The MJC is commencing its 38th. year of Annual Programs, which has been staged throughout every year (with minimal break over the new year period) since January 1983 (No wonder I look so tired!).
However, as you can see, while there are some familiar artists in the program, we are continuing to introduce new artists too (in fact, in producing an overview summary of our 2019 Program, the MJC had presented over 60% debut or premiere ‘acts’).
We are particularly excited to be featuring the international trio of Kaufmann/ Gratkowski/de Joode on three presentations over January 26-27th (including a co-presentation with N.E.A.L. in Geelong, and a Workshop in Melbourne, which will be a special opportunity for some of our ‘local’ musicians to play and interact with their international peers).
We have already programmed into April (as well as our 3 MRC co-presentations on sale already), so we can guarantee some stimulating new ensembles to be heard in 2020.
Again, please respond to the Audience Survey (below) to provide us with some much-needed feedback, and please consider MJC Membership (via the link below to our revamped Membership page).
It is great to see Phil Slater (pictured) and his release ‘The Dark Pattern’ being included in the NYC Jazz Records’ Top 10 Albums of the Year (selected by the open-eared editor Laurence Donohue-Greene (with other Earshift releases receiving an honourable mention being The Vampires ‘Pacifica’ and Scott McConnachie, Carl Dewhurst and Simon Barker’s ‘Rock Dog’).
Despite the inadequacy of funding support and lack of media coverage, the continued growth and development of the Australian jazz scene is clearly evident in this editorial from the indefatigable Tim Nikolsky of The Australian Jazz Real Book:
“As it’s the end of the decade and a new one begins, it’s given us a bit of a chance to reflect on what has happened in the 10 years previous. As well as 417 tunes in the physical AJRB; there are (at last count) 1263 tunes from 350 composers available online for digital subscribers. Tertiary institutions around Australia have written Australian Jazz into their curricula and have made this resource available to developing musicians. To answer the critics as to whether there is such a thing as “Australian Jazz”; I think this has been answered beyond a shadow of doubt. Australian creative musicians continue to produce fantastic, original, innovative, interesting and unique musics that draw upon a wide variety of inspirations, influences, and backgrounds. There is incredible diversity in what we make. There also exists a fortitude to continue to create what does not exist yet; in spite of all the challenges and lack of support. _
I look forward to the next decade of interesting creative music that this community makes. I will continue to work on the AJRB as long as people think it is an important thing that it exists. How do you support it? Subscribe.”._
Thanks to the efforts of dedicated individuals such as Tim Nikolsky, I believe that this art form will continue to expand and grow artistically in the next decade.