In this edition:
Mike Nock and the cure for what ails you He may not have discovered the cure for the common cold, but Mike Nock believes he knows how to soothe our modern existential pain.
Jazz, of the creative variety - jazz that, in his words, "comes from a real sense of making music" - is something that Nock believes is badly needed in today's society, probably more than ever. And when it comes to creative jazz, he ought to know. For many, Nock may be best known for his leadership of the seminal fusion band The Fourth Way in the 70s in the USA, but when that band ceased its short life, Nock's creative juices just kept flowing, and his exploration of the spaces between the tradition of jazz and the ideas of free music continue to reap rewards for those who have the opportunity to hear his music or play with him. "Jazz can be a powerful manifestation of something very deep in people," he says, "a basic expression of the creative urge."
These days, Nock is based in Sydney, Australia. He teaches, composes, and gigs - solo, with his trio and the Big Small Band - also sometimes known as the Mike Nock Project. The band's ten musicians, including Nock on keyboards, creates colorful, highly textured music under his watchful eye. Creating, supporting and sustaining multi-layered, adventurous and ultimately beautiful music, Nock's clear message is one that we hear from true artists in every medium - that the measure of an artist is his or her ability to balance between tradition, craft and freedom of expression.
On stage with the band, Nock is careful to ensure that all musicians share the limelight in relatively even proportions, and performances by the group are a sort of guided democracy. In the middle of an Australian and Asian tour at the end of 2002, a member of the band responded to my question "What's he like to work for?" with "He's demanding, but the results can be exhilarating." The music created under his leadership proves that statement to be true. A Mike Nock Big Small Band gig is pretty well guaranteed to send you home in a good mood.
Despite the world's current somber tendencies, Nock maintains a sense of optimism about how jazz can contribute to human wellbeing. As an art-form, says Nock, it is about a combination of hard work and letting go. And the continuum. In one breath he says "You get strength from a tradition that you can't get any other way," and in the next breath "If I see a young musician come up, and they surpass me somehow - that's wonderful. That's my success too."
With his Trio (Brett Hirst, bass and Toby Hall, drums) which has been together for about two years, Nock continues his musical journey of discovery. Of his CD 'Changing Seasons', released in 2002 on the Japanese label DIW he says "What makes this CD special for me is that in making it we essentially wanted to see what our music sounds like. We just went into the studio and played for three days." The result, says Nock, is testament to the process of discovery that he believes is so important, in the music and in life. "We looked at what we had, and took the best from it. Every track on the CD is one that we loved."
"Sometimes I think we've got our priorities wrong, as a society," says Nock. "There's so much emphasis on making a living. Jazz can be a counter for that - a really honest expression of contemporary life and our role in it." Bring it on, Mike. Mike's website: www.mikenock.com
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Record Label - Jazzgroove Gerard Masters, keyboard player, composer and one of the Jazzgroove Association committee members responsible for the Jazzgroove label, says he doesn't want to sound cocky, but he believes that Jazzgroove CDs represent some of the best jazz and improvised music that's being released around this part of the world. The label is run by the Jazzgroove Association – run by and for musicians in Sydney. We spoke to Masters earlier this month in Bondi. All About Jazz:
Was having a label every part of Jazzgroove's original grand plan? Gerard Masters:
I don't think there was any such thing as a grand plan. I think it was a few guys sitting around and drinking beer and eating pizza. I think that was the official launch of Jazzgroove.
The association had probably been together for about two years before the label came into it. It wasn't my fault, actually. Dave Theak had the wise idea to get it all started. I think the main reason behind starting the label was so that people could get their music out there without having to do it on their own. Fewer record stores were taking independent releases on consignment. They wanted to see a label or a distributor before putting a CD on the shelf. AAJ:
So why not just go to a distributor, as an independent? That would seem easier than starting a label. GM:
I guess that's fine, but it's always hard to get a good distributor. We've got one now [Creative Vibes] but we wouldn't have been able to get them straight away. I think we managed to get a distributor because we had alredy made a bit of a name for ourselves and had released three or four records - we had something to show. AAJ:
It sounds like the label is a group effort. In interviews I've done about other jazz labels, someone has had the idea and then they end up driving ... but that's not what happens with Jazzgroove, is it? GM:
[laughs] Well, that would be kind of really good, actually if there was someone who wanted to really take it on... and kick it in the arse. AAJ:
How does it work currently? GM:
Well, there are three of us. Nick McBride and Richard Pike and me. And if someone wants to release a record they'll submit it to us and we'll listen to it. The three of us make the decision.
One really positive thing about the way we work is that each artist has more control over their own album than they would if they were going through a bigger label. AAJ:
So how do you decide what you release on Jazzgroove? GM:
There have been a couple of records that stylistically haven't quite suited what we've been looking for but mostly it hasn't been difficult to decide. We receive proposals for a CD every two or three months, which fits our preferred timeframes for our releases anyway. Pretty much most of the people who have wanted to release through us have been able to. AAJ:
Do you have an idea of the vibe and the style that you are looking for? GM:
It’s hard to describe.... but if you go down the Tuesday night gig at the Exelsior you get an idea of what it's about. It's kind of ... younger ... though not necessarily in terms of age. Mike Nock has played down there with Jazzgroove... I guess it's just music that belongs with a sort of contemporary mentality. We probably wouldn't release, say, a band playing jazz standards in a really trad way. AAJ:
As far as the material... how do you organise all that behind-the-scenes stuff? GM:
The artist takes care of all that. We make the decision about whether we will release when we first listen to the CD. They have to send us a mixed version... One record that was submitted we had to turn down because the sound wasn't good enough. The music was fantastic, but we just couldn't do it. I just don't think there's any excuse for putting out anything that sounds bad, these days.
When it comes to packaging, there are certain specifications as far as where the Jazzgroove logo goes on the cover. And we have to approve the artwork. We'd like to have a distinctive look, and looking at the CDs so far, they all have a similar sort of vibe happening on the cover. AAJ:
What are the plans coming up for the rest of this year? GM:
Well there's this new compilation coming out in November. At the moment it's called 8fold, because there are eight artists involved including Cameron Undy, Cameron Deyell, and a hiphop band called Ends and Means. It's a totally different thing again for us. It's a more electronic based CD. We also have a pretty well-known German producer Burnt Friedman mixing one of the tracks on it so hopefully with this release we'll find some sort of market in Europe. AAJ:
You said this CD represents a move to a more electronic sound. Is that a trend you're seeing on the scene as well? GM:
Yes definitely over the last few years. There are more and more laptops coming down to gigs. [laughs] Willow [Neilson] used to say to me that he was just going to get a fake one so he could get more gigs. So he could put it on stage and the band would look really modern. AAJ:
You have an Australian distributor but what about international distribution? GM:
We're aiming for that at some stage. But at the moment people can buy from our website. As far as Europe goes, I hope to be over there next year, and I'll do a bit of 'shanks' pony'. AAJ:
That would be a great name for a distribution business, wouldn’t it. Shanks' Pony Distribution
Absolutely. That's what you have to do in the beginning – it's what we did with Jazzgroove CDs before we had a distribution deal. We had them in about 35 or 40 stores around Australia, including Perth and Adelaide – all on consignment. It was a lot of work and that was partly why I was motivated to arrange a distribution deal. I was sick of driving around with a box of CDs in my car. AAJ:
Is that really what you had to do? GM:
Yes, but really the hardest thing was trying to get money out of people. Most people were helpful until it came to having to pay us. There are a couple of places we are still trying to get money from. AAJ:
With the struggle of juggling the work you have to do on the label and your own work as musicians, why do you think it's important for Jazzgroove to have its own label? Why not just give up? Why not get an existing record label to do this? GM:
Well I don't think that any of the small jazz labels other than maybe Jazzhead in Melbourne would be suitable for our particular style of music. So basically if we didn't do it then the music would have to be released by individuals and because of the difficulties of distribution, the CDs would probably end up in boxes in people's bedrooms.
It's pretty easy to record music these days – you can make a great record with great musicians, but distribution can be really difficult. AAJ:
What about further down the track? Is there a direction you see for the label? GM:
[laughs] Well of course, something that I've always wanted to do is to have someone other than me running it.
I don't know if it's ever going to be possible – and it's not that I'm reluctant. I am very happy to do it. I just think that someone else could do it a lot better than I can. I've learned heaps but I don't have the time or the resources to promote the label really well. My belief is that it is really great stuff. Without sounding too cocky, I believe it is some of the best jazz and improvised music that's being released around this part of the world, so I'd be really happy if somehow it took off to the next level.
The problem is that Jazzgroove is a volunteer organisation, and so is the label. Everybody is so busy. We're all musicians and Jazzgroove is only a part of our lives. Nobody is working full-time on the label. Yet, so far, each CD we bring out has sold more than the last one. It keeps it ticking over, I think, and helps maintain the interest in previously released CDs.
So just like with anything to do with Jazzgroove, it takes quite some time to happen. I think our music is getting out there as much as any other local small jazz label, but I reckon it's hip enough to go further. The Jazzgroove Association is young in that they've only been around since the late 1990s and also in that some of Sydney's finest young jazz musicians are members. Jazzgroove is run for and by musicians and members appear regularly as band members and audience members (and sometimes both!) at Jazzgroove gigs at the Exelsior Hotel on Foveaux Street in Surry Hills – an inner suburb of Sydney – and other venues. One of the most outstanding – and applauded – aspects of this group of musicians is the way they are dealing with the economic necessities of being jazz musicians in Australia. Many of the musicians working with DJs in various pubs around town, for example, are Jazzgroove members bringing their improvised music to the public in a venue full of people who are not hung up on whether they're hearing jazz or something else. There is a great deal to be said for broadening the listener base in any way you can and getting music out to people who will respond to it for what it is instead of what it's called. The jazz scene in Sydney may have reason to thank Jazzgroove in the future for audiences that have been introduced to improvised music through the efforts of these musicians.Jazzgroove: www.jazzgroove.com Creative Vibes: www.cvibes.com
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Reviews by Mick Paddon
Mick Paddon is originally from England and currently lives in Sydney, Australia. He is often seen at gigs in Sydney and other cities, occasionally plays the saxophone and has a weekly show on Eastside Radio 89.7
- a community radio station in Sydney that specialises in jazz. Mick can be contacted by email on [email protected] Michelle NicolleLive 'Keep Your Heart Right' (Newmarket Music NEW 3108.2) GT Nash 'After Blue' (Belltree Records BELL 001)
I was talking recently with one of Australia’s best known and respected musicians and asked him which is his preferred playing format these days given his wide experiences of duos, trios, quartets, and bigger bands. He is internationally known from his decades of playing, so his reply was a surprise. He said he was enjoying playing in trios because he now has the confidence not to need to hide behind anyone else. This made me think of vocalists: always out in front of the band, usually literally too, leading the audience into and out of a piece. Vocalists fill this space in many different ways. Some use the voice as an instrument reminding us that many of the reeds and horns are really just approximations to the human voice. Others act a piece. Their interpretation is in the tone, the pitch, the feel of the music, even the body language. These two CDs are at different points in this range of vocal interpretation. Michelle Nicolle
is a vocal- instrumentalist, perhaps, she says, because she played the violin earlier in her musical life. She knows the words, sure. But once everything is in place and the band has kicked in she will scat, give things a verbal nudge every now and again, repeat a phrase if she likes what she hears when someone else solos. In this live recording of her at work with her trio in Melbourne, she does it all. This is her usual band: Ronny Ferella on drums, Howard Cairns on bass and Geoff Hughes on guitar. You can hear how well she knows the trio from the ease with which they pace the material. The CD, like her sets, mixes up the standards (three pieces from Berlin, something from Mancini, Mercer) with Nicolle originals. But all the standards are also given her distinctive treatment. Rogers and Hart’s 'There’s a small hotel' starts in a simple, almost metronomic, three/four time, the music, like the words, from a different era. When it breaks into a funky, heavier rhythm, the words seem raunchier, more contemporary. Perhaps the only thing the recording does not manage to capture is the good natured charm of her live performances. Even without it, the CD gives you more than enough of her music to convince you of my basic rule: never miss Michelle Nicolle when she is in town.
The CD from GT Nash
is both quieter and darker. Here is an actor constructing moods, people and places. A voice and texture for late night and clubs, downstairs somewhere. Somewhere between red wine and scotch. The pieces are standards old and new, from Cole Porter to Elvis Costello and Tom Waits. I happened to hear Tom Waits’ version of the track here, 'Blue Valentines', on the car radio a couple of days ago. He makes it anguished and a little harsh. In GT Nash’s hands, with her voice, it becomes sadder, more introspective, wistful even. Several of the arrangements are by Carl Dewhurst who worked previously with GT Nash in London, here underlining why he is one of Sydney’s most active guitarists. They are supported by a band of some of Sydney’s best known younger players including Phil Slater on trumpet and Aaron Ottignon on piano.
The CD is available from an address at Bondi Beach but the music is definitely more city than surf.Newmarket Music: www.newmarketmusic.com.au GT Nash: www.gtnash.com
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Reviews by Adrian Jackson
Adrian Jackson is a well-known Australian jazz writer, the artistic director of the Melbourne International Jazz Festival and the Director of the award-winning TAC Wangaratta Festival of Jazz. All of Adrian Jackson's reviews that appear in this column were originally published in The Bulletin www.ninemsn.com.au/bulletin
and are reprinted here with their kind permission Paul Williamson Mutations (Newmarket)
Melbourne trumpeter Paul Williamson won a lot of fans with his first two albums, featuring resourceful arrangements for a piano-less band with a three-horn frontline. This time around, he is the only horn player, and he is joined by pianist Andrea Keller and bassist Gary Costello, along with the drummer from the previous band, Danny Fischer. Between Williamson's thoughtful compositions and the playing of all hands, the music is consistently absorbing and thought-provoking. I like the seamless flow between the plaintive trumpet statement and the patient development of ideas in the piano solo on the opening 'Scripts'. Go that far, and you'll want to complete the journey. Guy Strazzullo Frangipani (ABC Jazz)
Sydney guitarist Guy Strazzullo has recorded several appealing albums in recent years, but this is his strongest, most cohesive statement yet. Whether playing acoustic nylon-string guitar or an electric model, he is an essentially lyrical player, and this quality is displayed from the outset, on the tranquil, fluent 'Pacifica'. Tracks like this and 'Himalaya' could well appeal to Pat Metheny fans. Strazzullo's work is well complemented by Matt McMahon's graceful piano on most tracks. Best of all are the tracks pairing Strazzullo with two other guitar stars : US fusion ace Mike Stern on 'Wise Ones', and Melbourne classical maestro Slava Grigoryan on 'Mandela'. Rob Burke Wide Eyed (Jazzhead)
Melbourne tenor saxophonist Rob Burke has recorded two duo albums with pianist Tony Gould. This time, the two are joined by a bassist and drummer (Nick Haywood and Tony Floyd), whose contributions allow the music to retain the unhurried, spacious feeling of the duo albums. When I heard 'Pygmy Lullaby', Burke's tonal richness, and the care he takes with the timing and inflection of every note, made me think of Jan Garbarek ; as it turns out, Burke first heard the tune from him. The comparison is strengthened by the resolve of Burke and colleagues to tell a story in every track on the album. Baartz Freeman Sextet Southeast (Move)
The number of groups playing original modern jazz continues to multiply around Australia. This band is co-led by alto saxophonist Martha Baartz and guitarist Liam Freeman, who are joined for this recording by trumpeter Stephen Grant, pianist Stephen Russell, bassist Jack Thorncraft and drummer David Sanders. All acquit themselves well Grant's solos are especially worth careful attention, often edgy and unpredictable but the album's major asset is the variety of moods established by the two leaders' compositions. These include the exuberance of 'Funkin Boogster', the intimacy of 'Favourite Secret', the mellow vibe of 'Byron Glow' and the drama of 'Tango For Chad'. Earl Hines The Australian Sessions (Swaggie)
A giant of early jazz (he recorded with Louis Armstrong in the late 1920s), pianist Earl Hines was at the height of his powers when he visited Australia in 1972, and recorded a pair of solo LPs for the local Swaggie label. This welcome reissue begins with 'Waltzing Matilda', Hines exploring the melody from several angles, giving it a grace that most attempts to 'jazz it up' sorely lack. Elsewhere, he revisits some of his own classics ('My Monday Date', 'Chimes Blues', 'Rosetta'). His improvisations often shoot off on unpredictable tangents, and just when it seems that he has painted himself into a corner, he devises a miraculous escape. Emma Gilmartin & Tony Gould Tomorrow, Just You Wait And See (Move)
Vocalist Emma Gilmartin is a recent graduate of the Victorian College of the Arts, where Tony Gould heads the School of Music. The veteran pianist recognised a significant talent, and was delighted to form a duo with her. Gilmartin doesn't indulge in vocal gymnastics or tight-rope walking. What she offers is a lovely voice, unerring accuracy of pitch and the ability to phrase lyrics in keeping with the song : all qualities fundamental to the singer's art, but not as common as they should be. The pianist offers sympathetic accompaniment, and together they create heartfelt versions of songs like 'I Fall In Love Too Easily' and 'Smile'. For a change of pace, Gould plays a couple of pieces solo, which are equally satisfying. Move Records: www.move.com.au Jazzhead: www.jazzhead.com Newmarket Music: www.newmarketmusic.com.au
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Interview with Adrian Jackson - director of the Wangaratta Festival of Jazz The Wangaratta Festival of Jazz is known as the most important contemporary jazz festival Australia. In its fourteenth yar, the festival is on this year from 31 October to 3 November at Wangaratta in North Eastern Victoria. A few months ago, AAJ spoke to Adrian Jackson – the festival's director. All About Jazz:
Can you tell me about you and how you're involved in the jazz scene? Adrian Jackson:
Well I've got a few different hats. At the moment probably the most important thing I do is organise the Wangaratta Festival of Jazz and the Melbourne International Jazz Festival as well.
And I still do a bit of reviewing. Reviewing is something I started doing before I got into the business side of it... don't write as much as I used to. AAJ:
And that's how you started, by reviewing? AJ:
Well initially, when I was a teenager, I had the opportunity to go and see some concerts. I'm still not entirely sure why but my parents bought tickets for my brother and myself to go and see Dizzy Gillespie and Thelonius Monk when they were in town but it made an impression on me. And I guess from there it was a short step to buying one or two jazz LPs and getting more and more interested in it. It was just like a whole different world opened up for me. Certainly none of my friends or school knew or cared anything about jazz but the fact that I had an older brother and he was interested... he was kind of making the same journey, so that helped; I had someone to share the enthusiasm with. AAJ:
Do you play a musical instrument? AJ:
When I was about sixteen or seventeen I bought a saxophone and had a couple of lessons and taught myself a few things and never got to the stage of being a professional musician... and by then I'd started writing about jazz, doing reviews - mainly because I always enjoyed writing. And I think -I hope - that for anyone who writes about jazz their main motivation is to share their enthusiasm for the music. So it was just an opportunity for me to enthuse about the music. I started writing for a magazine called Jazz Downunder which Horst Liepolt had a hand in producing in the mid-70s. I was probably spouting all sorts of stuff - I probably didn't know what I was talking about... but from there I started doing jazz reviews for the newspaper at Monash University. The incentive there was that I got all these LPs to review, so I thought Christmas had come early! I guess one thing led to another and I started writing on jazz for The Age when I was about 21. At around that point I'd made a conscious decision about whether to keep playing the saxophone or get serious about becoming a jazz writer. I decided to go with the writing and put alot of time and effort into reading and listening as much as I could. AAJ:
How do you approach a review when you hear something that is hard for you to write anything positive about? AJ:
That's a pretty important issue and I gave alot of thought to it when I was doing alot of jazz reviewing. I suppose it's always a matter of trying to find the right balance. On one hand if a musician has put their heart and soul into their work the last thing you should do is take a cheap shot and have a bit of fun at their expense... and maybe you should give them the benefit of the doubt if you can't really form a logical response as to why you find the performance or recording disappointing or not up to what it should be. But the bottom line is that if you're writing a review for a magazine or a newspaper you're getting paid to express your opinion so if you don't express an honest opinion, you're not really doing anyone a favour in the long run. There are people out there who write only good things about every single record they review which I guess lessens their credibility in the long run. AAJ:
Tell me a bit about the Wangaratta Jazz Festival AJ:
OK well, the people living in Wangaratta a few years ago - a bunch of community minded citizens- got together and decided they wanted to do something to give the town a lift. They tossed around a whole range of ideas and in the end, they decided to do a jazz festival. And the irony is, I think, that none of them were particularly big jazz fans... it was a business decision. They approached the CEO of the local council and he liked the idea; they provided funding for a feasibility study and they took it from there. AAJ:
What was your involvement at that stage? AJ:
A couple of people suggested I talk to the organisers about the job they were advertising for a coordinator for the festival. I was sort of looking around anyway. So this came along and it seemed like a great opportunity. From their point of view they needed someone who knew a bit about jazz and had some contacts in the jazz business ...
The first year I was there the job was actually festival coordinator... so I wasn't just booking the bands, I was working for the committee and coordinating the whole thing. Advertising, marketing, publicity, programming, the lot. So I guess I was thrown in at the deep end and the fact that my brother had done alot of promoting meant he was an invaluable source of advice but even so alot of it I just had to learn as I went along.
On the weekend of the first festival there was a feeling of excitement that it was happening and there was alot of great music going on. Quite a few people had come down from Sydney and were blown away by the Melbourne bands they heard – people like [Paul] Grabowsky and Niko Schauble and [Ian] Chaplin. Maybe they didn't realise how good the Melbourne bands were that never made it up to Sydney. Equally there were bands down from Sydney who had never played in Melbourne – Mike Nock's quartet and the Engine Room who equally blew alot of people away from the Melbourne scene. AAJ:
...and I guess it was great that the musicians from the two cities could meet and hang and play together... AJ:
Yeah, and they thought it was really exciting - all that excitement from my point of view was combined with the fact that there were alot of organisational headaches and that we'd fallen so far short of the budget that I thought this would be the first and last Wangaratta Festival of Jazz. AAJ:
But surely if the first one was exciting enough then the word-of-mouth factor started to kick in? AJ:
I don't know if it was the deciding factor, but certainly it was an important factor that John Clare came down from Sydney and wrote a review for the Sydney Morning Herald and it also got a run in the Age. It took took up three quarters of a page in the Sydney Morning Herald. They got a cartoonist to do a sketch portrait of Paul Grabowsky – it was a huge spread. The headline was 'Australia's Greatest Jazz Festival', or something like that.
Probably the first two or three, maybe four years the city was consistently underwriting the festival but eventually that stopped and we had to galvanise the local community and set up the 'Friends of the Festival programme for individuals and businesses to contribute... and it really took off from there. AAJ:
Every year you hold the National Jazz Awards at the Wangaratta Festival of Jazz and it's for a different instrument. What prompts you to choose a particular instrument for awards? AJ:
For the first few years it was a piano competition because they had a Steinway concert grand that was the pride and joy of Wangaratta's Town Hall. That worked very well but after three years we started to spread it around a little bit because there are so many great musicians on other instruments. And also, if you do piano every single year you're going to get alot of the same faces. So we did saxophone for three years which worked really well but again, you're getting the same faces.. So then I had the idea of changing the format every year to try and give every one a go... AAJ:
What would you say about the jazz scene in Australia at the moment - where it's going and where it's headed. AJ:
I suppose the most exciting thing form my point of view is the music - just the number of bands that are out there playing really exciting music. I don't thing there's been a sudden change. I think we're seeing the cumulative effect of more and more young musicians coming into the scene saying 'yes this is the music I want to play' and developing their own sounds... I said to someone the other day that if I were to write down a list of the bands I would seriously consider when booking the program, it's probably ten times bigger than it was ten years ago.
There are just so many more good bands out there. And I guess the other factor is that there are alot of people coming along to venues and checking the music out. It hasn't suddenly become pop music and probably never will but just going around to various venues in Melbourne I realise I haven't seen any of the people in the audience before and that's got to be a sign of something happening.
And that reminds me of another reason why it was so exciting in the early years at Wangaratta. At that stage many people were saying we had too many contemporary jazz bands in the program They said that nobody would want to listen to it, and that we would have to put on more trad bands if we wanted to sell tickets. But then bands like Mike Nock's and Nick Schauble and Paul Grabowsky and Ted Vining's band were packing people into the venue and people were going wild. They loved it. There was a freshness and an energy in the music. Whether those people were dyed-in-the wool jazz fans or just local people who had come along because this was happening in town, they all recognised the energy ... This year the National Jazz Awards feature brass players and the finalists are:
Wangaratta Festival of Jazz: www.wangaratta-jazz.org.au
- Eugene Ball, 34, from Melbourne
- Jeremy Borthwick, 32, from Sydney
- Danny Carmichael, 23, from Sydney
- Simon Ferenci, 21, from Sydney
- Andrew McNaughton, 33, from Melbourne
- Nick Mulder, 30, from Adelaide
- Adrian Sherriff, 31, from Melbourne
- Phil Slater, 31, from Sydney
- Simon Sweeney, 29, from Sydney
- Paul Williamson, 28, from Melbourne