Good out

Good to get out for some jazz.  I'm busy with all manner of classical music, which I love and some of which I play, but jazz remains a long love and this was a corker.  A corporate gig with a contented and welcoming audience and we play our music, standards and James', and the sound is good and we are playing well.  Relaxed, welcoming and a nice beer and some nibbles.  Such a nice night out, playing, if too rarely listening these days. Close to home, too.

Tilt were James Woodman (piano), Mark Levers (drums) and Eric Pozza (bass).

Keys of a different ilk

I usually think of Linus Lee as an organist and I love his performances and I love organ, especially for the dramatic, deep, pensive nature of the thing.  But this concert was called Interesting Oz Composers and the music was of the early C20th by composers with obscure names, sometimes with pseudonyms, Hall as Morel, Zelman, Mareo as Marsden, Knox, de Chaneet, and titles with subtitles, like Elaine: Marceau brillant or In the gloaming: romance or Glowing embers: narrative-intermezzo.   It was James who suggested music for silent movies, and it's quite likely, being varied and emotive and narrative.  Other than a few ordinary titles, Hungarian dances op.17 no,5,8 and Elegy for the violin, that is.  These were all on piano, but even the organ tunes to end had a similar presence, so Gates of Baghdad, Norwegian cradle song: tone picture and Lady Pompadour: a court dance, all by F Hall as Gabriel Morel.  But whatever the theme and compositions, they were inviting and pleasant and nicely played for a wonderful outing by Linus, even with limited 32' double open diapason or contra violine.

Linus Lee performed early C20th Australian composers on piano and organ at Wesley.