"...the originality is as striking as ever. His playing is full of purely musical or abstract interest, bursting with energy, emotion, and luminous with melody." Gail Brennan, Sydney Morning Herald.

Bernie McGann has flown the flag of creative jazz in Australia with great distinction for some 40 years. Long regarded as the most original alto saxophonist in Australian jazz, he is now a national figure, playing regularly in all capital cities as a featured soloist and leading his own groups.

McGann emerged on the wave of energetic modern jazz activity that Australia witnessed from the late 50s through the early 60s. During that period he and his quartet reached beyond "hard-bop" - the prevalent form, whose aggressive energy provided a springboard from which musicians world-wide leapt into unprecedented freedom and intensity of expression. Going beyond accepted norms, McGann was the subject of some musical controversy. He was accused of emulating Ornette Coleman at a time when McGann had not even heard his alleged model. McGann"s daring strikes at the edge of tonality, the speechlike inflections and tonal colourations he employed and the stark emotionalism of his playing were admired by some and derided by others.

It is now accepted that the supposedly eccentric elements of Bernie McGann"s playing are at once a highly individual expression and a reaching back to the folk roots of jazz.

70s to 90s

"Jerome Wilson was ahead of the game in recognizing McGann"s Ugly Beauty for top ten honours in 1993; McGann McGann is on the inside track for my "Best of" list this year. Glenn Good, Cadence March 1996.

Coda (Canada) Sept/Oct 1997 p 17
'Australian alto Bernie McGann's playing shimmers like out-of-body experiences. The reserved prettiness of Johnny Hodges, some Paul Desmond drollery and the springiness of the post-Bird bopper all get a look in, yet the lasting sensation is of semi-porous artistry, acknowledging the influences but drawing your attention instead to the host. He's a superb player who doesn't like clutter. On McGann, trombonist James Greening provides all the melodic foil the leader requires, while old friends Lloyd Swanton on bass and John Pochée on drums create the rhythm he loves to ride, (They're superb players all, and Swanton digs into a fine solo on Birthday Blues).

McGann confirms his growing confidence as a composer, with six of the eight tracks from his own pen. Brownsville begins with neat trombone counterpoint before hitting bop speed. Sweet Lucy is lithe and pretty as a child's skipping song. Lazy Days has a deceptively slow opening recalling Monk, whose own Ask Me Now is a delectable miniature to close.' Randal Mcllroy

Chicago Jazz "97 festival programme notes

6:55 PM Bernie McGann Trio Bernie who? Alto saxophonist Bernie McGann is likely to turn your thinking around when it comes to the oxymoron "Australian jazz." Swinging like a motherfucker, McGann exhibits a fierce, infectious rhythmic drive, a perpetually fresh lyricism, and a sophisticated conception of phrasing on both hard-bop chestnuts and his solid originals alike. Bassist Lloyd Swanton and drummer John Pochée have worked with McGann since the 50s, and the trio's alchemical intuition promises to be one of the most exciting imports at this year's festival.

" The program states that "Bernie McGann may be the best alto saxophonist you've never heard of." I definitely second that opinion. From Australia, McGann operated in a piano-less trio very effectively. His playing was excellent, his phrasing clear and distinct, and possessive of warm, full tone that more than compensated for the lack of a piano in the group. His trio has been together for a number of years, and it was evident from the group sound and interaction." Ray Stadt.

More ...

Top of page

Michele Morgan is a writer, composer and performer. She has been compared with everyone from Joan Armatrading to Cathy Berberian. She finds that these comparisons don't help anyone to understand what she does till they hear her for themselves.

As a solo unaccompanied singer and poet performing her songs and texts Michele has performed at La Mama Poetica in Melbourne; at the 1993, 1994 and 1995 Montsalvat National Poetry Festivals; at the Wagga Wagga Festival for the Voice, Benalla Arts Festival and the Canberra SingFest; and for The Walls Have Ears and Pseudonym in Sydney. With bassist, Steve Elphick, Michele has performed her poetry and music for the Sydney Fringe Writers Festival, The Walls Have Ears, and the 3rd Australian Women's Music Festival. Her work has been published in Australia and the USA.

Since 1993 Michele has led Chelate Compound, an ensemble featuring Michele's compositions and the collective improvisation of the ensemble members with bassist, Steve Elphick and drummer, Simon Barker. . Chelate Compound has appeared at the 1994 and 1997 Wangaratta Jazz Festivals and the 1995 Pinnacles Improvisation Festival in Brisbane, and in Sydney venues for the Sydney Improvised Music Association, supporting The Seymour Group and for the 3rd Australian Women's Music Festival. In 1995 the ensemble was supported by the Australian Council and the Sydney University Music Department to present concerts at the Old Darlington School, School, Sydney University.

Chelate Compound's music is as fascinating to hear as it is difficult to categorise: melody, harmony and rhythm, strange noises, tall stories, and long winding lyrics. Theirs is an eclectic inner-city ensemble combining jazz, folk, funk, junk, world and weird influences. Tuned to the poetry of the streets, with ears wide to the opened out and other places, Chelate Compound takes the listener on strange small journeys of the interior planet.

More ...

Top of page

Mike Nock is an artist who could easily be described as having achieved a career which is in itself both complete and envied by many in the music world. As a jazz pianist, New Zealand-born Nock has spent almost forty years recording and touring professionally: beginning in Australia in 1960, and followed by a quarter of a century tenure in the United States before again focusing his sights on the international forum. He has played with an incredibly diverse group of musicians, including Coleman Hawkins, Joe Henderson, Michael Brecker, Art Blakey, Stanley Turrentine, John Scofield and Yusef Lateef among many others. Nock is also an artist who doubles as record label executive - a dream for those who appreciate creativity above commerce (and unfortunately an all too rare circumstance.) But above and beyond such accolades, Mike Nock is a perfectionist who remains passionately vigil about making and celebrating music.

A jazz veteran, who has been featured on over 80 recordings worldwide, Nock's latest efforts are for the Naxos Jazz label. His distinctive style fuels the albums Not We But One (the Mike Nock Trio), I Don't Know This World Without Don Cherry with the New York Jazz Collective, and his latest release, Ozboppin' (the Mike Nock Quintet).

"As a musician/composer with broad interests and experience, I find that each format--from solo piano to trio, quartet, quintet, up to large ensembles, presents me with its own challenges and rewards," Nock says of his line-up variance on different albums.

Due to his vast recording accomplishments, touring, and mentoring of a new generation of musicians, Mike Nock has become thoroughly recognised in both the United States and abroad for his abilities. (His accolades range from three U.S. National Endowment for the Arts fellowships to top piano/keyboard honours at the Australian Critic's Awards in 1991, ’92, ’93 and multiple commissions internationally.)

The subject of a TVNZ documentary made on his life and music in 1993 (broadcast on SBS in 1994, 1996) Mike Nock now lives in Sydney where he lectures at the NSW Conservatorium’s Jazz Studies Program which he combines with a busy international schedule as composer/ performer and artistic director for the recently launched Naxos/Jazz label.

"Pianist Mike Nock is a knock-out ... one of jazzdom’s most expansive minds, Nock’s palpable appeal flows from a lyric gift given shape by a sublime musical intelligence."

Top of page