As Alumni

As Alumni

James Morrison
"Concerto for Trumpet, Jazz Trio and Orchestra"
James Morrison – Trumpet

THE COMPOSER WRITES:-
With the increasing popularity of jazz as an art form, the fusion of jazz and classical music offers a relatively new platform for composers. This concerto challenges James Morrison to employ both his disciplined classical virtuosity and rich jazz experience within one major work.

The Concerto opens peacefully with a prelude that pre-empts the main theme (muted trumpet immersed in a lush but transparent setting).

It is transformed into a rollicking new theme featuring a boisterous tutti. For a brief moment, the now-Jazz Quartet creates an intimate "Club" atmosphere with a new swing theme, before the orchestra joins in for a development section. The soloist then leads the brass into improvisatory style patterns punctuated by rapid passages from the other instrumental groups.

The "Club" atmosphere returns as piano, then trumpet, perform extensive improvisations. The orchestra recapitulates in full regalia, resolving into a more serene transition to prepare us for a return of the main theme.

This time however, the trumpet states the theme with more definition while the rhythm section (piano, bass and drums) creates a new feel – slightly Latin in nature

(Click here) To hear for James Morrison's thoughts about the concerto.

PHILIPS MEET THE MUSIC
SYDNEY OPERA HOUSE CONCERT HALL
Wednesday 9 May, 2001 at 6.30PM
Thursday 10 May, 2001 at 6.30PM

ELLINGTON
Harlem

ZAVOD
Concerto for Trumpet, Jazz Trio and Orchestra

(Interval)

ADAMS
Century Rolls for Piano and Orchestra
(First Australian performance)

GERSHWIN
An American in Paris

Peter McCoppin – Conductor
James Morrison – Trumpet
Peter Waters – Piano
Featuring special guest Allan Zavod
Jonathan Zwartz – Double Bass
David Jones – Percussion
Allan Zavod – Piano

The Official James Morrison Website

James Morrison Interview

AN ABC CLASSIC….

Thank you ABC Classic FM for the most exciting Friday night broadcast of the unusual Sydney Symphony Orchestra’s concert from the Opera House. Different, in that it featured an innovative program of classical/jazz fusion works. I loved Ellington’s “Harlem” and George Gershwin’s “American in Paris” but for me the Adam’s “Piano Concerto” was too long and somewhat over my head. However the jewel in the crown was Allan Zavod’s “Trumpet Concerto for jazz trio and orchestra” with that master trumpeter James Morrison as soloist. I found myself applauding in my living room; the piece was full of such energy and rhythm with just enough soft moments to satisfy the soul. Bravo, ABC.

- J. GIBSON, MORNINGTON –

Maynard Ferguson

1974 Ferguson, Maynard- Chameleon (Piano, Electric Piano)

Extracted from the book
MF Horn - Maynard Ferguson's Life In Music
By Dr William F Lee III

Maynard has been one of the most important influences on me, not only as a musician, but in my attitude and approaches to one’s life journey. It was 1974. I was teaching at the Berklee College of Music in Boston when I was asked to sub for Maynard’s new keyboard player who was on his way from England to join the band. It was to be a week of rehearsals and three gigs. Three days and I was in love; in love with Maynard, the organization, the band, and especially animal drummer Dan D’Imperio and Rick Petrone, bassist from hell! Maynard brought out the animal in all of us. This was too much fun and during that week I threw Maynard my best boyish grins in the hope that he would keep me on. A week turned into a year.

It was always fun playing with Maynard. From day one his brief to the band was, "If you make any mistakes I’m going to just laugh and you guys had better make light of it too. I want good vibes on stage." With a relaxed attitude such as that we rarely made mistakes and when we did the whole band made them together. I can remember on more than one occasion when the entire ensemble skipped a beat.

Video Files

La Fiesta - Part One
La Fiesta - Part Two
Gospel John

Jean-Luc Ponty

Jamie Glazer, Larry Berk, Jean Luc Ponty, Allan Zavod

CONTRA COSTS TIMES (SAN DIEGO, CALIF)
DEC 20, 1978 –

JEAN LUC PONTY BAND

Zavods solo on the Steinway was purely inspiring – mellow, jazz piano at its finest.

Ponty is a master with electronic effects, so is his keyboardist Allan Zavod, an Australian who is highly adept with all the latest synthesiser hardware.

1975 Ponty, Jean-Luc- Voyage: The Jean-Luc Ponty Anthology (Organ, Synthesizer, Piano, Keyboards, Clavinet)
1975 Great Moments in Jazz (Electric Piano)
1976 Cobham, Billy- Life and Times (Organ, Keyboards)
1976 Ponty, Jean-Luc- Imaginary Voyage (Keyboards)
1977 Ponty, Jean-Luc- Enigmatic Ocean (Keyboards)
1978 Ponty, Jean-Luc- Cosmic Messenger (Organ, Synthesizer, Piano, Electric Piano)
1979 Ponty, Jean-Luc- Taste for Passion
1980 Ponty, Jean-Luc- Civilized Evil

Frank Zappa

The Ultimate Zappa Website
Reverend Neve's Zappa Page

zappa.pagina.nl

1986
Does Humor Belong in Music?
1987
The Guitar World According to Frank Zappa
1988
Guitar
1988
You Can't Do That on Stage (Sampler)
1988
You Can't Do That on Stage Anymore, vol. 1
1989
You Can't Do That on Stage Anymore, vol. 3
1991
You Can't Do That on Stage Anymore, vol. 4
1992
You Can't Do That on Stage Anymore, vol. 6
1997
Jazz Fusion, Vol. 1- Jazz Fusion, Vol. 1 (Electric Piano) 1997 Jazz Fusion, Vol. 2- Jazz Fusion, Vol. 2
1997
Have I Offended Someone?
1998
Cheap Thrills Sarde, Cliff- Every Bit Better (Synthesizer, Keyboards)

"A TRIBUTE TO FRANK ZAPPA" (1940 – 1993), Rolling Stone, February 1994

Written by Allan Zavod

Playing with Zappa was the greatest gig that any musician could wish for. He always challenged you, stretching your musical abilities beyond you wildest imagination. As a musician, he was never boring. Each night was a new experience. We did 250 shows in one year – each show unique in some way.

The vast amount of musical material in itself was an enormous challenge to learn. Frank would pull out songs we hadn’t done for six months. On the fist day of a three week rehearsal, Frank presented me with 200 tunes and asked if I could learn them in that space of time. I began to realise you could never learn all of Frank’s music – it’s a continuous ongoing adventure.

Sorry to kill the myth that he was weird and wild; his lyrics may have been, but the mans was not. Zappa was a serious composer and one of the most professional musicians, I’ve ever been associated with. He was a disciplinarian of the severest kind when it came to leading the band into tight performances. This was done by utilising three hour sound checks for rehearsals on a daily basis.

We played so many different styles, all of which were executed sincerely and with enormous feeling. We played everything from gospel, Broadway, jazz, 20th century atonal classical, rock and humorous pieces with clichés reminiscent of Spike Jones. We never sounded like a jazz band trying to play other styles, because we played rock from the gut with sheer feel and, the next moment, we’d intellectualise on some classical music – also with soul.

So why all the bizarre and sexual lyrics in such a heavy, serious musical environment? For example: "Why does it hurt when I pee", or "Fuck me you ugly son of a bitch" or "I know a girl with a little rubber head." Zappa’s lyrics were a caricature of the perverted sexual attitudes that exist in American life. There was usually a serious message behind the weird and sometimes sick lyrics.

Frank and I were neighbours in LA so I drove him home after rehearsals. I was always amused by the way he saw the world around him, his dry sense of humour. With Frank, you had to be careful you didn’t reveal too much of yourself during the days or you’d end up in a song on stage that night.

Zappa the workaholic, Zappa the recluse, and Zappa the relentless objector when it came to anything that hinted at a healthy diet. Down on drugs as he was, I once accused him of being the biggest drug addict of all, because of his continuous indulgence in caffeine and nicotine. His response was that the word drug didn’t apply – coffee and cigarettes were food to him.

Frank rarely surrounded himself with friends – his family were his friends. What a shock it was when one day at his house he suggested that we go out to dinner. At the Brown Derby Restaurant in blasé LA, where movie stars are commonplace, all heads turned towards Frank…..Zappa has devoted fans everywhere.