends strong melodies with hints of Cuban and Brazilian rhythms into a highly rhythmic group sound.


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2018 Freedman Jazz Finalists Announced

The 2018 Freedman Jazz Finalists have been announced, and are:
Nick Garbett - trumpet (NSW, nominated by Phil Stack)
Angus Mason - drums (SA, nominated by Mark Ferguson)
Carl Morgan - guitar (NSW, nominated by Barney McAll)

ABC Jazz will be recording their performances for broadcast on July 30 from The Freedman Fellowship Awards for #jazz at the Sydney Opera House.
The three finalists were selected from an impressive field of 16 nominees from Victoria, NSW, Queensland, WA, SA, Tasmania and the ACT:
Hugh Barrett
Alex Boneham
Flora Carbo
Angela Davis
Brenton Foster
Nick Garbett (pictured)
Reuben Lewis
James Macaulay
Ricki Malet
Angus Mason
Scott McConnachie
Harry Mitchell
Carl Morgan
Mary Rapp
David Rodriguez-Lovibond (Godriguez)
Hugh Stuckey

Finalists are largely selected on their written proposals, while the winner is selected on their performance at the Opera House. Previous winners read like a Who’s Who of Australian jazz - including Phil Slater, Andrea Keller, Julien Wilson, Kristin Berardi, Andrew Robson, Matt Keegan and Matt McMahon.

The Freedman Fellowship enables the winning jazz artist to take the next step in their career with a $20,000 prize.



Want to be inspired, get more involved in the world of jazz and improvised music, foster relationships with emerging and established musicians, engage with a likeminded creative community and develop your musical skills and career path through informal performances, rehearsals and discussions?

Girls Do Jazz aims to address the gender imbalance in jazz music by giving young students an opportunity to hear, interact, converse, and perform with women who are following professional pathways in jazz and improvised music. Workshop sessions will incorporate a repertoire of blues, jazz standards, modal playing, original tunes and free improvisation.
Dates: 5 August; 16 September; 21 October; 11 November; and, 9 December
Fees:Full $525 / UoM staff & Students $495
Essential Information
The course is suitable for 15-20 year old female instrumentalists with an interest in jazz and improvisation and those intending to audition for Jazz & Improvisation at the Faculty of Fine Arts and Music in the future.


AAO'S Pathfinders - Music Leadership Program

Applications close July 15

With an emphasis on improvisation, the Australian Art Orchestra explores the meeting points between disciplines and cultures, and imagines new musical forms to reflect the energy and diversity of 21st century Australia.

As the leading and longest standing improvising music ensemble in Australia, the Australian Art Orchestra and its Artistic Director Peter Knight are strongly committed to nurturing and developing leaders of the future.

With the generous support of the Ian Potter Foundation, the Australian Art Orchestra announces the Pathfinders – Music Leadership Program.

The Pathfinders – Music Leadership Program offers a one-year, part-time Associate Artist role
(0.6 fte, $50.000 pro rata) for an exceptionally talented emerging musician and future music leader with a practice in contemporary art music and improvisation.

The Pathfinders – Music Leadership Program is designed to provide an opportunity to gain an insight into what is required to run a successful music ensemble, and to gain experience and skills to prepare the Associate Artist for future artistic leadership roles. The Associate Artist will be able develop their artistic skills as a performer, ensemble director, composer and curator, whilst at the same time gaining experience as a producer and arts administrator.

The current appointment will run from August 2018 to July 2019. Candidates are expected to be available throughout this period, but provisions will be made for prior obligations or stacked working periods.

Expressions of Interest for the 2018 / 2019 Program are now open

What to include in your Expression of Interest:
1. A current CV
2. Links to recordings (audio or video) of you as a composer and/or performer
3. Motivation statement (no more than two pages) where you:
- Describe why you want this opportunity and how it will benefit your career trajectory;
- Refer to relevant experience and interests that make you suitable for the role and how they will support your ability to make the most of this opportunity;
- Outline your availability for August 2018 - July 2019;
- Include names and contact details of two referees.

The Australian Art Orchestra is an equal opportunity employer and embraces diversity amongst its staff. We strongly encourage suitably experienced people from all cultural backgrounds to apply, including Aboriginal and Torres Strait Islanders. All applicants are required to be Australian residents; interstate artists are invited to apply; however, we cannot cover interstate expenses i.e. travel, accommodation or per diems. The Australian Art Orchestra is based at The Substation in Newport, Melbourne.

SUBMISSION DEADLINE: Sunday 15 July, 2018

Please send your EOI and any questions to


Expression of Interest to engage an Artistic Director for Stonnington Jazz 2019-2021

The City of Stonnington is calling for formal Expression of Interest to engage an Artistic Director for Stonnington Jazz 2019-2021. As Stonnington Jazz Festival is Council managed and delivered, they are required to follow an approved processes for seeking, receiving and assessing EOI submissions for engaging an Artistic Director.
Chelsea Wilson has been successfully appointed in the role for the past three festivals, after applying each year. Following a review of the process and contract obligations with our Risk and Integrity team a decision was made to engage an Artistic Director for a three year contract for the 2019, 2020 and 2021 festivals.

Due to this being a significant change to the submission process, opportunity and contract terms, Stonnington are formally seeking expressions of interest from any interested applicants.
Find out more information:

Gould Painting


The links in the last eNews to Eric Myers' website went to
the website, but to a page which says “We couldn’t find the page you were looking for.” This means the reader, if he or she wants to read the article in question, will have to navigate the site (i.e. work out which folder the article is in, then click on the INDEX button on any page, and scroll down to the article in question).

So I am giving the link itself. For example the link to the Tony Gould review is The link to Ted Nettelbeck’s Frank Smith article is

In regard to the history of the Sydney jazz scene, important subjects such as El Rocco (see articles in particular by Bruce Johnson and John Clare, and articles on individual musicians such as Judy Bailey) are covered well on this website. Also, there’s substantial work on SIMA, with more to come.

Recently Myers has attempted to document the Melbourne scene with such as articles as David James’s article “Bennetts Lane: The Emergence of an Institution”, at this link; Joseph Cummins’ review of David James’s book “World’s Best Jazz Club: The Story of Bennetts Lane” at this link ; David James’s article in the SMH “Melbourne’s Bennetts Lane Jazz Club closes” at this link; and the piece “David James, Author of The World’s Best Jazz Club”, which is an interview with James by Miriam Zolin, at this link

So Bennetts Lane has been covered to some extent. And of course Jazz Centre 44 has been covered by John Clare’s excellent “Jazz Centre 44: Sounding Many Chords” at this link And of course there is now the article “MJC: The Struggle Continues” (on the MJC's first decade).

"Anyone wishing to bone up on what’s happened in the past can hopefully find relevant historical detail in such pieces. That’s what my website is all about" - Eric Myers

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Funding opportunities via Creative Victoria

Applications are now open for the following programs:

Touring Victoria

Submissions close Thursday 12 July 2018
Want to take your project on the road? Touring Victoria provides support for Victorian arts and cultural organisations or creative practitioners to tour a professional production, performance, exhibition or program to regional and outer-metropolitan Victoria.

Music Works – Major Funding Round

Submissions close Thursday 19 July 2018
Music Works grants support projects and programs that will develop and bring dynamism to Victoria's contemporary music sector, increase employment and opportunities. This includes activities such as album recordings, music events, local and international touring, professional development and more.

Creators Fund

Submissions close Thursday 26 July 2018
The Creators Fund supports artists and creatives to undertake a sustained period of intensive development, research and/or experimentation. The program is open to individual creative practitioners and collectives across all disciplines, and at all career stages.

VicArts Grants

Submissions close Thursday 26 July 2018
The VicArts Grants program invests in the creative endeavours and professional practice of Victoria's artists and smaller arts companies. The program provides one-off support for discrete projects and programs that will develop and bring dynamism to Victoria's arts sector.

Music Works – Quick Response

Submissions close Thursday 26 July 2018
Quick Response Grants enable contemporary music artists and organisations to take up significant career or business opportunities. This includes activities such as local and international tour invites, professional development workshops and conferences.

Visit: creative.vic./

The Vampires 2017 3 credit Arthur Wollenweber


Finalists for AIR's Awards for BEST INDEPENDENT JAZZ ALBUM are:

Listen to 2018 AIR Awards Nominees Playlist on Apple Music HERE
The recipients will be announced on July 26.




Bird's Basement's program for July features mainly local artists, with the always swinging vocalist Nichaud Fitzgibbon making her overdue debut at the venue on Friday July 13, with Songs for Lovers. Nichaud has been an impressive performer for decades now, as this video from late 80s ABC-TV demonstrates here.
The July program features some of our most respected Australian jazz pianists over four nights: Mark Fitzgibbon (July 11); Sydney's Mark Isaacs (July 12); and, Joe Chindamo (July 14).


Monday 13 August 7.30pm, Elisabeth Murdoch Hall

Acclaimed American guitarists Kaki King and Marc Ribot in an exclusive double-bill performance this August.
Hailed by Rolling Stone as ‘a genre unto herself,’ Kaki King is a true iconoclast. The Brooklyn-based composer and guitarist has released eight extraordinary and distinctive albums and her latest work The Neck Is A Bridge To The Body is Kaki at her visionary best: redefining the role of solo instrumental artist though virtuoso technique, insatiable imagination and boundless humanity. This ground breaking new multi-media performance uses projection mapping to present the guitar as a blank canvas, where luminous visions are cast onto her signature Ovation Adamas guitar which has been customised specifically for this production. Click here to see this in action.
Marc Ribot, described by The New York Times as ‘a deceptively articulate artist who uses inarticulateness as an expressive device,’ has released over 20 albums under his own name over a 30-year career, exploring everything from the pioneering jazz of Albert Ayler to the Cuban son of Arsenio Rodríguez. He joins Kaki King playing favourites from his vast back catalogue.
Don't miss two of the world's most celebrated guitarists as they play an intimate double-bill concert in Elisabeth Murdoch Hall. Tickets are on sale from $49

Emma Matthews: The Space Between (Paul Grabowsky's Second Opera)

13 - 23 September | Fairfax Studio

Australia's sharpest creative minds have joined forces to reinvent opera for the 21st century in this world premiere event.

Seven time Helpmann award-winning soprano Emma Matthews is at the centre of this remarkable new work, with collaborators including saxophonist Jamie Oehlers, jazz pianist and composer Paul Grabowsky and writer Steve Vizard.
"Opera has a habit of killing its heroines, but this one's not going down without a fight.
A diva sings her final note and is plunged into an abyss of memory and madness. Can she find a thread of meaning to her existence that will lead her back out of the maelstrom?
Drawing its breath from the many great female roles across opera history, The Space Between follows a diva, Emma Matthews, whose own history is just as full of parts: performer, singer, lover, wife, mother, daughter. Can she make sense of the history that brought her here, or is her fate that of the many doomed opera heroines that have filled her life?"
Commissioned by Arts Centre Melbourne.



In its support of some artists with independent releases (whom we have presented), the MJC has bought a quantity of their CD albums to sell for only $20 (including postage).
One of these is that of former Perth-based arranger Johannes Luebbers Dectet ("The Exquisite Corpse Of Beethoven"). The more recent of these is James Muller's "NEUROTICA", his first album in almost a decade. Recorded in Melbourne (in conjunction with MJC gigs), the album features his Trio, with guest keyboardist Sean Wayland on some tracks, performing all-originals.
In addition we have "A GLORIOUS UNCERTAINTY", the second last album by the late alto saxophonist David Ades, recorded in New York with Tony Malaby, Mark Helias and Gerard Cleaver. It won two Bell Awards: for Best Jazz Ensemble, and Best Jazz Composition.
There are also limited numbers of albums by US-based expatriate saxophonist Jacam Manricks ("Labyrinth"),. For those who attended Allan Browne's funeral service and were impressed by the beautiful classic New Orleans style ensemble in the church which featured clarinetist Barry Wratten, we have his New Orleans Pelicans album.

Tony Gould3


MJC Associate Membership for 2018 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, $2 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, brochures, a range of discounts to sister businesses and opportunities to win a range of giveaways (CDs, tickets and more) throughout the year.
For more information, email [] or visit our website for the easy Renewals page, or new Membership page.

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 or


Founding Artistic Patron: the late Brian Brown, OA

Artistic Patrons: Mike Nock, ONZM, Professor Tony Gould, OA

MJC Chairperson: Eugene Ball

Piano at Uptown Jazz Café is generously supplied by Kawai Pianos, Australia

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