Miles Davis | Learn It Live

The Australian Jazz music scene has remained relatively underground and somewhat underrepresented. Pioneers and success stories produced from our local scenes include internationally renowned improvisational experts The Necks with 18 albums in their back catalogue and a touring history which includes headlining the Sydney Opera House in 2016; James Morrison who not only founded his own Jazz institution the ‘James Morrison Academy of Music’ but also recently included performing at the White House for International Jazz Day in front of the president himself; and two time Grammy-Award nominated quartet Hiatus Kaiyote who are a force to be reckoned with on a global scale within the Neo-Soul Jazz scene and were also commissioned to write the theme song for The Hannibal Buress show.

That being said, these and other success stories pail in comparison to the amount of coverage other international acts within the genre receive, but why might ask when we have just as many outstanding players back home? Another problem on top of that is the gender balance within the genre as a whole. Rather than dwell on the politics of it all, we’re highlighting an amazing organisation actively and successfully working to change that. One of Australia’s most celebrated female saxophonists realised this issue over ten years ago and decided to found the Young Women in Jazz Workshop program. Her name is Sandy Evans.

Its impact has seen the establishment of innovative jazz groups like the all female Sirens Big Band, a growing national rollout of the program to WA and ACT, and encouraged more and more female students year-on-year to enrol for Jazz courses within the Sydney Conservatorium of Music. The eight week program that runs between July and September sees students build their skills within the genre mentored by industry greats like SIMA (Sydney Improvised Music Association) Creative Director and bassist Zoe Hauptmann, founder Sandy Evans, guitarist Jess Green, and fellow saxophonist Gai Bryant just to name a few. The other crucial element of the course is that it encourages a communal atmosphere amongst fellow female players of all ages and skill levels to build a strong foundation for future projects and the overall betterment of the industry.

If you’re thinking that you’re the kind of person interested in this sort of a project, then we have some good and some bad news….

The bad news is that the project wraps up for the year on the 21st of September. BUT there’s a lot of good news,

There will be a showcase on that date of the participants work at the Sydney Conservatorium of Music Cafe. It’s the perfect chance to see what the results of the program are in real time as well as meet the mentors to see if this is the project for you. This is an all age’s event too so bring everyone!
You can tune in this Friday from 2PM to Take One for our chat with Zoe about the project.

We cover a little more about her experience growing up in a musical family, finding her way to playing Jazz Bass through her Miles Davis nerdom, and going a little more in depth into the course. She’ll also offer keen listeners some tips and tricks to the audition process to get you ready for your application in 2017. The full podcast for that will be available on the 21st of September.

While you’re waiting for that you can head to our Soundcloud account to catch our chat with Aussie singer/ pianist Sarah McKenzie. The podcast is also available on iTunes so that you can take it on the move with you. This Friday will see the second edition of the podcast released as part of this week’s Jazz meets Soul music with songstress Wallace.

Originally from Victoria but now based in Sydney, our debut Friday Feature Artist is a 19-year-old megastar who’s talented beyond his years. Zac Olsen began his affair with the saxophone at the tender age of 10 and hasn’t looked back since. Major accolades include performing at the Sydney Opera House after being selected in the HSC Encore program for outstanding talent, as well as performing in New York alongside greats of the Jazz genre like Chris Potter and Gordon Goodwin. Check out our interview with Zac below discussing his career to date, writing and performing technique, future plans and more.

Where did you first get exposed to jazz?

I think I first got exposed by my old sax teacher Barry Currie in Victoria and some of the older guys who were playing in the stage band. At that point when I was about 9-10 although I didn’t really understand it. I think the main exposure was performing in Big Bands and Jazz Combos through High School.

Who were some early artists that got you hooked?

John Coltrane was my main guy, and pretty much still is. Other muso’s that got me into it all were the classics like Miles Davis and Cannonball Adderley.

Who were some important people, be it artists, teacher’s or muso friends, that have played a part in progressing your skills as a muso and why?

There have been so many people who attribute to how I’ve progressed as a musician, you could be speaking with a totally random person and they’d suggest an album that may change the course of how you want to approach playing your instrument and how you want to compose/sound. I think the main people would have to be Adrian Lim-Klumpes, my old teacher Adam Robinson, all the people I get to play with on a regular basis, especially from the con. Some of the amazing teachers I get to learn from such as Judy Bailey, James Greening, Col Loughan; theres so many people have contributed in different way. Coltrane has been a huge influence for how to approach the saxophone, but all the records I listen to help spark a new idea or a creative concept to adapt and use.

What was it about the instrument that you loved so much?

I’m not too sure to be honest. I think I saw a guy playing saxophone in a stage band and soloing and I must’ve have thought it was the hippest thing out. I’d always been into woodwind instruments from a young age as I played a bit of recorder and initially started on clarinet.

What are some great starter songs to learn how to play jazz?

I’d probably say tunes that are based around the blues such as C Jam Blues, Mr P.C., songs with really nice melodies like Blue Bossa, There is No Greater Love, Lover Man, or modal tunes like so what, impressions, milestones. They are great as they have relatively simple heads and the chords are pretty straightforward and easy to follow, but you should always try and learn songs which you really want to learn, whether hard or not to try and push yourself.

What have been the best ways for you to improve on your ability? Practice? Focus on skills like improv etc.?

I’m still working that one out and I think everyone is constantly. I think it’s just slowly building on everything you have and trying things out that you can’t do and not revisiting things you can do; I think you always need to look forward. So for me being a predominantly ear based improviser I’m working on my knowledge and hearing sounds in different contexts that can trigger my ear faster, as well as learning more repertoire completely by ear without reading. And of course trying to practice at least 20 hours a week, but I always feel like I do more as I’m constantly alert when I’m listening to albums or playing through tunes or just recognizing sounds as much as I can and figuring out what they are. It’s about getting as much done in as short amount of time as you can.

In high school you joined a jazz group headed up by local artist Adrian Lim-Klumpes. What were some key take away’s you had from learning under Adrian?

There’s so much I learn with Adrian, from the theoretic of music to trying to almost think creatively when playing, arranging and improvising in a group setting. The concepts which he develops about the reasons why we improvise and what we classify as practice really spoke to me in recent times.

And now having finished your HSC you’re studying at the Sydney Conservatorium of Music. How did you prepare for the audition?

Mostly just running over all the scales and getting them into muscle memory, listening to albums, playing through standards (especially the one that I did for the audition) and transcribing little things you dig from the tracks. Improvising in general was another one, music reading, some theory on scales/harmony, little bit of history and some ear training with intervals/chords.

What’s your first year of university at the Con been like?

It’s been extremely inspiring and it has helped me become so much better in such a small amount of time. You constantly are switched on with the music, with everyone around you and its just a great environment to learn, play, practice and seek advice.

When it comes to writing music, where does your inspiration come from and how do you capture it?

I think just from experiences in life or a certain event which was really prolific. Emotion is a big one for me, you have to mean what you write and really let it tell the way you feel rather than sitting down and trying to explain it to someone. Music is about expression and I think that’s the most important aspect of creating original music.

And is there a difference for you approaching a jazz piece like ‘Dusk Settles In’ to a more singer/ songwriter track like ‘Clear Blue Skies’? What is it and why?

I’m not too sure to be honest. I don’t think there are huge differences in the concepts of why I composed them because they are derived from events that occurred or specific emotions that I felt. I think the sound is the only difference but it doesn’t totally deviate from it. A jazz tune encompasses a lot more trust with an ensemble I think as each member improvises different textures which adds to the whole musical output, whereas I feel Clear Blue Sky would have less room to improvise with that concept.

What is the development process like from workshopping the beginnings of the piece to actually putting it on stage in front of an audience? Is it collaborative, solo? Does it take a long time? Do you listen to other music? etc.

Dusk Settles In when I put the chart in front of the band was just a melody, chords and harmony, hits and a general form, the rest is improvised around that skeletal framework so in that sense its collaborating over my thought out music which I wrote. It doesn’t take too long with jazz as everyone just plays what they feel is the right thing to do, whereas a more commercial song would be more inherently written. Listening to music always helps with creating ideas and different vibes the pieces could encompass.

Getting your start on the live stage has involved school performances as well as small local gigs. How has performing at these venue’s helped improve your skills as an artist?

It just helps you with knowing what you need to do when you perform, mostly it’s just about doing material you love doing, being comfortable and being prepared and willing to do the gigs. I love doing them as they are just great fun and every gig is a new experience and can help spark something new.

A major milestone for you was performing in New York with the Jazz Orchestra Iridium project, thanks to the Arts Unit Jazz Orchestra. There you not only got to play but alongside greats like Chris Potter and Gordon Goodwin. What was the experience like?

It was amazing. Chris Potter is just the most humble, friendly person you could ever meet and was willing to answer all our questions in the dressing room and wasn’t just a musician that was there for the paycheck. You could see how much he loved the music and his advice on the music industry in general was really enlightening. And he’s just an incredible saxophonist as well. It was really inspiring.

After winning the 2015 Youth Music Award and also acing your HSC music exams, you were invited to play at the Sydney Opera House as part of Encore. How did you prepare?

It wasn’t a huge difference, it’s just a gig with more people. I only really prepared by practicing the piece and just getting up and playing and having fun with it. It was a really amazing experience.

Running your own bands brings in the business side of music to your experience. How do you go about approaching a venue to perform? What resources if any do you have ready when making the call?

I think the best way to approach venues is to be confident and sell yourself as best you can. Business cards and material can help a lot too but if you show an eagerness to perform and be really enthusiastic about the gig or the job I feel as though you’re more likely to get it. I’ve done gigs where we literally just walked up to a restaurant and asked to play for a feed and most of the time we get called back to do another payed gig.

What do you hope to do with your career and a degree in hand once you’ve finished?

Create music, continue to play in as much as possible, continue to practice many instruments, possibly teach and just to try and be creative as possible and make a living from the music industry. That would be really awesome.

Who are some artist’s you’d like to work with in future?

I’ll work with anyone really, every different artist has a unique perception on music and the way they personally shape it to void their personal psyche into. I love working with artists who produce original content, as it’s just a really honest musical output that I would love to add to.

Any gigs coming up?

Mostly just restaurant gigs and little ones here and there! Hopefully getting a band started up so keep your eyes peeled!

What are three Jazz album’s that you can recommend from easy to enjoy to most complex or challenging for those either looking to introduce themselves to the genre or are looking for some music to add to their collection. Why?

My favourites are: