Tag Archives: Darryn Farrugia

TWO BIRDS PLUS THREE

Kathleen Halloran

Kathleen Halloran

Melbourne Women’s International Jazz Festival 2017
Kathleen Halloran guitar, Kim May bass, Darryn Farrugia drums
Two Birds Brewing, 3pm-5pm, November 26, 2017

What a wonderful venue for a Sunday afternoon gig.

Despite living in Melbourne’s western suburbs for many years I have never made it to Two Birds Brewing in Spotswood. On this occasion I was busy cleaning and moving furniture and could only catch the last few pieces by this trio, but the music and the venue made me want to return. The trio played original compositions by Kathleen Halloran and the other band members, Kim May on bass and Darryn Farrugia on drums.

In the performance space, where patrons can enjoy food and the excellent array of Two Birds brews, including Double Sunset, there is a large mural featuring the West Gate Bridge.

Halloran is a guitarist based in Melbourne. At 22, she has over six years’ experience as a working musician, including professional music theatre and also international work with Broadway vocalist Brad Little.

She has performed alongside Australian artists including Kate Ceberano, Kate Miller Heidke, Tim Rogers, Tex Perkins, Jen Cloher and Harry Angus (Cat Empire).

Halloran will perform again in the MWIJF at The Jazzlab on Sunday, December 3 with SPIRE ensemble. The second set will feature Girls Do Jazz.

Below are a few images from this free concert.

Roger Mitchell

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WILL MEGAN HAVE AN OPINION?

CD LAUNCH: James Whiting Quartet launches Burbank at Bennetts Lane Jazz Club, Melbourne on Sunday, July 8

James Whiting

James Whiting (picture supplied)

With support from the Melbourne Jazz Cooperative, Brisbane vibraphonist James Whiting will make his Melbourne debut as leader on Sunday, launching his first album, Burbank.

The venue seems entirely appropriate, because one of the tracks on the album is entitled In Megan’s Opinion, which could easily apply to Megan Evans, who in her role as MC has often shown her distaste for mobile phones at Bennetts Lane. If Meggs is at the gig, will she have something to say about the album or the quartet?

On this occasion Whiting will be performing originals with James Sherlock on guitar, Philip Rex on bass and Darryn Farrugia on drums, rather than the original line-up for the album, which was recorded in New York in 2010.

The recording featured American drummer and percussionist Jon Wikan and three expatriates living in New York: German saxophonist Stefan Schmid and the Australian pair of pianist Steve Newcomb and bassist Sam Anning.

Whiting, who has a Masters in Music,  has toured Australia, New Zealand and the US extensively as a performer and educator, also receiving tuition from leading jazz vibraphonists such as Joe Locke, Ed Saindon, Dave Samuels and Stefon Harris.

Burbank, which has been described by Joe Locke as “creative, original, honest, and emotionally direct”, consists of eight original jazz-based songs from James, inspired also by fusion, classical, and rock genres. It was recorded in Bennett Studios in the US.

James will perform a selection of his originals as well as pieces selected from the repertoire of those who’ve inspired him.

Entry to Bennetts Lane Jazz Club for this launch costs $15 general admission and $10 concession.

Burbank  will be available at the show for merely $10, or can be purchased on iTunes or through James Whiting’s website.

ROGER MITCHELL (with help from James and MJC)

Stationary — Farrugia Grigoryan Howard Robertson

Stationary

(Which Way Music/Fuse)

THE perfect place to enjoy Stationary would be in an Otways cottage — I know just the one — with nothing to do but gaze through raindrops on the window to the bush beyond. Hard to pigeonhole as jazz, classical or sophisticated instrumental, this has a delicate serenity that ought not be mistaken for somnolence.

The jazz and classical pedigrees of Leonard (brother of Slava) Grigoryan (guitar), Luke Howard (piano), Darryn Farrugia (drums), and Ben Robertson (bass) are impressive. The original compositions and an arrangement of Missy Higgins’s All for Believing are intricate rather than energetic, reflective rather than arresting and melodic rather than acerbic.

The abiding mood is of a peaceful interlude that never discards thoughtfulness.

Open Your Eyes (Grigoryan) starts simply, then expands its horizons. Red Red Road (Howard) gathers momentum in the hands of the pianist.

In short: A way to stay still and yet be in emotion.

ROGER MITCHELL