James Muller
James Muller is an Australian jazz guitarist. The James Muller Trio won the 2000 ARIA Award for Best Jazz Album with the album All Out. Muller was nominated for same award in 2002 with Thrum and in 2006 with Kaboom.
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Magnolia Rd
Magnolia Rd are a group from Melbourne’s South East exploring everything from alternative blues/jazz to psychedelic punk rock.
They're always sure to provide a dazzling collection of neat tunes and grooves. With the musical influence of the band covering all era's back to the early 1930's to present day, their writing and performance aims to encapsulate a variety of different styles and timings, catering for a vast range of listening ears.
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Joni Mitchell
Roberta Joan "Joni" Mitchell CC (née Anderson; born November 7, 1943) is a Canadian-American musician, producer, and painter. Among the most influential singer-songwriters to emerge from the 1960s folk music circuit, Mitchell became known for her starkly personal lyrics and unconventional compositions, which grew to incorporate pop and jazz influences.[1] She has received many accolades, including ten Grammy Awards and induction into the Rock and Roll Hall of Fame in 1997. Rolling Stone called her "one of the greatest songwriters ever",[2] and AllMusic has stated, "When the dust settles, Joni Mitchell may stand as the most important and influential female recording artist of the late 20th century".[1]
Mitchell began singing in small nightclubs in Saskatoon, Saskatchewan, and throughout western Canada, before moving on to the nightclubs of Toronto, Ontario. She moved to the United States and began touring in 1965. Some of her original songs ("Urge for Going", "Chelsea Morning", "Both Sides, Now", "The Circle Game") were recorded by other folk singers, allowing her to sign with Reprise Records and record her debut album, Song to a Seagull, in 1968.[3] Settling in Southern California, Mitchell helped define an era and a generation with popular songs like "Big Yellow Taxi" and "Woodstock". Her 1971 album Blue is often cited as one of the best albums of all time; it was rated the 30th best album ever made in Rolling Stone's 2003 list of the "500 Greatest Albums of All Time",[4] rising to number 3 in the 2020 edition.[5] In 2000, The New York Times chose Blue as one of the 25 albums that represented "turning points and pinnacles in 20th-century popular music".[6] NPR ranked Blue number 1 on a 2017 list of Greatest Albums Made By Women.[7]
Mitchell switched labels and began exploring more jazz-influenced ideas, by way of lush pop textures, on 1974's Court and Spark, which featured the radio hits "Help Me" and "Free Man in Paris"[8] and became her best-selling album. Mitchell's vocal range began to shift from mezzo-soprano to more of a wide-ranging contralto around 1975.[9][10][11] Her distinctive piano and open-tuned guitar compositions also grew more harmonically and rhythmically complex as she melded jazz with rock and roll, R&B, classical music and non-Western beats. In the late 1970s, she began working with noted jazz musicians including Jaco Pastorius, Tom Scott, Wayne Shorter, Herbie Hancock, and Pat Metheny as well as Charles Mingus, who asked her to collaborate on his final recordings.[12] She later turned to pop and electronic music and engaged in political protest. She was awarded a Lifetime Achievement Award at the 44th Annual Grammy Awards in 2002[13] and became a Kennedy Center Honoree in 2021.[14]
Mitchell produced or co-produced most of her albums. A critic of the music industry, she quit touring and released her 17th and last album of original songs in 2007. Mitchell has designed most of her own album covers, describing herself as a "painter derailed by circumstance".
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Georgia Rodgers
Georgia Rodgers has fused her many years of playing and learning the guitar with an authentic vocal style.
Leaning into her dynamic guitar playing, she is slowly but surely developing a discography of music that abstains from the stereotypical verse, chorus, verse structure of song writing.
“I’m basically a singer/songwriter,” says Georgia, “but I am more-so taking people on a dynamic journey through a song. With more of an emphasis on a composition as opposed to your typical verse, chorus, verse.”.
Although evident in the music she has released and the live performances she has showcased, she admits that the sound she is creating is a work in progress.
“I’m still kind of finding what sound I want to put out there,” says Georgia, “I’m so much more comfortable behind a guitar than my vocals because I’ve always fallen back onto being a guitarist. I learnt guitar for a long time and then singing just became a part of it, so I depend heavily on that. I can write nice lyrics it’s just the way of how I can best suit that and include the work I’ve done as an instrumentalist as well.”
However, this journey to find a sound she is content with releasing and performing lends to the style of music she creates. The dynamic nature of her pursuit of establishing such a sound is also woven into her music with complexity. A process she pins down to experimenting with layering and ebbing and flowing between stripping a song down and building it up again.
“A lot of it is layering,” says Georgia “So I might play a song live that goes for eight minutes, and a lot of it is a little bit of atmospheric layering and it is kind of floaty and then the next song I might play might start with just the one note, the root note of the chord and then progress into playing the full chord.”
“It’s just stripping back and then including in other songs that layering to build that dynamic and then dropping it down and doing that to draw people in.”
When it comes to her compositions, she also places a significant importance on including any iota of a live resemblance or authenticity that might arise in a recording setting.
“I like a live-ish feel to my songs.” Says Georgia, “I’ve always been very particular in the recording. The next single I’m releasing I want to sound awesome, but if it’s not capturing that live element, I can’t see it as the song. I can see it as a good song, but without that live element, that’s not what I want.”.
In her most recently released single ‘Hold On’, the emphasis on replicating a live sound is abundant throughout the velvety and dreamlike near six minutes. Georgia iterates that minimising the number of vocal takes in conjunction with utilising a damaged guitar pedal resulted in the rich, dynamic and authentic sound.
“The last time I recorded I did one warm-up vocal take and then I did another one and finally one more and after that I was like ‘nup, that’s dead now’, that was the live one. If there is a note that is a bit off, or some element of it being quite live, authentic, or honest I don’t really care.
“So, the start of the song I recently recorded, I had bought this pedal from cash converters, and it was completely a piece of crap and I thought it was awesome. It was leaking battery acid. When I clicked it on it made this cool crackling, almost like a needle on a record sound.
“The engineer ended up asking me if I wanted to cut that out, but I was like ‘no way’. Instantly that was a sound that’s not the song, it was something that can be that authentic, you’re in the room feel. I think it’s hard conveying your songs in the studio.”
For her forthcoming gig at the Wesley Anne on Friday September 30, Georgia has pieced together an arrangement that is set to amplify her dynamic storytelling. A set that is due to fluctuate between a big band supporting her and individual renditions of songs.
“I’ve got a launch for that single ‘Hold On’ on Friday September 30 at the Wesley Anne in Northcote. I’m performing with a band, which I have never done, at least in a rehearsed setting. I’m going to have a few backing vocalists, a cello, a double bass, and a drummer, possibly with some piano too.”
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Wilbur Wilde
Wilbur Wilde (born Nicholas Robert Aitken on 5 October 1955) is an Australian saxophonist, television personality and radio presenter. He is best known for his work on Hey Hey It's Saturday. He rose to prominence with the bands Ol' 55 and Jo Jo Zep & The Falcons.
Wilde was the tenor saxophonist (and did some vocals) with Ol' 55 from 1975 until 1977. Wilde then joined Jo Jo Zep & The Falcons in 1977 as saxophonist and backing singer. He still remains in that role to this date.
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Chloe James and the Midnight Band
Chloe James and the Midnight Band are a Melbourne based indie pop band. Heavily inspired by various jazz, funk and alternative artists, the band have found their footing making catchy tunes.
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Luoda
Hailing from Melbourne, Australia, Luoda harnesses its members' extensive songwriting and performance experience to create songs of profound depth.
Having pledged a lifelong commitment to refining their craft, each member of Luoda brings extraordinary musicality to the band. Members have written, recorded and performed in a staggering array of styles and contexts, spanning Avant-Garde Jazz to Acoustic Folk-Pop to Heavy Metal to Symphonic Orchestral music, to audiences all over the world in jazz clubs, theatres, stadiums, and through television sets.
Luoda's songs are the product of this experience - the collective "hive mind" - where ten extraordinary musicians create and operate at full power.
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Blue Moon Marquee
Blue Moon Marquee writes and performs original compositions influenced by anything that swings, jumps or grooves. A.W. Cardinal (vocals/guitar) and Jasmine Colette a.k.a. Badlands Jass (vocals/bass/drums) have played for a vast gamut of crowds at jazz clubs, Lindy Hop dance halls, folk venues, blues haunts, hospitals, prisons, markets, motorcycle joints, dive bars and prestigious festival stages.
Colette not only commands the upright bass but also brings the rhythm with her feet on a custom foot drum kit, all while singing in her signature honey-dipped tone. Cardinal’s distinctive and soulful vocals barrel out like a raging bull while his guitar crackles with the swinging energy of jazz-tinged blues.
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The Seven Ups
The Seven Ups are the soundtrack to the dancefloor at the end of the world.
Based in Melbourne, Australia and lead by guitarist Trent Sterling, The Seven Ups sound draws together a vast array of influences, taking hints from Funk, Spiritual Jazz, Afrobeat, Psychedelia and Krautrock
In 2023 the band released their fifth studio album, A Free Blowing Wind, via Northside Records. The new album is a deep dive in to the lesser-known-places of instrumental music, journeying from deep groove, to ambient and mellow Soul and onwards to long-playing psychedelic jams.
The Seven Ups music has been featured in Wax Poetics (USA), album of the week (thrice!) on PBS fm, Eastside fm and Beat magazine, top 10 on RRR, top 10 on KEXP (USA) and continues to receive airplay on BBC Radio, KEXP, Triple J, and community radio around the country.
The band has appeared at festivals including Meredith Music Festival (VIC), Womadelaide (SA), Blues on Broadbeach (QLD), Strawberry Fields (NSW), Luminate Festival (NZ) Rainbow Serpent (VIC), Falls Festival (VIC), Bleach Festival (QLD), Global Beats (WA), White Night (VIC), Moomba (VIC), Subsonic (NSW), Bello Winter Festival (NSW), St Kilda Festival (VIC) and more. Other career highlights for the band so far have included opening for Charles Bradley (USA), The Budos Band (USA), Remi (AUS), Babylon Circus (FRA) and The Bamboos (AUS), as well as a string of raucous residencies at Melbourne venues, frequent Australian east coast tours.
"I've been playing this little monster to death on my (BBC) 6 music show. It's raw, it's gritty, it's tough as nails." - Craig Charles, BBC Radio 2 & 6
“Makes us remember how much we can love instrumental music.” - Wax Poetics USA
"As tight as they need to be, and as loose as you want them to be." - DJ Miss Goldie, PBS fm
"Hugggeeee big band sound!!" - Rosie Beaton, Triple J
“The septet lay down super tight but silky instrumental funk that's rich in narrative and momentum.” - Juno Records, UK
“The Seven Ups are damn near one of the most mesmerising acts playing around Melbourne at the moment.” - Alex Callan Forte Magazine
“The diversity in their sound was downright impressive, moving from the horn driven funk of last year’s Drinking Water LP to the newer, overdriven psych rock guitar sounds. Though they set the stage up for the more famous psychedelic rock of Pond that followed, in my opinion The Seven Ups stole the show from the Perth four piece.” - Beat Magazine (on Meredith Music Festival 2018)
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Bonniemuse & Reflejos
7 piece band playing original music inspired by Latin America and European Landscapes. So incredible
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