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Jazz and Beyond - the Number One Australian music e- zine. News, gig guides, reviews, interviews. Never ask Joe for an idea unless you are prepared for an avalanche of creativity, every time.. The reason Joe Chindamo arrests you when you hear him is his sheer love of what he does, a love that sparkles from every note. MO award for Australian Jazz Instrumental Performer of the Year. Awarded chairman's Bell award for outstanding achievement for 2.

Bell award for best classic jazz album of 2. A Brief History of Standard Time), with the father of the modern jazz bass, Ray Brown (of Oscar Peterson Trio fame) and Reflected Journey with Michael and Randy Brecker.

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He has also recorded and performed with Randy Brecker, Ernie Watts, Brian Bromberg, James Morrison, Olivia Newton John, Graeme Lyall and US drummer Billy Cobham (with whom Joe made two CDs as sideman and toured the world 2. Joe has also performed with Lee Konitz, Shirley Bassey and Dame Kiri Te Kanawa. Active as a studio pianist, Joe has worked on more than 6.

Babe, The Man From Snowy River II, A Cry in the Dark, Warlock, and Missing in Action II. In 2. 00. 0, he began recording for the Sawano record company in Japan, where his album Joy of Standards, reached Number 1 on that country's HMV Modern Jazz Charts. Other releases also became best sellers in Japan. America . In December, performed at Norfolk Island, with Australian jazz legends Don Burrows and James Morrison.

In late 2. 00. 5 he recorded his first collaborative CD with James Morrison called James Morrison and Joe Chindamo 2. X2. Album was released in April 2.

In 2. 00. 5 Joe completed a two year Australia Council Fellowship (awarded by the Australian government in 2. Concerto for Accordion and Orchestra.

How can one choose 5 gigs from dozens of memorable nights, and hundreds of memorable moments? Further, many of the greatest musical moments have emanated from soloists whom I might have been accompanying at the time.

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To write about these would be far too immodest, and not in keeping with the spirit of the task at hand. However, I will deviate from the norm more than a little and use the 5 gigs as a landscape on which to build a commentary - a melange of nostalgia and thoughts that come to mind in relation to these experiences and the general jazz scene ( with particular reference to institutionalized jazz today).

I might like to do some venting as well. I've used italics when ever I've deviated considerably from talking about the gigs, for the benefit of those who may wish only to restrict their reading to my experiences of the actual concerts. Finally, these are not necessarily the best gigs I've ever witnessed, but those which meant a lot to me at the time, and for which my anticipation had been overwhelming.

Also, I can't give you exact dates, as they happened a long time ago and I never kept diaries. OSCAR PETERSON AND JOE PASS - Dallas Brooks Hall - Melbourne 1. This was a concert I was so looking forward to. I worshipped Oscar at this time (I was 1.

I'd also never heard the guitar played as masterfully as Joe Pass did. In fact, as my first instrument was accordion, I owned a few Art Van Damm records, and particularly loved the one on which Joe Pass appeared as side- man (It's a blue world??). He was by far the best thing on that album, but I was also incredulous as to why he wasn't famous (or more so). It was with great pleasure (and small sense of personal satisfaction at being able to pick a great without allegiance to anyone else's opinion) when I found out that Oscar had also 'discovered' Pass. Stream Oddworld: Soulstorm in english with subtitles in 4K more.

I approached Pass after the gig and told him I had. Van Damm record and some other record of his (I forget which one now) and he quipped . He also seemed really old to me, and it's with some degree of horror that my maths tells me that he was only 5. It was the first time I had seen - as well as heard- playing of this order.

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I loved his left hand in particular. I don't know how much of the concert I actually heard, since I was in a state of drunken wonder throughout.

Much has been written about Oscar - his technique in particular, and it always surprises me how much his prowess at the piano has come under fire. To me, this is penis envy mixed in with inverted snobbery.

The first bit is self explanatory, and the latter might have something to do with the idea that amateurishness is imbued with sincerity, while studying is destructive to one's natural instincts. How many times, have we heard that so and so can't read music, has very little technique, has never studied - but BOY, what a natural, and how many times, do we hear people lament over players with nothing else going for them than technique.

Interestingly, I've never heard anyone criticise the musicality of someone with lousy technique. Is it possible that all people with no technique are blessed with natural ability? It's analogous to someone who has too much money: it's considered unfair. And in much the same way that one should never demean the poor, it's considered poor taste to kick a man when his technique is down.

One young and up and coming musician actually named me, claiming that did not need my kind of technical command - because he . What he failed to add was that he had asked me for lessons the week before. There is an unstated understanding that instrumental command is trivial, and far inferior to the conceptualization of the idea.

This is analogous to the many modern English teachers who claim that vocabulary and grammar are not as important or creative as 'the idea. Poor Shakespeare - men who were bogged down by too much scholarship. The analogy to sport is always worth mentioning. Intellectually, I know how to beat Ian Thorp in a swimming race - it's really easy- all I have to do is swim faster! Intellectually the problem is solved: the only thing which remains is the realization of the idea through teaching my body how to obey my mind.

Playing an instrument is no different. You can't rely on the idea alone to get you to your destination without learning how to translate a mental image physiologically. Bach, Mozart, Beethoven, Scarlatti, Bartok, Rachaminov, Prokofiev, Debussy, Armstrong ..

I can hear the howls of dissent; 'but Miles didn't have a great technique. It's not about speed. Oscar was superior than other players in many other ways too, which were overlooked. His harmonic sense was incredible, for instance, and he had some of the best ears in the business. We had such a great time. Doug De Vries (a master of the guitar) was in the band, as were Gary Costello, Allan Brown, Paul Williamson and Bruce Sandell. Vince was so impressed that he ordered me to bring a synthesizer on subsequent gigs and play string pads.

The idea doesn't appeal to me now, of course. But you know, I strongly believe that all like what we get used to, especially if the particular genre in question is part of the zeitgeist. This was the age of Midi and the drum machine (probably the worst things to have happened to music). I used to live in the studio , playing on movie sound tracks, commercials, TV shows, pop record, jazz rock bands in those days, and this band Incorporated much that was relevant to the era, and it was one of the very the finest around at what it did.

Miles was doing his electric thing at the time, but quite frankly I think others did it better. Herbie, Chick, Metheny, The Brecker Bros, and the greatest of them all, Weather Report.

Stan Getz was also a great admirer of Brecker and used to go. I couldn't bare to listen to the Metheny band for quite a few years , but played one of their recordings recently, and notwithstanding some of the dated Synth sounds ( they date so quickly, don't they) really enjoyed it, and kicked off a Metheny season in my car. The guitar playing is really amazing. One of the great melodists, whose music, is full of joy. PHIL WOODS - Beaconsfield Hotel, Melbourne (circa 1. I remember attending this gig with a whole bunch of college kids. By the way, for the record, I never went to the Vic College of the arts, but rather, the State College (the old teachers' college) which has since been swallowed up by Melbourne University, and basically doesn't exist anymore.

I actually did quite well at the maths course, considering they hardly saw me. The piano lessons were the first I'd ever had, since I was originally an accordionist and didn't even own a piano until I was nearly 1. Anyway, I'm getting off the point. There was a good energy at this place, and it was positive: unlike some of the tertiary venues now, which seem to me, to be places where the young musician goes to broaden his vision, and narrow the mind.

It doesn't help that many students adopt their lecturers' tastes and prejudices far too soon, before they've ( the students, not the lecturers) learnt their craft and developed their own ideas about music. In fact, many of them wish to be artists before learning their craft - which is absurd. You can't become a great musician before becoming a good one. This is natural, and in a sense, I'm not immune to this process either, but it's very damaging for an 1. Keith Jarrett to be the only pianist worth listening to, or that jazz rock is all shit, that Mike Brecker is not really a jazz musician, and finally, that there are sacred cows in jazz who must be worshipped unconditionally and never questioned, challenged..

Jazz has become a domain where free thought is only permitted within the parameters of established streams - which of course, means, there is little room for free thought and much pressure to conform to the middle ground The middle ground is not wedded to style either. There are middle grounds in all styles. There is no rebellion involved in playing Giant Steps or Monk's music anymore, and the playing of so called avant guard music is as conformist as it is to play Gershwin, because it's ALL been done before. I would rather look at the creativity that the player brings to the style than assume his creative worthiness by his choice of style.