Tag Archives: Ted Vining



The Horn celebrates 10 years over four days.


The Horn African Cafe and Restaurant celebrates its 10th birthday, June 1 – 4, 20 Johnston Street, Collingwood

Excitement is building as the opening night of the Melbourne International Jazz Festival approaches on Friday, but The Horn Cafe in Collingwood is about to launch its own mini festival to celebrate 10 years of providing food and live music.

All guests who drop in over the four days of celebration, starting today, will be given a free glass of bubbles to accompany lots of music, special guests, food and drink specials.

The African cafe and music lounge was opened in June, 2007, by Peter Harper and his wife, Enushu. Over that time it has given patrons the opportunity to experience authentic and modern Ethiopian cuisine, including homemade injera, in a comfortable and relaxed environment. Guests also relax in the courtyard and enjoy the large range of African beers.

Live music performances take place on Thursdays and Sundays with special performances by jazz bands in residence, Ted Vining and Bob Sedergreen, on Thursdays. On Sundays, the usual fare is Ethiopian jazz, funk, hip-hop when the Black Jesus Experience performs between 6.30pm and 10pm.

The Horn Cafe serves organic and single blend Sidamo Ethiopian Coffee and traditional Ethiopian Coffee ceremonies are available upon request.


Blow members relax at The Horn. Picture courtesy Gerry Koster

First up at The Horn in the live music line-up for the 10th birthday will be exceptional improvisers Blow, comprising Ted Vining on drums, Bob Sedergreen on keys, Peter Harper on alto saxophone, Ian Dixon on trumpet and flugelhorn and Gareth Hill on double bass. Blow will perform on June 1.

On Friday, June 2 the line-up will be Elmoth Reggae, Funk, Soul Legends. On Saturday, June 3 Alariiya Afrobeat Sounds will feature GP Saxy.


The Black Jesus Experience.        Picture: Bram Lammers

On Sunday, June 4, The Black Jesus Experience will perform with special guests. BJX is an eight-piece band playing a danceable blend of traditional Ethiopian songs and 21st Century groove. With backgrounds as diverse as the five continents the members of ‘BJX’ hail from, their music reflects the multicultural vibrancy of the band’s hometown, Melbourne.

The Horn Cafe opens at 7pm Wednesday to Friday and 6.30pm on Saturday, 3pm on Sunday. Call (03) 9417 4670 for details of performance times during the 10th birthday celebrations.



Craig Simon

Craig Simon, one of the 2011 National Jazz Awards finalists, at Bennetts Lane.

Duties related to a certain annual report have delayed this post, but if you haven’t heard the latest on the national jazz awards at this year’s Wangaratta Festival of Jazz and Blues then read on.

Ten drummers will perform in competition during the festival, which runs from Friday, October 28 to Monday, October 31 October, competing for a first prize of $8000 and a studio recording session.

For those who are yet to become regulars at Wang, each year the awards focus on a different instrument, and this year finalists will be drumming up a storm accompanied by saxophonist Dale Barlow, previous 1999 National Jazz Awards winner pianist Matt McMahon and 2008 runner-up Ben Waples. The finalists will compete with pieces composed by Duke Ellington, Thelonious Monk, Dale Barlow and Paul Grabowsky, as well as their original compositions.

The best three will then play in the final round at 5pm on the festival, in a performance broadcast live-to-air on ‘Jazztrack with Mal Stanley’ on ABC Classic FM (from 5pm-7pm).

Entries received from across Australia, New Zealand and Japan were judged by that most poetic and versatile of drummers, Allan Browne, a recipient of the Australia Council’s Don Banks Award; pianist extraordinaire Mike Nock (whose album An Accumulation of Subtleties was given four stars by Ausjazz blog when it should have received more, given that I’ve enjoyed it so much); and veteran drummer Ted Vining who has been leading bands for over four decades.

The National Jazz Awards have been presented at the festival since it began in 1990 and were designed to contribute to the development and recognition of young jazz and blues musicians up to the age 35. The awards are a highlight of the Wangaratta Festival of Jazz and Blues.

So, after all that palaver, here are the top ten finalists:

Ben Falle, 25, Perth
Graham Hunt, 27, Sydney
James Waples, 28, Sydney
Tim Firth, 29, Sydney
Hugh Harvey, 30, Melbourne
Evan Mannell, 32, Sydney
Sam Bates, 33, Melbourne
Craig Simon, 34, Melbourne
Dave Goodman, 34, Sydney
Cameron Reid, 34, Sydney

The prizes at these awards are worth playing for. The first prize winner will receive $8000, a studio recording session for ABC Classic FM’s ‘Jazztrack with Mal Stanley’ and an invitation to perform at the Stonnington Jazz Festival in May 2012. The runner-up will receive $5000 and the third finalist will receive $2000.

Past winners include pianist and 2007 Grammy award nominee Barney McAll (1990 winner) who joins the festival from the US, saxophonist and improviser Elliott Dalgeish (1995 winner), guitarist James Muller (2000 winner) and Thirsty Merc bassist Phil Stack (2008 winner) who have all been invited to perform at the festival this year.


Wangaratta Festival of Jazz & Blues
Dates: Friday October 28 to Monday October 31
Festival Passes: On sale now. Passes allow access to all venues or blues venues only and range from $65 to $220, or from $45 to $170 for earlybird and concession.
Early bird: Purchase before 30 September to save! Full details on the website
Program & bookings: www.wangarattajazz.com
Accommodation: Wangaratta Visitor Information Centre 1800 801 06 / www.visitwangaratta.com.au

ROGER MITCHELL (with help from the festival press release)


ZAC HURREN TRIO at Chapel Off Chapel

 Zac Hurren Trio
Hurren, Anning and Bates

It would have been a great way to end a festival, but on Friday night there was still one night to go. I chose to break the rule about not switching gigs midstream. Usually it’s hard to acclimatise to a change of venue and leaving in a rush to catch another band can be a big mistake. This time it worked out. But it left me with a burning question: How could Sam Anning have played bass with Zac Hurren (saxophone) and Sam Bates (drums) at the Chapel, and then dash to Malvern Town Hall for a complete change of mood, playing with Joe Chindamo‘s ensemble? I’d have liked to ask him what went on inside his head as he moved from one gig to the next.

 Zac Hurren Trio
Hurren, Anning and Bates

Anyway, I have no time to beat about the bush, so this is the gist of it: Zac and the two Sams were faaannnnntastic! Absolutely on fire. Brilliant. Hurren said he usually stands by the trees and plays by himself, and that was how he wanted to start. It was a short warm-up solo and then the trio was off and running.

 Zac Hurren Trio
Hurren and Anning

What was so good about it? It’s still in my head, but I’m not sure I can easily explain. It was cathartic. It was a physical experience. But I don’t want to give the idea that Hurren just blasted away and filled the Chapel with noise, or that Bates smashed and crashed on the drums, or that Anning drove his bass notes remorselessly through the audience. There was an element of that, but all three displayed much more sensitivity than that. They played as a unit and were totally cohesive. The result was primal and managed to penetrate deep into the body and into the soul. Bates displayed great finesse and sensitivity, Hurren and Anning were a tangible force brimming with emotion.

 Zac Hurren Trio
Hurren, Anning and Bates

They played Hurren’s compositions Joffra, Conveyance (written the night before the funeral of saxophonist and teacher Tony Hobbs ), a newish track the name of which I did not catch, and Mark’s Mansion (written to represent saxophonist Mark Simmonds‘s defence of jazz against the forces of evil). They wanted to play more, but had to stop. I wanted more but had to go. And of course Sam Anning had to slip into the Stonnington stretch limo and wind down for a few minutes before joining Joe Chindamo on stage for the second set at Malvern Town Hall.

 Zac Hurren Trio
Hurren, Anning and Bates

A quick note: The gigs I missed — Ted Vining‘s Impressions and Tina Harrod — deserve mention, but I could not make it. And I’d heard Tina Harrod at Bennetts Lane recently. She was great there, so I’m sure her set was enjoyed by all. On to the town hall …

at Malvern Town Hall

Joe Chindamo

I can’t do this concert justice either, but a few sentences for now. It was the inaugural performance of the Coen Brothers material, and an album launch for Another Place, Some Other Time. Chindamo has assembled Lucky Oceans on pedal steel guitar, Geoff Hughes on guitars, Kristian Winther on violin, Sam Anning (again) on (yes) acoustic bass, Raj Jayaweera buried behind on drums and Alex Pertout also in the back on percussion.

Kristian Winther

 Geoff Hughes
Geoff Hughes

Winther was exquisite on violin, Oceans added something special on pedal steel and Hughes was, as always, most expressive. Chindamo’s piano has the presence and sense of space, as well as a classical feel, to capture and hold us in a moment (or many) of beauty.

 Chindamo, Oceans
Joe Chindamo and Lucky Oceans

 Lucky Oceans
Lucky Oceans

In the seconds before I fall into a coma from lack of sleep, the standouts for me were the theme from Fargo (as interpreted by Chindamo, of course), Man of Constant Sorrow (from O’ Brother Where Art Thou?), Lujon from The Big Lebowski, and the theme from Miller’s Crossing. Later, You Are My Sunshine was divine, with Chindamo on accordion and Oceans on pedal steel. Earlier Oceans played slide guitar on Hotel California (The Big Lebowski), but you had to wait for the familiar melody to drift through.

Kristian Winther

After the theme from Blood Simple, Joe played a solo piano encore, Goodnight Sweetheart (I should have known, but had to be told).

 Anning, Winther
Sam Anning and Kristian Winther

It was not my favourite Stonnington venue, but this was a beautiful concert and a fitting tribute to films in which music plays a big part. Chindamo’s take on the Coen Brothers’ film music was entrancing. There was no need for any moving images.