Tag Archives: The Jazzlab

SUSTENANCE FOR THE SOUL

The Gravity Project

The Gravity Project                      Image: Roger Mitchell

REVIEW

Melbourne International Jazz Festival, 1 – 10 June 2018

Paul Grabowsky AO wrote Tokyo Overpass with Haruki Murakami’s novel IQ84 as inspiration — the story of a young woman who climbs down a ladder from an elevated highway when her taxi is stuck in a traffic jam and enters a parallel universe.

That could be a metaphor for this festival’s engrossing opening concert, The Gravity Project, a cross-cultural exchange with the Tokyo Jazz Festival featuring Japan’s Kuniko Obina on koto, Masaki Nakamura on shakuhachi and Tokyo resident Aaron Choulai on laptop/electronics.

In three pieces — Beat Hayashi, Tokyo Overpass and Plum Rain (the latter allegedly conjuring Burt Bacharach as a manga character) — this octet with Grabowsky (piano), Rob Burke (reeds), Niran Dasika (trumpet), Marty Holoubek (bass) and James McLean (drums) took us to a very different and exciting place that commanded attention and demanded immediate designation as a festival highlight.

This was riveting, abstract and at times surreal music, bristling with sometimes piercing shakuhachi notes, electronic squeaks, bent-note “gulps”, stuttering voices (a la Max Headroom), disruptive horns and koto notes tangible enough to touch. Yet amid the complexity, drama and tension there were periods of exquisitely beautiful simplicity. What a magnificent way to begin 10 days of music. This was indeed a highlight.

Also compelling were the pieces played when reedsman Tony Malaby (US) joined Kris Davis (Canada) on piano and Simon Barker (Australia) for a take-no-prisoners outing on Monday 4 June at The Jazzlab. There were tunes — Alechinsky, Kei’s Dream, Warblepeck, Bird Call and Remolino — but, as Malaby said in a 2015 interview, “I’m not writing tunes, but providing an opening sentence or paragraph.” All three musicians needed no more.

This was not a concert for the faint-hearted. But the audience probably knew what to expect, which was the unexpected — music challenging in its abstractness and complexity.

I was reminded of my experience when reading that magnificent novel Lincoln in the Bardo: difficult to get into at first and then totally consuming once I had entered that world. All made sense once my frame of reference shifted.

Some in the audience no doubt heard in Malaby’s work elements of Lovano, Coltrane, Ayler or Shepp. Instead, I valued many facets of this outing: patterns, contrasts, mayhem, beauty, responsiveness, intensity, variations in dynamics, sharp edges, peaceful interludes, sprinklings of notes (Davis), lashings of sound, guttural growlings, rumbling cascades, shifts in rhythm and tempo, disrupting abruptness of drums, airy resonance of reeds, gradual serenity, release and relief.

On 6 June at the same venue Malaby and Davis joined Scott Tinkler (Tasmania) and the Monash Art Ensemble to play Davis’s arrangements of music from Malaby’s Novela project. As the nonet played Floating Head, Mother’s Love, Warblepeck, Floral and Herbaceous, and Remolino, I marvelled at the exquisite intricacy, textural richness and encapsulated imagery in this wonderful music, delivered so well by students and their mentors. Again I was feeling the notes in 3D, tangible enough to touch. Tinkler, muted and otherwise, was superb, as were Rob Burke on bass clarinet, Josh Bennier on trombone, Jared Becker on baritone, and — so often — Dan Gordon on tuba. (It would be great to see women students in the Monash Art Ensemble, but I understand that the gender imbalance has deeper roots than university level.)

Quite a few festival gigs were sold out. Two concerts on 7 June brought the London club scene to The Jazzlab in a warmly energetic and engaging outing by tenor saxophonist Nubya Garcia and her killer band — Joe Armon-Jones on piano, Daniel Casimir on double bass and Femi Koleoso on drums. There were solos —including Garcia’s in the closing piece that took her tenor, which was never harsh or abrasive, into deep, resonant territory — but this was very much a team effort, attentiveness and responsiveness built in. The rhythm section was a treat to hear on its own and Koleoso’s intensity never let up. This group made me want to check out the London scene, soon.

Another set of concerts that were sold out were four at The Jazzlab on 9 & 10 June featuring frequent visitor to Australia, bassist Christian McBride, with his piano-less band New JawnMarcus Strickland on bass clarinet, soprano and tenor saxes, Josh Evans on trumpet and Nasheet Waits on drums.

McBride was characteristically engaging at the mic between songs, but as the band worked through Walkin’ Funny (McBride), Sightseeing (Shorter), Kush (Waits), Seek the Source (Strickland), the tribute to a departed friend John Day (McBride) and a jaunty version of The Good Life (Ornette Coleman) I felt that these accomplished players could really have done it all in their sleep and possibly needed some.

Waits’ work stood out throughout and especially behind the impressive Evans’s solos, and John Day featured McBride in a great duo with Strickland on bass clarinet. But there wasn’t quite the intensity and drive, or the fire, that I’d hoped for from this line-up on the night. Others will probably disagree — I doubt that many patrons left dissatisfied.

About now a warm glow suffuses across this review as I recall two similarly packed 9.30pm concerts at The Jazzlab —on Sunday 3 June, featuring Terri Lyne Carrington & Social Science, and, on Tuesday 5 June, Harry James Angus’s Struggle With Glory.

The lighting was the only possible complaint about the Social Science outing, Debo Ray passionately delivering emotive vocals in the near darkness while interacting with the rapid yet smooth moves of white-clad Kassa Overall, who was in full glare of a spotlight for his cryptic rap. Carrington at the drum kit was the linchpin of this sextet, which also featured Aaron Parks on keys, Morgan Guerin on sax and Matthew Stevens on guitar, but she sought none of the limelight as they gently, but potently explored racism, discrimination, police killings and the need “to pray the hate away”.

Outside afterwards a couple of shockingly racist would-be patrons brought to the fore our similar problems in this country, but I left the gig with the feeling that I’d attended a left-wing, justice-fired prayer meeting and been cleansed by the power of good vibes. This was gentle persuasion by music rather than words, but it was a reassuring and awakening in equal measure.

A more fervent vibe infused Struggle With Glory, in which Harry James Angus (Cat Empire) on trumpet and vocals managed the unlikely marriage of Greco-Roman myths with old-time jazz and gospel vibes. It worked, partly because he took the time to engagingly explain the stories and partly because his band delivered with feeling.

In eight pieces from the album released in March, this band — Ben Gillespie on trombone, Monique Di Mattina on piano, Freyja Hooper on drums, Tamara Murphy on bass and Lachlan Mitchell on guitar — wowed the audience with their musicianship and vocal harmonies. And HJA’s excellent whistling. Again this was a feel-good gig that will hopefully encourage more people to come out for live music.

Two other MIJF concerts filled with energy, exemplary musicianship and toe-tapping beats featured Daniel Susnjar’s new Afro-Peruvian Jazz Group (The Jazzlab, 9.30pm Monday 4 June) and Steve Sedergreen’s Points in Time (The Jazzlab, 9.30pm Wednesday 6 June). For me, these concerts came immediately after the two Tony Malaby gigs mentioned, so it wasn’t easy to adjust, but in each case audience approval was clear.

It’s part of a festival’s job to entertain, but also to challenge. One of the experimental concerts this year, as is always the case, came with the PBS Young Elder of Jazz commission concert on at 9.30pm on Friday 1 June at The Jazzlab by pianist Brenton Foster, entitled Love, As We Know It.

Foster — in a quartet with Gideon Brazil (flute, clarinet, saxophone), Stephen Magnusson (guitar), Jordan Tarento (bass) and Aaron McCullough (drums) — composed music to accompany sung adaptations of poems by Christopher Pointdexter (known for delivering his words via typewriter on Instagram). This was difficult music played very well indeed, but it was a tough task to communicate the compressed ideas in the poetry in a way that would permit an audience to grasp their full import. Yet Foster’s compositions had unexpected strength and drama obviously meant to pick up on the torments and dramas of lives and loves.

I believe this concert would have benefited greatly from a visual display of the poet’s text in some way while the words were sung and accompanying music played.

An even greater challenge came on Friday 8 June at The Substation in Three Solos performed sequentially by Tony Buck (The Necks), Peter Knight (Australian Art Orchestra artistic director) and experimental Norwegian guitarist Kim Myhr. After many evenings of performances by musicians under lights handing us their music on a platter, so to speak, it was hard to be left in the dark, literally, amid the amplified crackles, tiny tinklings, abrasive static, plinks and plonks created by the black “bee-suited” figure with wind-chime hat who sat facing away from the audience. Buck must have intended us to listen attentively rather than watch to see how he created these sounds — something most of us were not attuned to doing.

Minutiae also was surely the intent of Knight’s delicate explorations of sound generated with water in his trumpet and the recording and amplification — with the help of a Revox B77 reel-to-reel tape machine and other devices — of grains of rice falling. When the audience later turned full circle to hear Myhr on 12-string guitar, his instrument hidden behind a table of electronic equipment, the subtlety of variations as he strummed and adjusted settings may well have escaped all but the most diligent listeners.

These three solos were challenging not merely because they took us out of our comfort zones, but because of the risk that we would find too little in each to provoke a response, whether love or hate. That said, a lot of work goes into these performances and the artistic endeavour deserves to be acknowledged — perhaps in this case more as art than music.

On the following evening, the Australian Art Orchestra performed the world premiere of an orchestral work by Myhr. The ensemble comprised Myhr (guitar), Knight (trumpet, electronics, hammered dulcimer), Buck (drums, percussion), Aviva Endean (bass clarinet, contrabass clarinet, zither), Lizzy Welsh (violin), Erkki Veltheim (viola), Jacques Emery (contra bass, zither), Joe Talia (Revox B77 reel-to-reel tape machine, electronics) and Jem Savage (live sound, associate producer).

This was truly a work for ensemble as collective. Over three parts of 16, 21 and 17 minutes respectively, all contributed to creating a multi-layered and highly finessed whole that enveloped and drifted above us in the large space.

The first part employed the strings in a slow, regular configuration that evolved into wave formations conjuring, for me, phosphorescent ocean swells in moonlight. The second had more structure, movement and change, building intensity in its complexity. The third part contrasted fast, light and intricate work at the drum kit with waves of vibrato shimmer while moving gradually to a long denouement. This was carefully crafted and intricately executed music that caressed rather than challenged.

I did not get to many of the festival concerts, including those at larger venues. But the 12 gigs I did attend were enough to demonstrate there are many ways to present and appreciate this music we loosely call jazz. But the excitement of live music is deeply sustaining.

I attended two of the jam sessions hosted by The Rookies and had a great time at each, bailing out only after 2am. These gatherings of musicians and fans also provide much enjoyment and lasting sustenance for the soul.

ROGER MITCHELL

Note: Images will be added to this post in due course.

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STANDING ROOM ONLY

Nubya Garcia Image: Adama Jalloh

Nubya Garcia                                   Image: Adama Jalloh

PREVIEW

Melbourne International Jazz Festival, 1-10 June, 2018

The 21st MIJF, which over 10 days in almost 100 events will feature almost 400 Australian, international and emerging artists, is only a day away.

Already many concerts — An Evening with Branford Marsalis and Sun Ra Arkestra at Melbourne Recital Centre, and the 7pm outing by Nubya Garcia at The Jazzlab — are sold out. A second outing for the Arkestra at The Night Cat has been added on 7 June.

Tickets for others concerts — Maceo Parker’s tribute to Ray Charles, Christian McBride’s New Jawn and Harry James Angus’s new project, Struggle With Glory — are selling fast.

Not such good news is that six club sessions scheduled for the Southside Jazz Room have been cancelled because construction work at the venue will not be completed in time. So patrons will miss the opportunity to hear Bopstretch, Fem Belling Quartet, Sam Keevers Trio featuring Michelle Nicole, Bob Sedergreen and Friends, Paul Williamson Quartet and Jamie Oehlers Quartet plays the music of John Coltrane. That’s a great pity.

As mentioned in an earlier post, there will be 25 venues across the city, from Hamer Hall to small clubs, as well as cafes in Melbourne’s west.

Clearly the festival programming has tackled the difficult task of broadening the appeal of the music on offer with a view to attracting younger fans. I say this is difficult because many potential patrons who may well love the styles of music on offer can be turned off by the festival’s “jazz” tag.

One way that MIJF Artistic Director, Michael Tortoni, and his programmers have tackled this is to utilise venues such as 170 Russell, known to many as Billboard, which offers standing-room-only space that could not be seen as fitting an image — albeit often wildly inaccurate — of staid music.

First up at 170 Russell the festival will present Knower on Tuesday 5 June. This Los Angeles group features Genevieve Artadi vocals, Louis Cole drums/vox, Thirsty Merc’s Rai Thistlewayte keys, Jacob Mann keys and Sam Wilkes bass. They promise “hard-hitting funk, cool chords, deep melodies and vocals creating an imaginative and out-of-this-world experience”.

Yemen

Yemeni Israeli Ravid Khalani                        Image supplied

Next, 170 Russell will host Yemen Blues on 6 June, featuring Yemenite Israeli Ravid Khalani on voice and gimbri, Brian Marsella (US) on keys, Shanir Blumenkranz (US) on bass and oud, Dan Mayo (Israel) on drums and Edo Gur (US) on trumpet. Drawing on Middle Eastern traditions, Yemen Blues offers hypnotic percussion beats and multi-layered sounds.

Chris Dave

Chris Dave with The Drumhedz in 2014.              Image: Roger Mitchell

And on Friday 8 June, 170 Russell will host Chris Dave and The Drumhedz. Back in 2014 at MIJF Chris Dave on augmented drum kit was an unexpected, but clear highlight for me at Bennetts Lane with Isaiah Sharkey on guitar, Nick McNack on bass and Marcus Strickland on tenor and soprano sax. Their set held my interest from the word go and a lot of the appeal came from the watchfulness and interaction in this band. Dave’s line-up this time will be revealed on the night.

Continuing MIJF artistic director Michael Tortoni’s effort to “showcase some of the future directions of this vital and ever-evolving art form” in a much smaller yet much more inviting venue, The Jazzlab hosts UK saxophonist and composer Nubya Garcia, described by Rolling Stone as “one jazz musician poised to break out in 2018”. Garcia cites musical influences from American jazz, blues, soul and roots to contemporary pop. She celebrates women in contemporary jazz, playing in an all-female septet Nérila. Tickets may still be available for her second concert at 9.30pm on Thursday 7 June.

Terri Lyne Carrington

Terri Lyne Carrington                         Image supplied

Also aiming to attract patrons from outside straight-ahead jazz, in four concerts at The Jazzlab (Saturday 2 June, Sunday 3 June) US percussionist Terri Lyne Carrington will address issues of freedom, racism, sexism, fluidity, and multiculturalism in her social consciousness project Social Science. The line-up will be Kassa Overall MC/turntable, Debo Ray vocals, Matthew Stevens guitar and Aaron Parks piano. Expect lush compositions, influenced by jazz, indie rock, contemporary classical and R&B.

Harry James Angus

Harry James Angus             Image supplied

The Jazzlab is also bound to attract new faces among patrons keen to hear The Cat Empire’s trumpet-playing vocalist Harry James Angus who, in Struggle With Glory, will endeavour to transport classic Greco-Roman myths into a surreal world of old-time jazz and gospel music. Angus will be joined by Ben Gillespie trombone, Monique Di Mattina piano, Freyja Hooper drums, Tamara Murphy bass and Lachlan Mitchell guitar, along with a gospel choir. There are still tickets available for the 9.30pm concert on Tuesday 5 June.

And fans of Spiderbait will be drawn to Melbourne Recital Centre on Saturday 9 June to hear Kram on drums join pianist/composer Paul Grabowsky AO and multi-instrumentalist James Morrison reprise their audience-wowing outing as The Others at the 2017 Wangaratta Festival of Jazz and Blues. Expect fireworks and much joy from the participants.

A further bid to broaden interest will be Jazz Massive, a participatory mass-music-making event on Sunday 3 June at 11am, situated on the lawns of State Library Victoria. Musicians of all calibres are invited to bring along their instruments and join a massive jam session. But beforehand those wanting to be involved can follow helpful videos by Tamil Rogeon.

For the much younger music fans, and their significant adults, Lah-Lah’s Big Jazz Adventure at Melbourne Recital Centre on Saturday 2 June will feature singer Lah-Lah and her friends Mister Saxophone, Squeezy Squeezy on accordion, Tom Tom on drums, Buzz the Bandleader and Lola the Dancing Double Bass, as seen on ABC Kids. Children under 2 are free.

Tony Malaby

Tony Malaby                               Image supplied

For the hard core of fans familiar with jazz, the concerts with most appeal this year will include the retrospective Novela (Wednesday 6 June, The Jazzlab) featuring US saxophonist Tony Malaby with Canadian pianist/arranger Kris Davis and the Monash Art Ensemble under the direction of Paul Grabowsky. I’m looking forward to that, along with the outing on Monday 4 June at The Jazzlab bringing Malaby together with Davis and the extraordinary Sydney drummer Simon Barker for “fearless improvisation”. Bring it on.

And on the opening night of the festival, a highlight is sure to be The Gravity Project (The Jazzlab) in which Grabowsky on piano and Rob Burke on saxophone join shakuhachi master Masaki Nakamura, koto virtuoso Kuniko Obina and Tokyo-based Aaron Choulai on laptop and electronics in a world premiere cross-cultural exchange with Tokyo Jazz Festival. The ensemble also features Niran Dasika on trumpet, Marty Holoubek on bass and James McLean on drums.

Kim-Myhr

Kim-Myhr                                         Image: Orfee-Schuijt

The adventurous are sure to seek out two concerts at The Substation in Newport (Friday 8 June, Saturday 9 June) featuring Norwegian master of the 12-string guitar, Kim Myhr, whose long form drones, slow melodic arcs and moments of psychedelic intensity draw on rock music, minimalism and jazz.

The first outing, Three Solos, will feature Myhr on guitar, well known member of The Necks, Tony Buck on drums and guitar and Australian Art Orchestra Artistic Director Peter Knight in the premiere of a new work for processed trumpet. The following night Myhr joins the AAO in a performance of a world premiere of a work created for the 10-piece orchestra, featuring two violinists, two drummers, bass, hammered dulcimer, electronics, bass clarinet, Revox reel-to-reel tape machine. Buck and Knight will be on stage along with bass clarinet virtuoso Aviva Endean and incendiary violinist Erkki Veltheim.

Experimentation will continue back at The Jazzlab when pianist/composer Brenton Foster presents Love, As We Know It, his PBS Young Elder of Jazz commission in collaboration with with US poet Christopher Pointdexter. Foster (vocals, piano) will be joined by Gideon Brazil (sax, flute, clarinet), Stephen Magnusson (guitar), Tamara Murphy (bass) and Aaron McCullough (drums).

And audiences will be familiar with US bassist Christian McBride, who returns in four concerts over two nights (Saturday 9 June, Sunday 10 June) at The Jazzlab. His fresh quartet, New Jawn, comprises Marcus Strickland saxophone, Josh Evans trumpet and Nasheet Waits drums. Saxophonist Francesco Cafiso (Italy) will perform two concerts at The Jazzlab on Friday 8 June.

Concerts at the 40-seat Lido Jazz Room, which is curated by Uptown Jazz Café’s Sonny Rehe, could be regarded as this festival’s homage to the importance of women musicians in the Melbourne scene. Over four nights, each with two concerts, the artists comprise Margie Lou Dyer Quintet and Natasha Weatherill Quartet (Friday 1 June), Emma Gilmartin Quartet (Saturday 2 June), Jackie Bornstein Quartet and Julie O’Hara La Grande Soiree (Friday 8 June), and Andrea Keller Trio along with Connie Lansberg  featuring Mark Fitzgibbon Trio (Saturday 9 June).

In Melbourne Recital Centre on Saturday 2 June fans of jazz vocalists can enjoy Gretchen Parlato (US) with Marcel Camargo on guitar, Artyom Manukian on cello and Leo Costa on percussion. Expect undertones of African and Brazilian beats. The superb Sam Anning Sextet will open.

And on the final night, Hamer Hall will host French-American singer Madeleine Peyroux interpreting jazz standards, with an opening set that’s sure to entrance by the Angela Davis Quartet.

Barney McAll

Barney McAll                                 Image supplied

Melbourne-based Barney McAll will premiere two works: Trilogy of Cycles at Birrarung Marr’s Federation Bells and Sweet Sweet Spirit featuring music by the great gospel composer Doris Akers at Darebin Arts and Entertainment Centre. Both of these are sure to be outstanding.

Jazz Out West returns with local DJ, radio broadcaster and music personality Mz Rizk as guest programmer, focusing on experiences not usually found in a jazz festival, including a cross-genre tribute to high priestess of soul, Nina Simone, and emerging crossover artists Thando, Cool Out Sun, KillaHertz and Kalala & The Round Midnights. All concerts are free.

Free events will also include the return of Sound Walks throughout the city, lunchtime concerts at St James and the long-running artist workshops and Close Encounters series, which has expanded to include career development workshops led by industry experts and practitioners including Chelsea Wilson (Brunswick Music Festival), Fem Belling (The Public Opinion Afro Orchestra), and Marcus Strickland (Christian McBride’s New Jawn / Twi-life).

Family-friendly festival events include the Melbourne Mass Gospel Choir at Southern Cross Lane.

There’s plenty more music on offer, so check out the full program details  at the MIJF website.

ROGER MITCHELL

SO WHO DID RESCUE MELBOURNE’ S JAZZ?

Tortoni

Michael Tortoni on bass at the launch of World’s Best Jazz Club: The Story of Bennetts Lane by David James.        Image: Roger Mitchell

FOR THE RECORD

On April 19 I posted the news that musical entrepreneur and property developer Albert Dadon — who owns Bird’s Basement in Melbourne — had acquired the name and assets of Sydney’s jazz club The Basement and planned to reopen it as soon as possible.

This was significant news, especially for Sydney fans of improvised music. That post included material provided in a media release by Dadon, including a paragraph stating that “he rescued the Melbourne International Jazz Festival when the City of Melbourne cut its funding in 2000″.

The release went on to say that under Dadon’s leadership  the festival became “a Major with appropriate funding” and “grew from 5000 visitors in 2001 to more than 200,000 by the time he stepped down in 2009”.

Reactions to the news about The Basement varied, but it probably surprises few that parts of Dadon’s media release have been questioned — these days “fact checked” is the usual term — and that alternative versions of history have been added to the mix.

Michael Tortoni, who is artistic director the Melbourne International Jazz Festival and runs The Jazzlab venue in Brunswick, was concerned that Mr Dadon’s version of events did not tally with his recollection.

KM2070071_1500xHe passed on an article by Robin Usher published in The Age on December 22, 2001 following the cancellation of Melbourne’s fifth international jazz festival due to the withdrawal of a $50,000 grant by Melbourne City Council.

Usher quotes Tortoni, then owner of the city’s main jazz venue, Bennetts Lane, as saying there was a need to maintain the tradition of the then summer festival and that “We decided to roll up our sleeves and work to get people through the door” to what was called the Bennetts Lane International Jazz Festival.

Usher quotes that Adrian Jackson, director of the cancelled festival, as applauding Tortoni for “trying to make the best of a bad situation” in promoting the January events. But Jackson does add that international stars wouldn’t necessarily be coming in a year’s time “unless there is a properly funded festival organisation to promote their performances”.

Tortoni is quoted as saying, “I’m using my infrastructure and staff to get the information out because I felt something had to be done to replace the festival organisation that we lost so suddenly.”

Interestingly, given that my post based on Dadon’s media release was headed “Dadon plans The Basement rescue”, Usher’s article had the headline “Jazz club owner rescues festival”.

The caption on Marina Oliphant‘s image of Tortoni at Bennetts Lane was: “Beat goes on: Michael Tortoni has stepped in after funding for the MIJF was cancelled.”

It is also interesting from a historical perspective that venues included in the Bennetts Lane International Jazz Festival in 2001 were Dizzy’s, the Corner Hotel, Manchester Lane, the 9th Ward, the Night Cat and Bar Open — a wide range indeed.

Owners of rival jazz clubs in Melbourne — albeit very different styles of venues — may well never agree on who rescued what at that difficult time in the history of jazz in Melbourne. But it is good to keep in mind just how tough it has been over the years for those arranging funding, promotion and funding for our jazz festivals.

After Dadon’s announcement about The Basement and his media release, it wasn’t long before a Facebook page emerged entitled Australian Jazz Fact Checker. It isn’t hard to imagine who may have set that up.

For those not on Facebook (Zuckerberg and Cambridge-Analytica eat your heart out) here are some responses to parts of Albert Dadon’s media release:

“He rescued the Melbourne International Jazz Festival when the City of Melbourne cut its funding in 2000.”

Fact Check: False
Albare Dadon wasn’t even part of the festival in 2000, let alone ‘saving it’. An article about it can be found in The Age on December 22, 2001.

“Under his leadership the festival grew from 5,000 visitors in 2001 to more than 200,000 by the time he stepped down in 2009.”

Fact Check: Partially True
Albare Dadon did leave the festival, however the circumstances behind why he did so are sealed behind a confidentiality agreement.

“Mr Dadon opened Bird’s Basement, below his Jazz Corner Hotel at 350 William St. in Melbourne’s CBD in March 2016 and committed himself to make it one of the world’s most renowned. Today, the club, a sister venue of Manhattan’s Birdland, regularly features world class musicians and is recognised internationally as Australia’s premier jazz venue.

Fact Check: Maybe?
I’m not sure who recognises it as the premier Australian jazz venue, but I’m sure he could find someone to quote.

“As Albare, he often performed at the Sydney Basement.”

Fact Check:
Depends on your definition of ‘often’
Albare and Urbanity performed at the venue twice in 5 years

“their album Urban Soul, this year enjoyed Billboard chart and critical success in the United States.”

Fact Check: False
I could only find one review by an independent journalist who rated the album 3.5/5 stars. I’m pretty sure that doesn’t count as a critical success.

The identity of the fact checker is not stated, but will readily come to mind, I’m sure. Albert Dadon is welcome to respond to Michael Tortoni’s interpretation of events.

ROGER MITCHELL

IMG_2050_mono_1500x

Michael Tortoni takes a bow. Image: Roger Mitchell