Imagine Booklet

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                                                                               1     Blackbird
                                                                                                                             All your life
1    Blackbird (1968, Lennon/McCartney)                              5’58                    you were only waiting for this moment to arise
2    Some Day My Prince Will Come (1937, F. Churchill)               7’47
3    Hallelujah (1984, L. Cohen)                                     4’36   There’s a simplicity about this tune that belies its message. Uplifting and hopeful, ‘Blackbird’
                                                                            urges you to ‘take these broken wings and learn to fly’. It can be read as a song about racial
4    Don’t Dream It’s Over (1986, N. Finn)                           4’54
                                                                            inequality, about healing, and about reaching potential that has somehow been thwarted. Above
5    Black Magic Woman (1968, P. Green)                              5’40   all, and especially in this version, it’s about believing in positive energy and taking chances
6    Pineapple Head (1993, N. Finn)                                  4’47   when they come.
7    Imagine (1971, J. Lennon)                                       4’08   As I considered the lyrics of ‘Blackbird’ at 4am one morning, I found them to be cryptic,
8    Eleanor Rigby (1966, Lennon/McCartney)                          6’18   revealing more than initially meets the eye, both lyrically and musically. ‘Blackbird’ has depth
9    Over the Rainbow (1938, H. Arlen)                               5’17   and complexity underneath a seemingly simple, yet captivating melody.

10   Fragile (1987, G. Sumner)                                       5’24
                                                                               2     Some Day My Prince Will Come
     Total Playing Time                                             55’25                                              And away to his castle we’ll go
                                                                                                                         To be happy forever I know
     Fiona Burnett soprano saxophone
                                                                            The romantic number from Snow White and the Seven Dwarfs is sung twice, first as a lullaby
     Leonard Grigoryan electric, acoustic and nylon string guitars          and then as a duet between Snow White and the Prince. The lyrics are hopeful but not fretful:
     Christopher Hale acoustic bass guitar                                  this is a prayer, a wish, and a dream that you know in your heart will come true. ‘Some Day’
     Andrew Gander drums                                                    became a jazz standard in the late 1950s when jazz pianist Dave Brubeck recorded it after
     Alex Pertout guest percussion (Black Magic Woman, Pineapple Head)      hearing it on his child’s Disney anthology. It’s been covered by jazz greats such as Herbie
                                                                            Hancock and Miles Davis.
     All arrangements by Fiona Burnett, Leonard Grigoryan,
     Christopher Hale and Andrew Gander
                                                 04                                                                                                     05

My daughter loves the fairytale Snow White, so I have often sung this song to her as a lullaby to          4      Don’t Dream It’s Over
send her off to sleep. While I saw the movie as a child, I didn’t really pay attention to this song
until I heard it as a jazz standard. Our version plays with the notion of stretching out the time: it
                                                                                                                                                              They come, they come
has a floaty and dreamy quality. However, this is a little deceiving to the ear, as there is plenty
                                                                                                                                                         to build a wall between us
of activity in the rhythm section.                                                                                                                     We know that they won’t win
   3      Hallelujah                                                                                    This was the first hit single for Crowded House in the summer of 1986. It’s an ‘us-against-the-
                                                There’s a blaze of light                                world’ love song, plotting a journey with no end despite the constant pressure and imminent
                                                                                                        threats of an uncontrollable world. This is a languid take on the track, a short ride to the beach
                                                           in every word                                on one of those middle-of-summer days when you’re definitely not in a hurry.
                                     It doesn’t matter which you heard                                  This is such an optimistic song. It takes my mind back to finishing high school – a time of
                                    The holy or the broken Hallelujah                                   endless summer and a feeling of great freedom. I wanted to gently state the theme, giving the
                                                                                                        song more of a reflective quality, and recreating it in a way that captured its essence.
A melody of deliberate, somewhat weighted steps, ‘Hallelujah’ is a meditation, the creation of a
quiet space that attempts to make sense of something gone wrong. It’s love, life and a wish that           5      Black Magic Woman
believing could be easy.
                                                                                                                                             She’s a black magic woman
For me this is a modern-day hymn for modern-day angst. It’s a challenging song to cover
because it has been done numerous times. I’m not alone when I say that I am greatly inspired
                                                                                                                               And she’s tryin’ to make a devil out of me
by Jeff Buckley’s gut-wrenching and heartaching version. ‘Hallelujah’ is an emotional                   Santana. He’s a hot steamy night in an underground club that not many people know about.
outpouring, allowing one to indulge in wearing the heart on the sleeve for a moment.                    ‘Black Magic Woman’ is about the throes of passion, love, sex – love is a spell. It makes you act
                                                                                                        in all different sorts of ways. Interestingly, the song appeared on the 1969 Fleetwood Mac
                                                                                                        albums English Rose and The Pious Bird of Good Omen. But Santana’s 1970 cover so eclipsed it
                                                                                                        that many people think he wrote it!

                                                                                                        This tune is synonymous with Santana. I felt that ‘Black Magic Woman’ would give the
                                                                                                        ensemble a chance to explore some different colours, while still finding a way for it to match
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the flavour of this album. Consequently we came up with an open and spacious arrangement,            This song takes me back to the Strawberry Fields Memorial in New York’s Central Park. I visited
interwoven with glimpses of Santana’s version.                                                       it a number of times in the summer of 2000 and watched people light candles for John Lennon,
                                                                                                     holding vigil and remembering his life. I found there to be a real potency to the stillness that
   6      Pineapple Head                                                                             surrounds this space in the middle of New York City. ‘Imagine’ is a simple yet very beautiful
                                        I’ll clutch at your heart                                    song with a powerful message that continues to resonate with so many souls.
                    I’ll come flying like a spark to inflame you                                        8      Eleanor Rigby
From the 1993 Crowded House Together Alone album, ‘Pineapple Head’ was reportedly inspired                                                               All the lonely people
by the ramblings of Neil Finn’s feverish son. The lyrics and energy mark this song as something
quite different – images jarring together with a short sharp melody. This is a swirling love song
                                                                                                                                                 Where do they all come from?
that uses a sweet melody to hint at romantic obsession. This version of ‘Pineapple Head’ rounds
                                                                                                                                                         All the lonely people
some of the edges while remaining true to the sparks and loops of the original.                                                                    Where do they all belong?
The melody of this song is very catchy and goes round and round. There is a darkness to the          ‘Eleanor Rigby’ is a dramatic song featuring lonely characters – Eleanor Rigby, of course, with
lyrics that I wanted to lighten by making it playful and somewhat cheeky and quirky.                 her face in a jar by the door, and Father McKenzie with words and a message that no-one seems
                                                                                                     to want to hear. They are united, tragically, by the end of the song, the priest burying Rigby. It’s
   7     Imagine                                                                                     a haunting song, with a dark landscape, and a message that loneliness is possible even when
                                                         Imagine all the people                      you’re in a crowded city.
                                                         Sharing all the world                       This song plays a part in some of my earliest memories. Memorable I think because of its use of
                                                                                                     strings in the original arrangement. This is a song of heartfelt sadness – it makes me think of
From the 1971 Imagine album, John Lennon’s first solo recording – this has become much more
                                                                                                     everyday drudgery, people stuck in their lives. It conjures images of loneliness and people at
than a song. It’s now an anthem for peace. ‘Imagine’ asks us to hope and dream without
                                                                                                     the end of their lives without others by their side. This version allows the band to fire up,
boundaries and continues to offer strength to this day, in a world that seems to just get crazier.
                                                                                                     making it a great vehicle for improvising.
                                               08                                                                                                  09

   9     Over the Rainbow                                                                           10       Fragile
                                                  To a place behind the sun                                                        On and on the rain will fall
                                                 Just a step beyond the rain                                        Like tears from a star like tears from a star
The poignant signature tune from The Wizard of Oz, ‘Over the Rainbow’ takes you back to a
                                                                                                                                    On and on the rain will say
childhood in technicolour – hot with summer, and a sense of things about to change. This                                    How fragile we are how fragile we are
version savours the melody, lingering at the start before rolling out the unmistakable and
                                                                                                   A track of urban atmosphere, ‘Fragile’ is a song about mortality, living and dying. Originally from
timeless tune, handling it with utmost care, like a fabric that may come apart in your hands.
                                                                                                   Sting’s 1987 nothing like the sun album, this track sat with many others that were informed by
This is a sun-filled window, a memory road trip, a world open with possibility.
                                                                                                   the death of family and friends, and government oppression in Latin America. The rhythm is
I have vivid memories of seeing The Wizard of Oz as a child. I went with my mother and sister to   delicate but persistent, like feet moving softly to a chant. This version is introspective,
an afternoon session and we were the last to leave because I wanted to stay until the very end.    contemplating a world of strangers while music fills your ears.
I remember watching the curtain close, just wanting to go down the yellow brick road and live in
                                                                                                   This song reminds me of backpacking through Europe at 16. I had just bought ...nothing like the
an endless fantasy land. Aurora, my daughter is now captivated by the film also and was very
                                                                                                   sun and I listened to it while I travelled by train through the countryside, watching the fields
sad when she couldn’t find the end of a real rainbow we saw at the park one rainy afternoon.
                                                                                                   and mountains of Italy, Germany and France zoom by. I was in a hurry to open my eyes to the
                                                                                                   world and absorb new surroundings and explore.

Fiona Burnett

As a performer, soprano saxophonist Fiona Burnett is a remarkable and unique musical voice. Since
emerging onto the Australian jazz scene in the early 1990s she has rapidly gained recognition for
her striking original sound and her dynamic, expressive and virtuosic improvisations.
Her area of specialisation, performing on the soprano saxophone, is rare as there are few other
instrumentalists anywhere in the world to perform exclusively on the soprano. Since 1996 she
has released seven critically acclaimed CDs and written a number of large-scale hybrid works
combining both improvising and classical ensembles.
Fiona holds a number of academic qualifications: Master of Music (Performance) and Bachelor
of Music (Performance), both from the Victorian College of the Arts, The University of Melbourne;
and Diploma of Education (La Trobe University).
Fiona began formal study of music at age 11, studying piano. At 13 she started to play alto
saxophone, which she continued to study until at 19 she bought her first soprano saxophone.
Via the soprano she was able to begin to explore creative possibilities that were not available to
her on the alto, and for the last 16 years she has specialised on this instrument.
Although originally from Sydney, Fiona was drawn to Melbourne in 1992 by the vibrancy of its
creative music scene. During her Master’s degree she had the opportunity to study both
classical saxophone and contemporary classical composition. Both these areas of study have
been very influential on her development as an improvising musician. Further studies have led
her to the US where she had the opportunity to take lessons with two of the greatest saxophone
masters in jazz, David Liebman and George Coleman. In Canada she has attended workshops
and residency programs at Le Domaine Forget in Quebec in 1998 and The Banff Centre for the
Arts in 2001 and 2002, attending workshops with Kenny Werner and Dave Douglas.
Fiona first performed at 14 and has since the age of 21 been leading and co-leading her own
ensembles. In 1992 she founded and co-led Morgana. This ensemble featured five of Australia’s
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leading female improvising musicians. With this group she toured nationally, performed at              Leonard Grigoryan electric, acoustic and nylon string guitars
many of Australia’s leading arts and music festivals and produced two critically acclaimed CDs.
                                                                                                       Leonard Grigoryan was born in 1985 and began studying the guitar with his father at the age of
Fiona has received numerous grants and support for her projects from the Australia Council,            four. Leonard started performing publicly at the age of eight and had great success in national
Arts Victoria and Playing Australia, for recording, composer commissions, touring and                  competitions and eisteddfods.
international study.
                                                                                                       Having always played with his brother Slava, it was inevitable that the two should come together
From 1997 to 2001 she led the Fiona Burnett Quartet and her trio since 1999. She has                   professionally as a duo. In 1999 they began performing regularly and have since toured the
composed a number of large-scale works combining strings with her trio in a number of                  country many times. In 2001, Leonard was the only guest artist on Slava’s ARIA Award-winning
different compositional settings. Fiona’s first release for ABC Jazz, Soaring at Dawn, was             album, Sonatas and Fantasies. The following year they released their first duo album, Play, which
composed in 1999 and recorded live at the 2001 Melbourne International Jazz Festival. This
                                                                                                       was also nominated for an ARIA.
work features the Fiona Burnett Trio and the Silo String Quartet. Soaring at Dawn received an
APRA Award nomination in 2004. In 2005 Fiona released counterpoint, her third album,                   Leonard has appeared at many festivals including the Darwin International Guitar Festival,
featuring her trio of Ben Robertson and David Jones.                                                   Iserlohn International Guitar Festival, Hong Kong Arts Festival, Melbourne Festival, Brisbane
                                                                                                       Festival, WOMADelaide, Huntington Festival and the Frankston Guitar Festival. He regularly
In 2003 Fiona Burnett was appointed by the Federal Arts Minister to the Music Board of the
                                                                                                       tours nationally for Musica Viva and has performed in Africa, Europe, America and Asia. Leonard
Australia Council, a position she held for three years. Fiona has a deep interest in the music of
other cultures and has been keen to integrate various different cultural influences into her own       has also appeared regularly on television and radio. In March 2006 Leonard made his debut at
playing. In 2005 she was a participant in the Multicultural Arts Professional Development Program,     London’s Wigmore Hall with Slava.
facilitated by Fotis Kapetopoulos, a leading expert in the areas of cultural diversity and the arts.   He has been a soloist with the Melbourne Symphony Orchestra, The Queensland Orchestra, the
In addition to performing in Australia she has performed in the US, Canada, Germany, Hong              Academy of Melbourne, and the Melbourne Musicians Chamber Orchestra. Leonard has
Kong, Macau, Indonesia and Thailand, with musicians such as Belinda Moody (Australia), Carola          collaborated with such artists as Luke Howard, Ben Robertson, Darryn Farrugia, Christopher
Grey (Germany), Deviana Daudsjah (Indonesia), Cody Moffett (USA), Tiger Okoshi (Japan/USA)             Hale, Andrew Gander, Alex Pertout, Al Slavik, Joseph Tawadros, Jane Rutter and Jeremy Alsop.
and Hugh Fraser (Canada).
                                                                                                       Leonard has always dedicated himself to both the classical and jazz genres and is also an
                                                                                                       active arranger and composer. In 2005 Leonard joined the ARIA Award-winning guitar
                                                                                                       quartet Saffire.
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                                      Christopher Hale acoustic bass guitar
                                      Acoustic bass guitarist Christopher Hale is emerging as one of the most distinctive
                                      instrumentalists in Australian improvised music. The UK-born performer/composer has been
                                      garnering rave reviews as one of the leaders of a new generation of Australian improvising
                                      musicians, for work with his own acclaimed ensemble and involvement with different artists
                                      both in Australia and internationally.

                                      A diverse musical upbringing took Christopher through many different musical worlds, from
                                      studying jazz and improvisation at the Victorian College of the Arts (where he now holds a
               CHRISTOPHER            tutoring position) to Afro-Cuban music with Cuban trumpet virtuoso Barbaro Teuntor Garcia and
                                      international tours playing bodhran and mandolin for all-Ireland fiddle star Mossie Martin and as
                                      percussionist for legendary Australian guitarist Doug de Vries. His immersion in Flamenco has
                                      taken him to Spain and numerous tours with acclaimed company Arte Kanela, and his unique
                                      style has been an important accompaniment to singers Christine Sullivan and Gian Slater.

                                      He is an award-winning composer and instrumentalist, including prizes from the Australia
                                      Council’s Young and Emerging Artist Program and performing as a finalist in the 2001 National
                                      Jazz Awards. In 2004 he received an Australia Council Fellowship for work with the Christopher
                                      Hale Ensemble, an ‘improvising chamber group’ that performs original material and
                                      arrangements of classical repertoire. Christopher has released three albums with this group,
                                      most recently Kodály, a collaboration with American trombonist Josh Roseman, which was
                                      launched in New York in April 2006 and in Europe at the prestigious Copenhagen Jazz Festival.

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Andrew Gander drums                                                                              Alex Pertout percussion

Andrew Gander is one of Australia’s foremost jazz drummers with a career in contemporary         Alex Pertout is one of Australia’s leading percussionists, and with credits on hundreds of
creative music spanning 25 years. His versatile musicianship, wide-ranging grasp of diverse      albums, soundtracks and jingles he is undeniably one of Australia’s most recorded musicians.
idioms and depth of technique on the instrument have established his reputation amongst          He has also attained credits with television and theatre orchestras, in countless live
musicians as a world-class player of rare talent. He has toured, performed and recorded          performances and as a respected educator.
throughout Australia and internationally with many great local and international jazz artists
                                                                                                 He has toured Europe, North America and Asia with the Australian Art Orchestra, has performed
including Kenny Kirkland, Ernie Watts, Mike and Randy Brecker, Johnny Griffin, Joe Pass, Ray
                                                                                                 as a soloist with the Melbourne Symphony Orchestra, has recording, performance and
Brown, Nat Adderley, Mark Murphy, John McLaughlin, Kenny Wheeler, Jimmy Witherspoon,
                                                                                                 television orchestra credits with artists such as Powderfinger, Badi Assad, Jackson Browne,
Bobby Shew, Jim Pugh, Al Vizzutti, Dale Barlow, Mike Nock, Joe Chindamo, Paul Grabowsky,
                                                                                                 Bonnie Raitt, James Morrison, Daryl Braithwaite, Casiopea, Little River Band with John Farnham,
James Muller, Don Burrows and James Morrison.
                                                                                                 Hunters & Collectors, Tina Arena and Archie Roach among many others.
He has performed at the Montreaux, North Sea, Monterey and Havana Jazz festivals, Ronnie
                                                                                                 In the theatre he was featured in The Lion King and has added his percussive touch to movie
Scott’s Jazz Club, the World Music Awards (Monaco), as well as world tours and television work
                                                                                                 soundtracks such as Crocodile Dundee and A Few Good Years to name a few. He has produced
backing such artists as Tom Jones, Paul Young, Gypsy Kings, Jimmy Webb, Vanessa Mae, Tina
                                                                                                 CDs as a multi-instrumentalist and composer, a book on rhythm released worldwide by US
Arena, John Farnham and Kate Ceberano.
                                                                                                 publishers Mel Bay, directs the Alex Pertout Ensemble, is endorsed internationally by Meinl
In 2005, he graduated from the Victorian College of the Arts with a Master’s degree in Music     percussion, Sabian cymbals and Vater sticks and is the Head of the Improvisation Stream at the
Performance, earning first class honours in all subjects and receiving the Synergy Prize,        Victorian College of the Arts, The University of Melbourne.
awarded for the year’s highest mark. His postgraduate work included a thesis on Elvin Jones
                                                                                                 His latest release, From the Heart, featuring Mike Stern, Tom Coster, Christine Sullivan, Kavisha
and six formal recitals presenting music ranging from chamber percussion ensemble pieces
                                                                                                 Mazzella, Hossam Ramzy, Paul Grabowsky, Tommy Emmanuel and Mark Levine, among others,
by Varèse (Ionisation) and Zappa (The Black Page I & II), to improvising trio originals with
                                                                                                 is out now internationally.
pianist/composers Tim Stevens and Paul Grabowsky, a South Indian Korvai from
Karaikudi R. Mani and various electric/acoustic ensemble combinations playing the music
of Ornette Coleman.

Andrew is also a renowned private instructor, clinician and solo performer at drum festivals,
clinics and masterclasses all over Australia.
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Executive Producers Robert Patterson, Lyle Chan
Recording Producers Mal Stanley, Fiona Burnett
Mastering Mal Stanley
Recordings Manager Virginia Read
Editorial and Production Manager Hilary Shrubb
Publications Editor Natalie Shea
Booklet Notes Cate Furey
Cover and Booklet Design Imagecorp Pty Ltd
Photography Jerry Galea
Hair Paul Corrigan
Make-up Wendy Anderson

Fiona Burnett performs on a Keilwerth Soprano Saxophone SX 90 II and Rico Plasticover Reeds # 3.5.

counterpoint Fiona Burnett (2005) ABC Jazz 982 8386
Soaring At Dawn Fiona Burnett (2003) ABC Jazz 067 1992
3 Voices Fiona Burnett (2002) Newmarket Music New3105.2
Racer Fiona Burnett (2000) New3065.2
Venus Rising Fiona Burnett (1999) New 3045.2
Have You Heard The News Today? Morgana (1998) New3033.2
Talk Walk Whisper Morgana (1996) New2008.2

Fiona Burnett thanks...
Patrick, Aurora and Jasper Kuhn, Margaret Burnett, Pam Beros and Richard Mackie.
ABC Jazz thanks Mal Stanley, Alexandra Alewood and Melissa Kennedy.
Recorded 1-3 March 2006 at the Australian Broadcasting Corporation’s Southbank
Centre, Melbourne.
   2006 Australian Broadcasting Corporation. 2006 Australian Broadcasting Corporation.
Distributed in Australia and New Zealand by Universal Music Group, under exclusive licence. Made in Australia. All rights of the
owner of copyright reserved. Any copying, renting, lending, diffusion, public performance or broadcast of this record without
the authority of the copyright owner is prohibited.

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