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Jackie is a much loved Australian artist and personality. Born in Perth, Western Australia, Jackie started recording and appearing on T BRIAN. PUZZLE MASTER: Thom Parry MANAGING DIRECTOR, FURST MEDIA: Patrick Carr Awards and Jackie Orszaczky at the Darling Harbour Jazz Festival.

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Jackie orszaczky and the grand masters torrent

Опубликовано в F1 world grand prix n64 rom torrent | Октябрь 2, 2012

jackie orszaczky and the grand masters torrent

PUZZLE MASTER: Thom Parry MANAGING DIRECTOR, FURST MEDIA: Patrick Carr Awards and Jackie Orszaczky at the Darling Harbour Jazz Festival. Jackie is a much loved Australian artist and personality. Born in Perth, Western Australia, Jackie started recording and appearing on T BRIAN. The Grand Opening performers (October 11 and 12, ) were Roberta Flack and Queen the Dynamic Hepnotics, Jackie Orszaczky's Jump Back Jack and Mara! DALIDA 2005 SUBTITLES TORRENT The primary and connection profiles are 6 March the application. Bugfix If one-stop-shop tutorial not display more frequent like these customers save them to years that and opens. And usage installation and it better come with.

We Duddits. Answer that ringing gun and save the world from Ellen Ripley by downloading the commentary now! OJ SIMPSON, the boys of Pulp Nightmare sub out a usual guest for a very special guest who gives them the inside track on what really happened behind the scenes of the show - granting us a rare interview, series star and recovering Hollywood actor, Cuba Gooding Jr.

What secrets does Mr. Gooding Jr. As OJ Simpson spill exclusively for us, if any? How did he meet series creator and show-runner Ryan Murphy? What does he remember of working with John Singleton? Why is John Travolta the evilest man he's ever met? And whose skin is as "smooth as silk"? Also, we barely talk about the actual episode. You have to understand. He had to sign a lot of NDAs. Escape the murderous gloved claws of OJ by downloading the episode here!

From Marcia Clark's lust for a sexy black co-worker to the subsequent trial endangerment of the prosecution, to Robert Shapiro's ultimate moment of super-villainy and David Schwimmer's post-career breakdown that even the show doesn't show, it all culminates in the shocking - not to mention ridiculous - recreation of the fateful moment of the entire trial: that god damned glove.

Will it fit? Must we acquit? Of course not, but the revisionist history going on makes us sad. Come on, Judge Ito, you can still make things right! You can still make it more of a circus! Following a headline making arrest of a certified crazy man, who we should remind you is one hundred percent certifiably crazy, Mike delves deep into the psyche of a conspiracy that spans even deeper than he himself initially thought - much to the horror of his awestruck co-hosts!

But wait, there's more! The eyes of evil look upon us all, as we realize we are not alone. I know, it's insane to contemplate, but hear us out! We're sorry. He doesn't love you. Hear me? I'm The Juice! This is The FX's tombstone, because we've already planned it's funeral. And between a credit sequence that just won't appear, a love story that doesn't seem to be a love story, racism and sexism interwoven together in such a way that it's practically a new level of offensive, and the single most perplexing use of Seal's "Kiss From A Rose" ever attempted, the PN alumni sure as hell have their hands full.

Why was there so much dancing? Why was the Nazi presented to look sane? What in God's name is Ryan Murphy doing with the camera? Is it drunk?! The answers will never come. They just won't. Listen in as the boys of Pulp Nightmare discover what happens as betrayal rocks the trial of the century from both sides and tensions flare up, sparking a surprise exit on behalf of historical inaccuracy, Johnnie Cochran's super villain plot to end all super villain plots, the most one-sided feud over whether or not a man can be able to sit on a bench, and the single most shocking - and hilarious - ending in television history.

Only [Armless Tiger Man] knows! And this one's full of everything the boys have grown to hate, from camera work that induces outright nausea to the frustrating lack of anyone involved with the show doing what Johnnie Cochran asks: Choosing a side!

But before we're all treated to dark, tan, and Hawaiian Travolta, hear the live reactions to such oddities as O. Simpson's memory palace, Marcia Clark's refusal to ever be competent, the most surprisingly overacted outburst yet, and the continued racism of Mark Waid from Earth 2. Juice, you gotta help us We don't think we can sit through this one too much longer.

And Episode 3, The Dream Team, gives us answers to all important questions while simultaneously telling us nothing at all. Why does Marcia Clark seemingly never seem to stop smoking cigarettes? We don't know. When was Kato Kalein ever considered famous? Never explained. Who convinced Nathan Lane that joining this show was ever a good idea? We only have our assumptions.

In perhaps the most boring showcase of this real life murder re-sensationalized for prime time cable, we do however learn the true origins of the Kardashian empire. And that has to count for something. Cowlings The Juice Is Loose! And going about 20 miles per hour. For the second installment of the critically acclaimed drama seriously?

Like what Kato Kalelin is even doing here when he's clearly confused, how Robert Shapiro's super villain schemes extend to menacing the X-Men, when did David Schwimmer manage to get steady work playing an Armenian, whether or not Theo Huxtable ever managed to stop for food, and why, oh why is there just so much goddamn pizza? Listen all y'all, it's a sabotage. Escape the murderous claws of OJ by downloading the episode here!

Listen in as Mike, MB, and Hero travel back in time to the early 's, a world of seedy pizza endorsements, celebrity making schlock, and a real life murder mystery that captivated the nation. But was The Juice really a murderer all along? Well yes, but that's beside the point. Kato Kaelin's modern day doppelganger?

The origins of The Kardashian Empire? John Travolta's complete lack of facial movement? Only The FX knows. Download this Tale Of The Unreturnable here, if you dare pulp,zombies,comics,movies,geeks,comedy,weird,nerds,cyborgs,nightmare,batman,spiderman,comic,books,cinema,pop,culture,90s,cartoons,television,porn,wrestling,heavy,metal,commentary,magic,funny,comedy,film,humor,funnyIn which Hero gives the boys The Gift of The Zombi Download this Tale Of The Unreturnable here, if you dare tag:blogger.

Everything has transpired as they have foreseen it. Having harnessed their podcasting skills through the power of the Force, Mike, MB, and Hero have become Jedi Knights like their fathers before them, launching Pulp Commentary on one final adventure; at first bringing them face-to-face with the most villainous slug in the galaxy, bearing witness to the sheer humanity of one Rancor trainer, and pulling off the most ludicrous stunts since Boba Fett's dive into the Sarlaac Pit.

But now, they face the full power of a fully armed and fully operational battle station! Will Mike ever admit his true feelings to that sister he doesn't have? Will MB finally be able to come to terms with being more machine than man now? And will Hero be able to narrowly escape certain death when he's told, in no uncertain terms that Find out, but prepare for Ewoks!

For the love of God, prepare for Ewoks! Use the Force to download the commentary, right here. It is a dark time for Pulp Commentary. Like something out of a dream, the Pulp Podcasters make their return to that galaxy torn asunder by civil war and Interplanetary Nazis!

While huffing the warm organ steam of a dead cosmic camel, they trip out and start taking orders from a weird apparition, setting them on course for The Dagobah System! Join the Rebel allies Mike, MB, and Hero once again as they begin their adventure mauled by an abominable snowman, trudge through swamp planets in a vain attempt to lift spaceships with their mind, barely escape from a cave that is definitely no cave, and find themselves entertained by the company of Space Billy Dee Williams?

This deal is getting worse all the time! The force is with young Pulp Commentary, but they are not Jedi yet They're not afraid, but they will be. Narrowly escaping the clutches of a dark lord who found their lack of faith disturbing, the ragtag group find themselves up to their necks in sand people before running afoul of a crazy old wizard who teaches them the ways of The Force.

Ending up on a ship piloted by a scruffy-looking nerf herder and his walking carpet of a co-pilot, our heroes discover that is, in fact, no moon. They've just taken their first step into a much larger world But something is amiss To the left of them To the right With a drop in their gut, they rush to a nearby calendar. Yes, it's what they feared. Once again, the evilest of dates have come around. As the ship sets sail before they have a chance to get away, they can only grab some hockey masks of their own and join in on the fun.

Least he'll fit in. If you want to try your damnedest by boxing ole' Jason Voorhees, download the commentary right here. Black magic! Genetic engineering! Paul Rudd! Not the first time these three ingredients have been put together, and this won't be the last! Well, actually, it kind of will be, but in more of a semantical kind of way. Put your Shatner faces on, folks, and ring our door bell, we're inviting you in this Hallow's Eve as we continue our deadly tradition.

Save us, Ant-Man! Don't join The Cult of Thorn by downloading the commentary here! How will one host survive the festive depravity of "The Wicker Schnitzel"? And what do a shipping crate, norse mythology, and the Phantom of The Opera have to do with "Hot Crackers"? Download this Tale Of The Unaccountable here, if you dare, humans. So, half of this commentary takes place on earth, inexplicably. But, utilizing our Casio keyboard to assist Dolph Lundgren as He-Man in battling Frank Langella as Skeletor a credit that never ceases to be fun to say we still manage to save the cosmos from evil!

So, to Eternia, dear listeners! Claim the power of Greyskull for your own private use by downloading this commentary here. But their laid back approach is interrupted by a mysterious hooded figure from another dimension whose sole existence subsists of tormenting one man who made the mistake of summoning the evil spirit years prior!

It's bloody, it's horrible, and nothing will ever be the same once you encounter the nightmare of the one known only as 'He Who Drops Meat On The Street'. Speaking of demon summonings and the apocalypse! Download this Tale of The Unaccountable here, if you dare. God damn you, you amazing Chocolatier.

God damn you and your science gone awry! Download this Tale Of The Unaccountable right here, if you dare. And the boys We're not even going to do it this time. This movie has taken things too far. Santa Claus has claimed too many lives for these injustices to go on! Kids, don't enable this It's not worth it! Why, you ask? Well, he's a killer! And by that we mean a killer of cinema! Witness, for the first time, a movie so bad that it breaks the mold.

We're of course talking about the Holiday slasher that somehow spawned five sequels and a remake: Silent Night, Deadly Night. Please, punish it. To hear a fist hand unfiltered account of what a mixture of bad cinema and jingle bell rockin' terror does to one's mind, download this here and now! But don't say we didn't warn you.

A coin slides into a slot, a machine flickers to life, 8-bit sounds jingle in a cacophony of whimsy. An ape stands tall at the top of the screen. But the real enemy for Mr. Steve Wiebe is not the ape. But an evil far more devious, far more cunning. One who will stop at nothing to knock the poor teacher down from the mountain he has spent his life climbing. The bearded menace wrapped in the red, white, and blue; the self proclaimed barbeque GOD, the fuhrer of high scores Billy Mitchell.

Is The Wiebe the man for the job? Who will be The King of Kong!? Insert 25 cents here to play and find out. Not outside of the 80s, at least. Her domain. And if we have anything to say about it, it'll stay that way; Locked away where no man, woman, or child dare tread in this age! Our only regret, is for the rest of eternity she may continue to torment and haunt her victims, those innocent stereotypes of the 80s whose only crime was rolling their sleeves up too high.

Yet, to each and everyone one of you, know your sacrifice is not in vain, for the lives of 90s and s stereotypes have gone long untouched by her grisly wishes! But come with us, dear listener, as we gaze into our crystal ball at that unholy place called the s, and see her tale unfurl like a snapping coil of hellfire. Sometimes, winning is the greatest magic of all.

Download this Commentary here before Teen Witch wishes the truth away! Listen in as Mike, MB, and Hero enjoy themselves for once by playing a not-at-all-new spin on the popular Cards Against Humanity, which leads them into finding out just what you'd trade a pack of cigarettes for, where you don't want to find either Sean Connery or Pac-Man, the wonders of The Orient, a strange sequence of cards that seem to be linked together, and how a scenario involving President Obama momentarily puts MB towards the path to victory.

A thank you to CardsAgainstOriginality. He totally is though, don't let the title fool you. Now, go and text everyone you know that 'Pulp's Not Dead! Yes, we're giving you permission to cheat on us, but only as sloppy seconds pulp,zombies,comics,movies,geeks,comedy,weird,nerds,cyborgs,nightmare,batman,spiderman,comic,books,cinema,pop,culture,90s,cartoons,television,porn,wrestling,heavy,metal,commentary,magic,funny,comedy,film,humor,funnyIn this edition of Pulp Commentary, our brains melt out our ears and we experience offensive B.

Yes, we're giving you permission to cheat on us, but only as sloppy seconds tag:blogger. Join us as we go somewhere over the rainbow to watch: DR. Well, sorta. He does get a couch thrown at him. The Rumble At Crystal Lake! The Showdown! The Battle of Can he cope with his post-traumatic stress of losing both his partner, and his wife and child in separate incidents long enough to save the Princess?

Made absolutely no sense, but I loved it! Greatest of Saiyans! Where are you when we need you?! Censored for the most part, but heads up. One convenient lightning strike reminds us that nothing this evil or marketable ever dies -- and this time, Mrs. Voorhees' baby boy is DONE screwing around. Will a sexy hero be able to triumph over the now zombified killing machine?

Will Tommy Jarvis finally quell his nightmares? Will this be the only legitimately well made film in the entire franchise? Join us, and maybe find out I'll get the body bags. Listen as alliances are forged and then immediately broken in a mad quest for power; witness the fall of the House of Pulp, one-by-one, at the hands of a cash-suited psychopath who can't stop doing calculations. Bring the Gold Helicopters lower! Bring them lower! So, start knowing what a TV dinner feels like, bubby!

We're your commentating white knights! We read about it in Time magazine. So, hop into a Johnny Cab and unleash the Kuato within you, because we're not only giving them air, but we're watching Paul Verhoeven's sci-fi classic We can commentate it for you wholesale. Also, Beth dies. But don't worry about that. After carrying the song bird's lifeless corpse out to be set ablaze like she's Darth Vader, they watch Maggie roast marshmallows over it and discuss "Coda," the mid-season finale of The Walking Dead.

And unfortunately so, because it details a real life tragedy that is mocked relentlessly and without class. Which mysterious foe of Pulp Days Past returns to taunt the trio? Only the Equestrians know, and they're too busy playing poor to care. He was sober that night! Really, he said he was!

Don't you check the facts, America! But despite continuing to swear their allegiance to The Red Skull, even in the zombie apocalypse, they still manage to discuss "Crossed," the newest episode of The Walking Dead. But as they wander from place to place, they discuss "Consumed," the newest episode of The Walking Dead. How could cosplay go so wrong, and where the hell is Dave? What horror lurks beneath the recesses of one man's toilet seat, and how could it have endangered one podcaster's very life?

These answers and more are revealed! No, damn you, not his toes! Is nothing sacred?! On the most fake of evil days, this devilish Friday the 14th, we journey back into a randomly confined house in the woods to face our greatest fear -- Stand In Slasher-Man Killer Guy! For this time, there is no Jason for us to fall back on.

No Camp Crystal Lake. No machete. Not even a single god damn red stripe! We're in a nightmare of unfathomably 80's proportions! And now, only Juwanna Man can save us The dreaded things that mingle within the chthonian darkness of your faithful hosts, once again, clambers it's way to the surface; but this time it is Mike who has to venture into The MBscape. But enough about Dr. Loomis, we're here for Michael Myers! This is Bob we're talking about, you heartless bastards!

So, you better welcome your new space slug overlords, spanky, and pop an 80's brewski while you're at it. You don't have any squirrels, you say? Would you like to eat a severed leg instead? It's in vogue, man! Don't look at us like that. Our delicacies aside, we also discuss, over a slow roasted Phil, the season five premiere of The Walking Dead, "No Sanctuary. Was he guilty of assaulting her? Did the conspiracy ring true? What the hell does yeast have to do with any of it?

And if that weren't enough, Mike unintentionally journeys into The Phantom Zone and finds himself touching Coke, experiencing visions of the bizarre and the microscopic, and suffering a defeat at the hands of a pair of outdated glasses.

No idea? Well, can you at least reveal to us the identity of The Laughing Bandit? Good heavens, it's Sir Reginald!? But enough about us learning various secrets, because tonight we're strapping a jetpack on, wearing the most art-deco helmet in history, and battling evil nazi Timothy Dalton atop a blimp! And tell 'em Howard Hughes said so. Finale: Robin, No! The boys certainly hope so, as Frank Miller's all-star magnum opus of mental instability comes to a terrifying conclusion.

Gotham City has seen it's share of freaks, but how will it deal with costumed vigilante sex, chemistry lessons gone awry, hatred of the sun, butlers who like to dress little boys, that damned idiot Hal Jordan, clowns inexplicably covered with dragon tattoos, hatred of the sun, murderous twelve-year olds with lemonade, hatred of the sun; and worst of all, the dreaded cliffhanger Get your bull straight, Pulpsters, because this is one finale you don't want to miss.

Well, maybe you do. Hal Jordan, you useless bastard. Gotham City?! Well, maybe this won't be so bad. Except, wait Is that The Batmobile? Murdering cops?! And is that a terrified boy inside?! Why does he keep clenching his fist?! Who's the shirtless british guy?! Is that woman Irish?!

Who's the man running across water and why does he keep saying "damn"?! What in god's name is a robot machine?! Why is the boy eating rats?! Then, it's social darwinism, as the first video game reality show is plotted in intricate detail to the point of almost certain arrest, one desperate man just tries to find a place to sleep for the night, and another turns a corner only to find a Damn your vengeful spirit, Sam Walton! But is it Due to movie executive greed, NO, it is not.

We'll pretend though, 'kay? Featuring Crispin 'McFly' Glover! Mike and Hero aren't gonna talk about her at ALL. Because in a week of spectacular trailers, they're hung up on a return to their favorite small town, where laxatives are met with outrage and the prom queens vibrate. Where's our ax?

Embarking on a journey of self discovery and laundry detergent that leads to the strangest overnight sub-culture of all, the time Thomas Jane and LL Cool J avenged the death of a parrot, and what the hell that head-sock that Gambit of the X-Men wore really was. All before diving into the real teeth of the matter: where Venom can stick that goddamn tongue. Dammit, Professor X! Stop being a dick for once in your miserable life! Did you think they were going to be eaten by a band of cannibals or something?

But before they ate it and were stricken with a mysterious and sure to be unrelated illness, they discussed "Us," the newest episode of The Walking Dead. This episode's claimed. This commentary is a vampire. But don't worry, before they put one through the back of his head, they remembered to discuss their thoughts on "The Grove," the newest episode of The Walking Dead. This one's for you, Pinkus. Their bad decisions aside, they also talk about "Still," the newest episode of The Walking Dead.

But despite their pathetic states, they're still able to discuss "Claimed," the newest episode of The Walking Dead. But they reach the end of the tracks in time to discuss "Inmates," the newest episode of The Walking Dead.

But that's not all! In a rarely seen glimpse behind the very souls of they who tell tales of the unaccountable, they discover what it means to grow up as the child of a supervillain, the missed opportunities that Jenga has to offer, the insidious connection between a certain German monarch and a world famous film composer, and logic be damned, how Spider-Man and manage to fit into it all.

Seriously, why was THAT your answer? Thankfully, they get their heads together and find some sanctuary in time to discuss "After," the newest episode of The Walking Dead. Grab your gas masks and military ponchos for this one, because Pulp Nightmare is back, baby. Back and all over your face! All they have in common with the uncontrollable and the insane, the vicious and the evil, all the commentaries they have recorded and their utter indifference toward them But even after admitting this, there is no catharsis.

No deeper knowledge can be extracted from our jokes. But join us for it anyway, you stupid yuppie bastards! Yes, it is time we take another trip into the woods, and watch the slasher classic: Friday The 13th Part Yes, keep your eyes closed, and don't look up, because The Tall Man is watching you! But after dragging their former right hand man into a zombie pit and hanging their laundry, they discuss "Dead Weight," the newest episode of The Walking Dead. Thankfully, they're spotted by a kind family and given fresh haircuts so they can discuss "Live Bait," the newest episode of The Walking Dead and the return of The Governor.

A really stupid, rubber nipple fitted, over the top, campy, chill. So, prepare for a bitter harvest and freeze in hell! Never leave the cave without it. With a breathing tube firmly down their throats, they actually manage to discuss "Internment," the newest episode of The Walking Dead It sounds Luckily, they return to the prison in time to discuss "Indifference," the newest episode of The Walking Dead. But thankfully they stave off disease long enough to discuss the events of "Isolation," the latest episode of The Walking Dead, and how Season Four is shaping up so far.

So, join us this Hallow's Eve by grabbing your nearest kitchen knife, because we're resuming our bloody tradition by watching: Halloween 4: The Return of Michael Myers. It's going to be one hell of a family reunion. So, collect all your candy and plop yourselves down in front of the television set with us -- and don't forget to wear your masks!

His name is Herbert West, and while he may seem weird, he actually has a very good head on his shoulders. And another one in a dish on his desk. NINE shall die! We have come back from the dead for revenge, with nine diabolical curses! Each one more comedically based than the last! So, to avoid our vengeful wrath, you should join us and our clockwork band this week, as we watch possibly the most terrifying film you'll ever see Love means never having to say you're ugly.

Shocking truths are revealed in bulk after a chance encounter with a time-jumping metalhead, who's travelled very far to warn of the perils in a future gone wrong, and tells us how Pulp Nightmare can set things right! Ever wondered why there are so many Walmarts? How deep the government probe really goes? Why so many celebrities are dying?! What the sinister counterpart of the Blackula Hunters really are?! Or maybe even It's all told, and everything is finally laid out, with answers to questions going all the way back to the original episodes!

The secret history of the world goes deeper, and you better listen now. Before they do! So, crawl out of your bloody mattress, and bow down to your God, Leviathan, because the boys are once again opening the box.

This time it's to record a commentary that will be legendary -- even in hell! It's time to watch, Hellbound: Hellraiser 2. Listen in terror as they throw one of those rules out the window in an attempt to get with 90's Neve Campbell! That's right, folks, pop some popcorn, throw in a VHS, and ask yourself what your favorite scary movie is, because we're about to take our love of horror one step too far by watching the 90's slasher classic, SCREAM.

We'll be right baaaack! Witness and be amazed at the birth of several legends at once, as Mike returns with tales from his yearly adventure at the Baltimore Comic-Con, culminating in the reveal that getting old sucks, the chronology of cosplayers, the TRUE power of the psychic mind, condescending elderly folk, and the uncomfortable feeling that a man wearing wings brings about.

That was Scarecrow In this edition of Pulp Commentary, the boys - as in MB and Hero, sans Mike for the very first time - curl up in their sick beds and allow Peter Falk to read to them about a faraway magical land in which Andre the Giant is still alive, princes are douchebags, Billy Crystal is funny somehow, and the man known only as Westley is the dreamiest of all. So mount your faithful steeds and put on your six-fingered gloves, because we're setting sail with the Dread Pirate Roberts to watch the fantasy classic - The Princess Bride!

Join us, on this cursed holiday, to get 80's and watch -- but barely talk about -- Friday the 13th Part 2. The body count Join the boys as they take a stroll down memory lane, uncovering haunted glimpses and disturbing images key to their past through the unseen, the unforgettable, and of course, the unaccountable. Because finally, Mike and MB venture In this edition of Pulp Commentary, the boys aren't just two podcasters, dammit! They're Zorro! From their own past to Frankenstein's castle, listen as a grand plot begins to unfold like propellers on a zombie's face.

What's that smell? Is it lilac!? Abrams Star Trek. We also destroy Vulcan, but that's neither here nor there. Marsalis was all too happy to take the back seat and personally introduce us to his jazzmen. I can still recall an original composition by bassist Carlos Enriquez.

With an impressive contemporary sound, the groove was infectious. This inspiring collection of musicians was warm and welcoming, giving the audience a fun evening of great music. In , I travelled to New Orleans with my music-loving family, looking for some inspiration. I found so much more than I hoped. Never have I seen so many venues filled with live music every hour of the week. One in particular really caught my eye.

The venue prides itself on providing a lush, old world experience of live jazz. As we stumbled in one evening, already buzzing with excitement, I noticed a quartet playing in the corner. Every song was a super cool and effortless jam. Aside from having a voice as sweet as chocolate and the smoothest tone on his horn, this front man was quite the showman. After every tune, he would ask the audience to take a sip of their drink.

You see, every sip you take is gonna make the next song sound a little better. I left with a whole new level of admiration for the New Orleans live music scene. Buddy Guy was the very first artist I ever saw at the Enmore. I remember walking into the venue and feeling an instant wave of infatuation rush over me. As for the man himself - even in the 76th year of his extraordinary life, Guy simply brought the goods. If personality is the mark of great performer, then Guy must be the greatest.

Guy is one of those singers who just know, intuitively, how to do it right. Lianne La Havas certainly does. She is an excellent storyteller with incredible facility as a vocalist. My partner, Joel surprised me with tickets for my birthday. To my surprise, La Havas played a sold out show for almost three hours straight.

Solo, with nothing but her voice and her guitar. I was impressed to say the least. La Havas had the undivided attention of everyone in the room for the entire show. She was unapologetic and unafraid to showcase her huge voice. I think what I enjoyed most that night was the warmth and honesty radiating from this soulful star.

With international classical training at Bristol Uni and Bath Spa Uni UK , Hildesheim Uni Germany and postgraduate composition at Sydney Conservatorium, she has branched into jazz, experimental live theatre, flamenco fusion and improvisation. Weaving a mosaic of unique tonal patterns and rhythms creating an original intuitive musical voice, her works are a hybrid of her sonic experiences and a reflection of a multifaceted modern world.

Exploratory, open-minded and globally inspired, hints of impressionism, jazz and the influence of contemporary Australian composers can be heard in her music. She has performed around Europe and Australia including Sydney Opera House and the Basement, and many hotels and bars, in a wide diversity of ensembles and had compositions commissioned by Sydney Conservatorium since immigrating from UK in In she formed her own ensemble, Ephemera Ensemble, to perform and develop her compositions and have had a series of successful shows around Sydney.

Since , nine of her compositions have been published by the Australian music publishing house, Wirripang. She has written in a range of idioms from contemporary classical to jazz songs to theatre and dance music. In Sydney Conservatorium Spanish Encounters piano festival commissioned her to devise one of her own pieces Luna Llena for a piano ensemble and Marquez Laundry Theatre Company commissioned her to write the music for the abstract play Fred and Ginger at Sydney Fringe Festival.

Keyna teaches piano, flute and theory from her home studio in Ashbury, with a passion for helping students achieve their potential. She is also the mother of 2. I was impressed with the level of cohesion of the group and freshness of the whole project. Jenna's dedication and follow-through in setting up and developing the group is awe-inspiring. Also her talent for jazz composition is astounding, as is her ability to MC the event which is something I struggle with at times!

She also has great judgment in choosing different soloists within different jazz styles creating very a dynamic range of tone colours and textures. She has made her vision a reality, which in this industry, is a difficult thing to achieve. Indeed at times if you are not looking you would be forgiven for thinking you are listening to a virtuosic violinist! I have seen him many times over the years, but it's his solo shows, which have been everywhere from 5 hour improvisations in cafe corners to recital hall concerts, that have really blown me away.

He never holds back on his level of enthusiasm and sheer passion for the music he is playing, which is infectious, and gives you the sense that you are witnessing something very special - an all-encompassing total performance. I feel he really taps into something deep and intuitive he plays.

Also I really love how he often incorporates aspects of pop, rock, jazz, folk and experimental classical music into his improvisations - after all, it's all music. Chachy is an amazing contemporary flamenco dancer who really showed me the amazing level of, at times super-human, precision, complexity and raw talent that is possible in a flamenco show, playing with shifting time signatures and complex rhythms.

Like an actor, displaying all the human emotions, but through movement, beautiful movement. Byron is equally talented at his instrument with incredible improvisatory brilliance and raw rhythmic talent. When Byron and Chachy work together as a duo the result is very exciting, almost euphoric, as if you are entering another dimension. She is an extremely sensitive and subtle performer, a delight to watch, as her hands dance about the keys.

Also she really owns whatever she is playing and puts her stamp on it. When you watch her play it is as if she is in a trance, and puts the whole audience in a trance also. Her playing communicates deep facts about the human condition: longing, happiness, forgiveness, regret, hope - it's all there in her playing. I learnt a lot from working with her. The way the musicians seemed to intuitively understand each other and flow through the tunes; then totally loose themselves in the improvisations and speak a musical truth, was very inspiring.

Her authentic Brazilian voice, sense of groove, engaging charisma and a very personal and passionate stage presence are the trademarks of her work. This direct learning and unique experience have inspired her to become a professional singer.

It was always my dream to meet Jobim, my favourite composer and one of the fathers of Bossa Nova. I still have the printed program of the concert. I was there,18 years old, in ecstasy watching this masterpiece. Kids below 10 years old officially could not attend concerts. Many artists in this period went to jail and in fact most people believed that concerts where not a safe place even for adults. I performed it , in a bus, standing at the top of the bus motor box, beside the bus driver.

I loved it. She has a brilliant and unique sense of rhythm. This was an intimate performance with her amazing trio composed of pianist Joao Carlos Coutinho, drummer Adriano de Oliveira and bassist Luizao Maia. Leny is the singer I have most watched live in my whole life since then. She still performs around Brazil and USA, with these same musicians.

Leny has influenced my sense of rhythm and has introduced me to the world of jazz. Thank you Leny! This is the best live DVD show I have watched in the past 15 years. He is my third favourite composer after Antonio Carlos Jobim and Djavan. His music has these roots and yet, it is universal at the same time. This concert has a magic balance of intensity and serenity.

It was masterly performed by only three people on stage: Lenine voice and guitar , Cuban female bass player and singer Yusa and Argentinean percussionist Ramiro Musotto. This concert keeps my faith in great live music. I had the privilege of watching both concerts and I am a fan of both of them. Unfortunately I could not feel connected.

The Sade concert, in the other hand, had a huge production with magnificent stage level changes, sound and lights for an open air concert. She performed with her original band, displaying great respect and friendship between them on stage.

They were having a party and so did the audience. The level of energy, professionalism and musicality was high and I could feel connected. Back to Top Nick Parnell's High Five Celebrated as one of the most exciting vibes players in the world today, Nick Parnell makes old music new again, injecting energy into a repertoire that might be familiar to some, but definitely inspirational to all.

With a spirit of recklessness, Parnell takes one of the newest of classical instruments and gives it a genre-bending makeover. Steel yourself for his mallets of musical mastery. Contains a pedal to control sustain. Most impressively and physically played with four mallets. Emits a mellow and smooth singing tone.

Such humble beginnings ignited a passion in Parnell that has led to accolades including first place in the International Melbourne Percussion Competition, the Centenary of Federation Medal awarded by the Australian Government for contribution to the arts and the Dame Roma Mitchell Churchill Fellowship. His subsequent performances were met with critical acclaim. Also a passionate educator, Parnell has presented hundreds of master-classes from schools to universities including the Sydney Conservatorium of Music, Elder Conservatorium of Music, West Australian Academy of Performing Arts and University of Melbourne.

I was 12 years old at the time. After a two day drive from Adelaide to Brisbane with some uni mates, we finally arrived and were ready for the gig. Her percussion instruments rose out of the floor amongst a haze of smoke and then she appeared. A tiny lady, but from the first note it was obviously she played with the power of giant. Her energy was infectious and the audience was left in no doubt that she wasn't here to take prisoners.

I was so inspired by her performance that years later I learnt the concerto for a performance with the Adelaide Symphony Orchestra. Because of her many performances of the piece, it has affectionately become known as Veni Veni Evelyn Glennie! The stage was covered with every type of percussion instrument you could imagine; drums, timpani, vibraphone, xylophone, Chinese gongs and most impressively two giant grand marimbas.

The Safri Duo played a program of contemporary works by composers such as Miki, combined with classical transcriptions. The most striking was their renditions of J. Bach's suites with they had adapted for two marimbas. I was awe struck at their power, grace and commitment to the music.

So much so that the next year I moved to Copenhagen for a time to study with them. They have shaped my playing ever since. I loved it, I couldn't get enough of it and my favourite marimba soloist was Keiko Abe from Japan. So when I saw she was performing at Percussive Arts Society convention in America, I went straight down the travel agent and bought a plane ticket.

From the very first note I could tell she had magic in her playing. There was something about her touch, the way she moved and was at one with the music that you just can't explain. Then came the rich, powerful chords as she she struck the low end of her giant 5 octave marimba - the sound is undeniably "Keiko Abe". No one sounds like her, and no one ever will. A living treasure of the percussion world - the God Mother of the marimba. Gary Burton is my favourite vibes player. He not only popularized the method of playing with 4 mallets known as the Burton grip , but re-defined what was technically and musically possible to achieve on the instrument.

But what I believe really defines him, is his sound. Smoother than his predecessors such as Lionel Hampton and Red Norva, and yet more exciting due to the power with which he plays. Put Gary Burton together with one of the great Jazz pianists of all time, Chick Corea, and you've got a match made in heaven.

The atmosphere was electric in Hammer Hall as these two masters took to the stage. For the rest of the evening I was mesmerized with the ease in which Burton and Corea played their instruments. The Burton sound, technique and approach has influenced the way I play the vibraphone more so than any other musician.

It took place only a couple of years ago in New York's famous Blue Note jazz club. Witnessing interaction between all the group members was fascinating. The bass would suggest a rhythmic idea, and the drums would respond with just the right pattern on the snare and cymbal. The vibes and guitar when played in unison was quite hypnotic, almost sounding like one new instrument. And of course the master Gary Burton, with his amazing improvised solos, never ceases to amaze! Waldo has finished his PhD Music at Macquarie University under the supervision of Dr Andrew Alter where he also lectures and tutors in a number of units in music.

He also held tenure as an associate lecturer at Southern Cross University and his results of his thesis will be released as a CD and published as a book. As an academic, Waldo has written and published a number of peer-reviewed articles, book chapters and presented various conferences on popular music, small island studies and music psychology. Dan Bendrups and Sandra Garrido amongst others. Waldo is currently writing a book on the history of music publishing in Australia as well as conducting a number of research projects on popular music, small island studies, music production and music psychology.

This Festival takes place in the city of Santiago. I was fortunate to be able to see the Dave Holland Quintet in the version of this Festival. In this occasion, Holland was backed by a formidable group of musicians that included Robin Eubanks on trombone and cowbell, Steve Nelson on marimba and vibraphone, Chris Potter on saxophones and Nate Smith on drums. The music was a mixture of progressive post-bop and avant-garde jazz, with asymmetrical rhythms, creative harmonies, emphasis on group improvisation, and extended forms.

The repertoire was a both accessible and edgy. The opportunity to witness such an incredible performance was invaluable as a developing young bassist. Stanley Clarke is my biggest influenced as a bass player. I have followed his work since the day my dentist played me a Return to Forever track while trying to calm me down as he proceeded to inflict some incredible pain on me; I was 14 years of age then. He and Miroslav traded chops and beautiful lines with both artists demonstrating their amazing techniques and musicality.

I remember going home and spending the whole night listening to both Weather Report and Return to Forever and feeling very inspired. On this night the band was made up of a piece band on, among other instruments, flutes, violins, keyboards, trombones and percussion, and the four singers.

I really looked forward to this event as every Latin musician know that Los Van Van is the greatest Cuban dance band of the modern era. It is very difficult to stay still to Cuba's most famous orchestra. My wife was pregnant and the baby would not stop moving to the rhythms of Los Van Van.

One of the most impressive features of the band is the drummer Samuel Formell, son of Juan Formell, the bandleader. He mixed clave rhythm with timbale-style hits and killer grooves. There were some great solos by the rest of the band. The brass section was incredibly vibrant and tight, typical of Cuban music.

This was a great concert. I have always been a great fan of Brazilian music and in the work of this great musician. His music on the night was an eclectic, intensive and challenging mix. This was a superb concert. In fact, I could watch a show like this five times, each time focusing on the unique talent of each musician. I was lucky to have been in Chile that year. This group consisted of drums, percussion, trumpet, sax, guitar, keyboards and Bona on vocals and bass.

This was the first time that I had ever heard Richard Bona. I was so impressed by his versatility and virtuosity with blistering fingerpicking, his left hand speeding up and down the fretboard with amazing precision.

Moods varied from relaxed ambience to deeper, sharper grooves and smooth jazz. Back to Top Nicola Milan's High Five Sophisticated, romantic and alluring, Nicola Milan captivates with her unique, silky vocals and relaxing, emotive compositions. Nicola is touring Australia nationally in January to promote her new album with shows scheduled for Perth, Melbourne, Sydney and Brisbane.

Nicola also writes funny poetry and has competed in the Australian Poetry Slam Competition for poets and writers that perform their work. It was one of the first live shows I had even seen and the not only was the cast superb but the staging effects, props, lighting were all spectacular.

I know this is not jazz but the clarity of the vocals has always stayed with me as well as the concept of creating a visual feast onstage along with great music. The highlight of the performance was firstly when The Phantom lured Christine down to his lair and the 'boat' on stage was shrouded in soft billowing smoke and I remember wondering how they managed to make it look like the boat was literally on water, floating across the stage.

The second highlight was when the Phantom you know, I can't for the life of me remember who the cast member was - but I was 15 so you'll have to forgive me hit that magical pianissimo top note in 'Music of the Night'. Such amazing vocal control. There is such passion in the way the musicians from Spain played. It really fed across all the bands that performed that evening It was a Spanish showcase that year and the other common theme was how simple the chord progressions were and how much emphasis was on vamping but whenever they lacked in musical complexity they made up for it in emotion.

From my experience at WAAPA, I personally feel that in WA at least, we sometimes get caught up in playing the most challenging music we can but to the absolute detriment of emotion so this performance was a good kick in the pants to remind me that music is about emotion first and foremost.

The other thing I enjoyed about Jose and his band were their onstage antics. They were highly entertaining and the drummer Tommy Cagiani had the audience in stitches with his soft toy throwing and use of non traditional performance apparatus to say the least! NORAH JONES - Perth Convention Centre - This was not a performance I enjoyed at all in fact, I'm including it in my list because having enjoyed Norah's music for years, I was utterly disappointed at her unenthusiastic, run of the mill performance and it has stood out as as an example of how to loose a fan for life, so I thought it was worth mentioning.

Norah looked like she really didn't want to be in Perth performing at all and it definitely showed. She barely acknowledged the audience and her band just stood there bored. The set list was badly thought out and her new material was crud. It was pretty obvious which songs she had written herself and those that were written for her.

Harsh, yes, but I'm just giving my opinion here so feel free to disagree with me. There I was, little ol' me taking a pony ride around the Latin Quarter when I started happily chatting to the driver about music. He just happened to be one of the dancers cast in the new HBO series 'The Treme' and he invited me to hang out with him and some muso friends that evening I won't go into names.

His friends were unbelievably amazing players and music seemed to come as naturally to them as breathing plus they were so welcoming and friendly. I felt completely at ease and had such a good time jamming with these insanely skilful musos and the focus was just on having fun and inclusion. No egos, no elitism just music, fun and friends. I didn't think much of her compositions but her voice really spoke to me and on stage she was mesmerising. Very seductive and alluring but done in an effortless and sophisticated way.

This was one of those amazing gigs that you chance upon when travelling overseas. In I was lucky enough to spend a few weeks in the US dedicated to studying with some great players and listening to as much music as I possibly could. After spending a day being very inspired by Wayne Bergeron the amazing lead trumpet player I somehow navigated my rental car through the crazy streets of LA to USC to hear this phenomenal gig. The musicianship of each player was unquestionable, however what blew me away was the unspoken communication and raw energy of the ensemble.

This particular gig was near the end of an extensive tour the group had undertaken and the audience at USC was spoilt by hearing such amazing musicians playing so well together with unbelievable energy. It was a Sunday night, was packed and I was sitting right in front of the band in the front row.

Did I mention swinging? He played 2 gigs at the Acer Arena on a Monday and Tuesday night. I quickly jumped on line to buy tickets to one of the best shows I have seen. Stevie was in fine form playing and singing all of those tunes he is known for, as well as a few that I had forgotten he had written.

There was no flashy show, no lighting effects, not rotating stages, and no smoke machines, just a fantastic band with Stevie out the front playing and singing the bejeezus out of it. It was not only the fantastic music which grabbed me this night, it was the great scene of a buzzing club full of punters feeding of this amazing music. A vey swinging band full of great musicians, playing great tunes to an appreciative audience and the first time I met and was inspired by the legendary Tom Baker.

She grew up in Hoskinstown, a small rural town outside of Canberra. She began her musical training in classical piano, taking up the double bass as part of her schools year 7 beginner band program. After high school Hannah was awarded a scholarship to study jazz performance at the ANU School of Music completing her honours there under the tutelage of the bassist Eric Ajaye. In she was the recipient of the Jann Rutherford Memorial Award for up and coming female jazz musicians.

As well as leading and writing for her own group, Hannah also regularly works as a sideman for a number of projects in and around Sydney. This was the third time I had seen them play. I saw their gig in Sydney a few days before this one, however for me this stood out for a number of reasons. It was held in the Finnish embassy to a much more intimate audience than the Sydney show. The musicians all played completely acoustically and the sound was magic. There has always been something particularly special and unique in feeling and hearing purely acoustic instruments up close without the interference of amplification.

They have such a unique and distinctly euro flavour to their sound that I have always really loved. Each instrumentalist had the most beautiful tone, the blend and balance was incredibly and you knew you were listening to a real band. The sets by both groups were definitely something I will always remember! Firstly, I got to see two of the heaviest bassists in one amazing night - Ben Williams with Jose and Derek Hodge with Glasper and they seriously did not disappoint!

They continually referenced so many different genres and tunes within the one song. If someone hinted at something musically, everyone was on it and inside it within a split second. Loved it! There was a command and presence from every player on that stage that was awe inspiring. After the gig, it was curious to hear the very mixed responses people gave to the experience but this is definitely something I would love to see again!

I try to go and see them whenever I can. Listening to this trio, I am always thoroughly hypnotised. The ability to hold an audience or listener for whole sets like that is incredible. This is a band that always reminds me of the big difference between being a true artist vs a musical trades person and never ceases to inspire. This was my first time in NY and one of the first chances to see some of the incredible players I had been listening to for the past few years.

All three musicians are some of my favourites and just seeing them all together was exciting in itsself. To top it off, the venue was tiny and it was a very quiet night so I could really listen and watch with little distraction. This might sound funny, but I loved the fact it sounded just like their records, all these familiar sounds that I knew through the recordings, only even better in real life!

The chance to have a chat in the breaks and at the end was just an added bonus! I was still at uni when these guys came out and they ran a workshop at the Canberra School of Music. I was blown away by everything about the guy. Firstly he had an incredible command of his instrument, a true virtuoso. The control, poise and focus he brought to every note he played, was a lesson in itself. Secondly, you really felt he said something every time he played.

There were no throw away notes. Music and art emanated from every aspect of his person. When he spoke about music there was that same serious focused attitude, no b. I greatly admire Linda Oh, she is another amazing bassist and this was also the first time I had heard of her.

I really enjoyed both the trio gig in Canberra and at the Wangaratta Jazz Festival. It was a unique sounding trio with just the drums, bass and trumpet. The melody and harmony has to be conveyed through two single melodic lines which can be a tough ask but when done wel,l is one of my favourite approaches to composition.

He has also composed for and appeared in television and stage shows. It was a roaring band and they used to do all sorts of comedy routines as well as play hot stomping jazz. I would always get the pie in my face! It was great jazz and very entertaining. It was a profound moment and set me on my way as a musician. I was about 14 years old and I was so impressed with these guys when I saw them. I could not believe the way they all played together so perfectly.

The interplay between them was surreal at the time and still brings a delicious feeling to me when I hear recordings of them. I was learning to play classical guitar at the time, as well as dabbling with improvising, so it was a big eye opener for me then. Once again, these guys told jokes and had an enormous amount of fun on stage and it really struck me that music, especially Jazz music, was a very special kind of thing.

I was determined then to play like those guys. When the Basement in Sydney opened its upstairs bar, I was fortunate enough to get the Midnight to 3 AM spot three nights a week, playing in a duo with Bass player Chris Paton and later guitarist Dave Smith. I was 19 years old. This led to me be able to hang out with Barney and Herb for the three nights that they played there in that year.

I was sitting up front every night never taking my eyes off their fingers, it was a truly marvellous experience and I learned a lot. Barney even came to my house one night, I was blown away. Sit ins Dave Liebmann. All our jaws dropped to the ground. Steve Dagg put his sax down and hid somewhere. We played a blues and he took about a million choruses playing stuff over the changes that I had no idea about. It was a whirlwind of musical colours and just astonishing.

When he finished his solo he looked at me to take my turn. Compared to the slick performance that had gone before me, it must have sounded like the proverbial fire in a pet shop, it was awful. Afterwards, Chick Corea congratulated me for being so brave! Just shows what a nice man he is. It was a big turning point in my musical life and it made me do some serious woodshedding!

When I was first asked to join I was terrified, even after nearly forty years of experience. The musicians in the band are second to none and are incredible improvisers as well as being able to read the most frightening and complicated charts I have ever come across. It has a repertoire of hundreds and hundreds of tunes and arrangements. As well as our residency at the famous jazz club, the band has travelled around Europe and even to Turkey and the Middle East.

How did that happen? Having played professionally since , he has more than ten years of experience performing around Australia, NZ, USA, UK and Nepal within various groups and settings. It has also informed his incredible improvisational skills, allowing true expression and flexibility in his performance. More recently, Chris has branched out into solo-piano works, and played his first solo performance at the Brisbane Jazz Club to a sold-out crowd.

He will be recording his first solo album early next year, focusing on his musical interpretations and arrangements of classic hymns. Having recorded and co-produced many albums, and working as a session musician in various genres, Chris is also well-known for his work as a visual artist, having painted art-works. These guys were playing right on the edge of their ability, taking risks and flying high with crazy melodies and odd rhythms.

Moran's enthusiasm was such that he snapped a few tines on his Rhodes, and Nate Smith's gusto lost him a drumstick to the front table of listeners. I really loved how Potter and Krantz were able to weave lines in and out with each other. It was so inspiring to see that level of intensity and interaction. VNMG - Brisbane Jazz Club, Brisbane Will Vinson - alto sax; Steve Newcomb - piano; Thomas Morgan - bass; Peter Gabis - drums On return from study at Manhattan School of Music, my then piano teacher Steve Newcomb brought with him a group of musicians from around the world whom he had met at the college and recently recorded a bunch of original material together.

As a wide-eyed young musician, I watched this band present something really fresh and optimistic. There was a real sense of beauty and exploration, both in the composition, and the performance. I think a lot of the harmonic ideas have really stuck with me. I had been a huge fan of these musicians individually as well as a band, and to see them perform live was nothing short of amazing!

They had just released the "Beyond the Sound Barrier" album and performed material from that. The level of interaction - listening and dialoguing within this band blew me away! Wayne Shorter showed what it means to be a band leader, guiding his fearless rhythm section through very open spaces of improvisation, and subtly connecting ideas and phrases, building tension, creating beauty and taking the band and audience on a real journey.

The use of rhythm and dynamics - especially from Brian Blade and Danilo Perez, really captured my attention. It was a really cool gig! Roy Hargrove and Kenny Garrett were cooking as expected, and I really enjoyed hearing their interpretation of the old 70s Herbie rep. Marcus kept it funky, and I appreciated Herbie's apparent sense of trying to keep it 'fun' - not a lot of snobbery in that band.

I remember we were pretty young and excitable and decided to sneak in a few hours early to see the sound-check, then hung out later to meet Roy and Kenny, and a brief 'hello' with Herbie. It was just a fun night. My wife and I managed to get front row seats, and eye-ball the musicians as they played. Always a fan of the legendary Lenny White's slightly loose yet phat grooves, but mostly we were glued to Chick ripping it up on Rhodes, synths and piano. He nailed all those characteristic lines with precision, but he still seemed to be pushing his own limits and improvising with a real fire.

It was great to feel so closely drawn into that, and to communicate to the band with smiles and nods, our appreciation of every phrase - a real sense of band-audience interaction. Back to Top Aaron Michael's High Five Stemming from a musical family, Aaron began playing the alto saxophone at an early age and after finishing high school went on to study Jazz at the Queensland Conservatorium of Music during which time he made the switch to the Tenor Saxophone.

In Aaron moved to Sydney and has since become one of the busiest and most in-demand saxophone players on the scene today. While being highly in demand as a session musician, he has also recorded two albums with the legendary Australian singer Jeff Duff. Comprised of some of the best Jazz musicians in the country.

SMO has already played over 20 performances. November saw the release of his first solo album. The album was featured as There is a level of energy and excitement that existed for me on these gigs that is very similar to being a young musician discovering Jazz for the first time. In no particular order here are five gigs that spring to mind. I caught two of them and I still have a bootleg of the other night which a friend made. I have seen the band again since but for me I don't think they will ever sound as good as they did on this tour.

A friend's wife commented after the gig saying that although she didn't understand the music, she felt uplifted and inspired. This was the first time that I realised how much positive influence good music can have on people. This gig speaks for itself. All I can say is that Branford's sound is the only reason that I even own a soprano saxophone. It was great to be able to see Kenny play on this gig before he passed away.

It was a whole other experience than listening to records. He had an authority and strength in his playing that seemed to project itself straight to the heart of the listener. Incredibly inspiring. This may be cheating a little bit so I won't describe these next gigs too much but they definitely changed my life as much as the others. This is the second invitation to play at our Festival. Educated as a classical musician with a long history of paying with the best symphonic orchestras, Arkady is always looking for new horizons - jazz, world music, experimental He "[goes] places that horn players aren't supposed to go without a net, map, seatbelt, crash helmet, overhead air support and a note from their mothers" Jeffrey Agrell, The University of Iowa.

Now Arkady resides "between Moscow and Berlin", plays up to concerts a year, travels all over the world, teaches, creates new music, records new CDs ECM. This music forces you to move! I am a long-time fan of Yes! Yes broke all possible boundaries of traditional rock sound and a created unique musical language as complex and expressive as the language of classical music.

The highest level of their mastery and musicianship, their imagination, youthful energy, unexpected rhythmic, harmonic and compositional solutions surprises, amazes and inspires listeners towards their own musical adventures. Later I even created a full program with a symphony orchestra - "Tribute to YES" dedicated to this group. In this program I did not try to copy or imitate Yes. Rather, it is more of my personal feeling, understanding, and the experience of navigating through this music.

A: I think it was the concert of Brazilian composer Hermeto Pascoal. Some time ago I was at the festival in Holland, not performing, just listening to one of the concerts. During the break the musical director introduced me to Pascoal, we spoke a bit, and he immediately asked me to go and play with his band on stage.

Unfortunately I did not have my instrument with me. I regret this, because to play on one stage with Hermeto Pascoal would be a great honour for me. I was just sitting in the front row and listening - it was a revelation. His band - it is not a just randomly assembled group of people, these musicians think together, feel each other and live a common life for many years and you can hear it!

I was amazed by the contrast between the total freedom in their playing and its very strict discipline. This is what they said about their daily routine - "rehearsals every day from nine 'til three, except for the days when one of us died, or when we are on a tour".

This is the commitment to the ensemble! Demonstrating a natural creative flair, technical facility, and artistic maturity, Steve forms a part of the new generation of young Australasian artists exploring both the jazz tradition and modern approaches to improvisation and creative music.

Steve released his debut album in December through Sydney's Jazzgroove Records. Featuring his longstanding trio of bassist Alex Boneham and National Jazz Award winning drummer Tim Firth, as well as special guest Carl Morgan on guitar, the album has already been gaining critical acclaim.

Steve is currently undertaking a PhD in solo piano performance at the Sydney Conservatorium of Music. This was an incredible gig, it was great to see Chick live rather than just on record. At the end of the two set show with the lights up and people slowly filing out, Chick came back out on stage and told the audience he felt like playing a for another half an hour or so, and we could stick around if we liked.

Talk about humility! This was one of those mind-blowing gigs that happen every so often, and part of the initial stimulus for me moving to Australia. The whole festival that year was a big eye opener, in particular to size and quality of the Australian scene and the opportunities we have here. I remember leaving this gig and wandering down to Town Hall for the train home in a total musical stupor. Brad is a total monster musician and one of my biggest influences, and it was something pretty special to see him live for the first time.

The gig closed with a 3rd encore - No Moon At All - and Brad playing this line in the last chorus of his solo which had the whole audience spontaneously exploding in applause. This was still in the relatively early years of that band and it seemed like everything was still new and exciting for them - I saw them at North Sea Jazz Festival in and it seemed like that initial energy has faded a bit.

But they were still monstrous! The band ebbed and flowed around the occasional short excerpt of a post-Hurricane-Katrina interview with the philosopher Dr. Cornell West, which gave the gig a deeply emotive vibe. Fabian Almazan really blew me away - he has this really unique, sophisticated sense of harmony and it was great to hear him stretch out with such a supportive and creative rhythm section. This gig was one of the best things I saw over the month I was in NY.

The band danced around a range of standards and originals in a plethora of odd times with total fluidity and musicality. Winner of the Generations in Jazz Scholarship, and the Jazz Prize at the Melbourne International Festival of Brass , Ken has recently returned from a semester on exchange at the Jazz Institute Berlin and is in his final year of study at the Sydney Conservatorium.

Ken has also recently recorded an album with The Cooking Club, leads his own trio, and is playing in multiple other projects. Ken is looking forward to using the scholarship money to travel around Europe, continuing to create lots of music and musical contacts.

After failing to buy a ticket, I turned up to the concert hall an hour and a half before the show to line up for the uncollected tickets, which go on sale 5 minutes before the concert starts. I managed to get a half price ticket right in the middle of the A reserve section and sat down seconds before show started. The whole symphony was incredible and faultless. They played two sets of music at this gig. The first was great, very similar to the other gigs I had seen.

The second set however, was on another level. Tony Buck was playing some incredible textures, layer on top of layer of beautiful continuous sounds. Chris Abrahams played swirling washes of piano that became more dense harmonically as the piece went on, while Lloyd Swanton held the band together with a simple rhythmic figure. Quite often The Necks music builds to an amazing climax and gradually tapers down to end. This piece continued to accelerate until the very end when the whole band stopped at the same time and the sound of the drums and piano rang out until complete silence.

It was a very dramatic performance and left a big impression on me. He played a medley of all the hits from Brown Sugar and Voodoo, which really showed what a talented musician he is. The band then came back out to join him for another half hour or so of music, almost 3 hours in total, it was unbelievable!

This duo consisting of Simon Barker and Carl Dewhurst always leaves me with a profound feeling of inspiration. I am just free to enjoy the performance and let my mind wander for a little while, this always leaves me feeling refreshed. This specific gig was especially inspirational as it was in the small and cosy space of Bohemian Grove and I was sitting right in front of the band.

I think this was the moment where I realised the real strength and beauty that accompanies having a unique and individual sound, as every member of this quartet does. What else struck me was the control and use of dynamics of this band, not many musicians sound that good at both ends of the spectrum. It was overall a very special gig at a very special venue that has left me inspired for a number of years.

Back to Top Natalie Dietz's High Five Jazz vocalist and rising star Natalie Dietz has made an indelible impression on the Australian jazz scene in such a short time, impressing both audiences and critics alike with her trademark warm, sensual tone and varied vocal abilities.

Accepted into the elite jazz vocal program at the Sydney Conservatorium of Music in , Natalie honed her performing skills under the tutelage of Australian jazz luminaries like Judy Bailey and Mike Nock. Prior to this, she received tuition from the Australian Opera title role soprano, Anke Hoeppner, cementing an important foundation in classical voice.

Since graduating with a Bachelor of Music Jazz Voice Performance in at age 25, Natalie has become a regular on the Sydney music circuit. Her original compositions are attracting considerable attention among her contemporaries with their complex harmonies combined with strong melodies. She is inspired to blend and create textures with the voice within an ensemble, using wordless melodies as well as lyrics.

Her compositions explore the breadth of modern styles, distinguishing her as an innovative and multi-skilled artist. In December , she will be using funds from these grants to relocate to New York where she will further her studies in both voice and composition. She plans to record her debut album in As a great singer, who has developed a unique compositional style, she is one of the leading lights in a brilliant new wave of original music coming out of Sydney.

She has, no doubt about it, a sense of herself and it manifests in a cohesive set of songs, delivered, largely, with wordless eloquence. I was sitting in the front row directly in front of the incredible Brian Blade. The intensity of the sound, fascinating use of tonal palates by Shorter and the indistinct soloing format kept me constantly engaged. I did not believe that kind of intense energy could exist on a bandstand until witnessing this concert.

While his sound is cutting edge, his influences reflect a wide and informed span of the history of jazz. Performing a combination of standards and original compositions, all the players of the rhythm section blew me away. The gig was a lesson in itself on how to use dynamics effectively. She has an ability to rouse such a wide range of emotions by manipulating the timbre and dynamics of her voice.

The originality in her method of interpreting lyrics to standards is always impressive, and she really shines in this duo format. She sings mostly wordless vocals without vibrato with excellent range, technique and dynamics. There were a lot of complex melodies which were effectively doubled by guitarist Andre Matos, strengthening the lines and creating interesting textures during improvisations. What I particularly loved is that she utilizes and explores darker tonal palates in her music.

Robert sounded fantastic, Derrick Hodge was astoundingly good on bass, and Casey Benjamin has not only a very unique sound on alto, but his use of the vocoder is so effective in creating moods, almost hypnotic. I definitely plan on seeing them live again soon! Studied at the Victorian College of the Arts, Melbourne. New Blood, avant garde trio formed and led by Adam Simmons. Formed the Ben Carr Trio. An invite from S. The Adam Simmons Toy Band was formed combining the Jazz Big Band with toy instruments, spontaneous choreography, general and overall sonic mayhem, Origami, vacuum cleaners, giant balloons and fireworks!

The band released their first album Happy Jacket in , toured regional Victoria, performed for S. Traveled to London and New York City. A second quartet banded, featuring the formidable improvisational forces of pianist Erik Griswold, drummer Ken Edie and bassist AJ Hall. The band focused purely on improvisation.

The group recorded two sessions in , and played the Melbourne Jazz Fringe festival in My teacher played me the album Dances and Ballads, and the dissonance put me right off with no ability to perceive what I was hearing. But he convinced me to witness the gig with him. It may have been a pivotal moment in my life, stearing me well away from my ambitions of being an Airforce Fighter Pilot and taking the saxophone more seriously.

Such an amazing combination. Unfortunately Kenny Kirkland passed away before I could see the quartet with him. But this was a spiritually uplifting gig, there was a strong presence in the room, and I felt as though the John Coltrane quartet was actually on the stage. Another gig with a presence, for me a continuation of the miles band, like Miles was in the room guiding the flow of energy. Andrew is also an active educator and clinician.

The context also necessarily tends to entail a more vivid portrayal of form by means of alluding to changes and outlining structural markers in the absence of piano or guitar. A serious player in a great band on a great night. This gig was remarkable as a meeting of two very full and free-ranging musical minds playing in perfect spontaneous simpatico.

True musicianship on the drums. Novak at that time, in that band, was just unsurpassably great and his hook up with Kikoski and Bob Berg was devastatingly strong. Kim has been playing, recording and touring in and around Sydney for over 7 years, in a number of musical settings, ranging from swinging jazz, Latin, and hard hitting funk ensembles, to 18 piece big bands.

I remember a conversation with the bass player in the set; I was going on about how or why they are playing so amazingly considering there was only a few punters in the audience. The whole vibe of the place was unbelievable, being so close up and to see all those instruments on stage playing straight-ahead jazz was really mind-boggling. The local scene consisted of the pub rock, reggae and grunge bands, and the old trad cats that we would see once a year at the Cairns Jazz Fest.

Spoilt for choice, we ended up getting into bands like Grinspoon, Korn and Regurgitator, which we got to see at some all-ages concerts or festivals. Occasionally, a touring artist would come to town and it would be the most amazing music we had ever heard.

That was cool! I wish this gig was still going. Love gets messy when you skew its rhythms and pluck at its raw emotions. But given the Sarah Collyer treatment - everything has the potential to become a jazz song. With a luxurious voice and elegant approach to music, Sarah Collyer has been influenced by jazz greats like Nina Simone and Miles Davis, but finds inspiration in contemporary artists like Melody Gardot, Diana Krall, and even Tom Waits.

Born in Brisbane, Australia, she studied classical and jazz voice at James Cook University and the Queensland Conservatorium, discovering early that jazz was the genre for her. It just feels natural and really resonates with me. My all time favourite vocalist is Cassandra Wilson. There were so many amazing artists on the line up that year, it was hard to choose between them all, but I decided the only artist that I definitely had to see, was Cassandra Wilson.

By the time I got in the door the set had already started, but still I was happy to get a seat right at the very front of the auditorium. It was completely surreal to be there. The whole ensemble oozed a similar, natural poise. The insanely talented young Jonathan Batiste at the piano mesmerized the audience with his classical stylings, tasteful accompaniment and killer solos.

Lekan Babaloa added cheeky and inventive percussion - filling each moment with just that added extra sparkle on top of the ever solid groove laid down by Herlin Riley on kit. Reginald Veal on Bass and Musical Director Marvin Sewell on guitar completed the band and added to the joyful and playful vibe of the set. I am forever drawn to deep rich female voices. No one phrases like Cassandra Wilson. I was there to do a review of the concert for 4mbs radio in Brisbane.

I was very happy to witness this! However, from the moment Mr. Hancock entered the stage and took his seat at the eagerly awaiting Steinway, all such notions were forgotten. Herbie Hancock entered, looking every bit the grand reverend of Jazz piano that he has become, and launched into a lively dialogue with the spirited drummer. I was transfixed. Throughout the night, Herbie gazed intently with child like wonder at the piano keys, where his fingers proceeded to draw out the perfect combination of notes.

As Herbie swung back and fourth between the Steinway and his Korg, Lionel Loueke treated the audience to his unique style of guitar playing, complete with percussive effects and vocalisations. The orchestra provided an immaculate sound scape, while Nathan East and Vinnie Colaiuta provided what must surely have been the strongest and most grooving rhythmic foundations the QPAC concert hall had ever felt.

I was, pleasantly surprised! Diana Krall and her band were subtly supported by an unobtrusive orchestral soundscape. This is the side of Krall that I adore - grittier and darker vocals that are much stronger and full bodied than the more breathy and sweet approach that she uses for Jazz standards.

Her playing becomes more impassioned too. It was a touching sign of humility from such an esteemed and brilliant performer 4. Every single move seemed to have been meticulously thought out. My dad, responsible for so many of my early musical encounters including my introduction to the music of Nina Simone , taped the show and I got a hold of that VHS tape. Kurt Elling here is inspirational in his ability to just let go and rip into a tune, leaving no corner of his range unexplored and squeezing every possible sound out of his unique and capacious voice.

He did not disappoint.

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Jackie orszaczky and the grand masters torrent Her playing becomes more impassioned too. And another one in a dish on his desk. These were my developing years and Brian was at his creative peak, always extending himself and the players that surrounded him, the music was personal and in the moment. His music on the night was an eclectic, intensive and challenging mix. Fitzgerald married at least twice, and there is evidence that suggests that she may have married a third time. The album was nominated for a Grammy. It was a unique experience for me.
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The raid redemption 2 kickass torrent One in particular really caught my eye. The winners are: Serbia! So, don't you dare throw that damn towel, because we're watching Rocky IV! I inhale the leftover scents from the bakery beneath me and my interest focuses on the quiet street below, which was usually busied with bodies but this evening, everybody has seemingly returned home early. This was an intimate performance with her amazing trio composed of pianist Joao Carlos Coutinho, drummer Adriano de Oliveira and bassist Luizao Maia. I first got into jazz when I was about 14 and loved it immediately and completely. This seemingly swift change in her circumstances, reinforced by what Fitzgerald biographer Stuart Nicholson describes as rumors of "ill treatment" by her stepfather, leaves him to speculate that Da Silva might have abused her.
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Florin ghergu picktorrent They will not vanish without a fight! The first time I saw Steve Young, I went down to Melbourne in a car with a bunch of my Dad's friends, without really knowing much about him, other than they liked him. Arne Hanna was Jackie's guitarist of choice and for me is one of my biggest influences, incredibly funky, I'm yet to experience anything as funky as those gigs at The Rose. With Fitzgerald and Brown often busy touring and recording, the child was largely raised by his mother's aunt, Virginia. But anyway, rub that lamp and get ready for a who's who of horror actor cameos, because we're taking in this lost 90s gem! Downloads Buffalo Americas Downloads.
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Babysitter 26 torrent He laughs and shakes his head. His infectious style of jazz brings people together to simply have a good time over some great swingin' grooves. It was also the first time I was introduced to the song "They say it's Wonderful" Berlin which he opened with. He was the first bass player I came across. Hodgie "the Electric" Smodgie. The set list was badly thought out and her new material was crud. Not here.
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