Moving to Another Phase
"Here we have the talents of weird and wonderful violinists from Queensland, German drummers, Scottish clarinettists, South American percussionists, North American percussionists (I understand there is a difference), James Last's lead trumpet player, a 3rd. trumpet player who doubles on accordian and acoustic guitar, one of the country's best double bass players who only plays the tuba, etc. Oh, by the way, did I mention that the 3rd. trumpeter is also one of the country's best pianists. Oh, and one woman. Imagine taking a bunch like that to India".
Tony Gorman's tongue-in-cheek description of one edition of the A.A.O. wittily encapsulates the unique composition of this ensemble. It sounds like a trite cliche of multiculturalism, but it would be a challenge to assemble such a nationally diverse - and musically versatile - large ensemble in any other country than Australia.
Having recently completed their successful debut tour of Europe (via the prestigious "HeadsUp Australian Arts 100" showcase in London) and released their latest album this year (their third), as well as recently receiving $45,000 in Arts Victoria funding, the A.A.O. seems to have firmly established itself as an important voice of Australian contemporary art music. To reach this plateau has been a mammoth challenge, a seemingly 'impossible dream' to most experienced observers in the improvised music scene. But having reached this juncture, rather than self-congratulations and consolidation, Artistic Director (and founder) Paul Grabowsky has - in typical fashion - initiated a review of the direction of the ensemble. As the start of a 'democritization process', Grabowsky resigned his position of honourary Artistic Director at the end of the European tour, opening the way for a new direction (if required). Like a highly-accredited sportsman who has carried the responsibility of his team's performances for several seasons, he would be quite relieved to step down from the leadership mantle, and enjoy simply being 'the piano player' (to borrow an Ellington term).
While Grabowsky conceived and initiated the AAO concept, and continued to provide much of the impetus and stimulating projects for the past seven years, the overall success of the orchestra has only come about through the great spirit of an extraordinarily talented team with impressive commitment to the A.A.O. concept (despite the dearth of performance opportunities, and the relatively poor remuneration compared to their classical or 'studio' orchestral counter-parts). As Grabowsky acknowledged, "the costs of assembling the band are great and there is always the danger of an ad-hoc feeling to our endeavours which we overcome through the commitment, enthusiasm and skill of everyone associated with the group. I would like to see it one day established on a semi-permanent basis with a core group of players on retainers, but I fear that is still some way off".
In his 'insider's' book "Close Enough For Jazz", Mike Zwerin chronicled the unfortunate dissipation of the Orchestra USA concept (which had begun with such high ideals in the early '60s, much as the A.A.O. did in late 1993). This was not unique, as any body of musicians - let alone a large one - will usually soon produce dissent about musical direction and/or leadership (and management). It has been common in many of the well-funded European jazz big bands (even though the musicians are extremely well-salaried by Australian standards).
So surprisingly, there have been comparatively few internal rumblings (apart from two notably fiery saxophonists) within the AAO ranks in spite of modest pay rates. There will always be some dissatisfaction about the allocation of solo space in any large ensemble bristling with fertile improvisers, and some frustration with commissioned works which do not always utilise the full potential of an unique improvising orchestra. But like any successful team, the players are all committed to the overall concept, and accept the 'ride' will not always be smooth with an adventurous - and often-misunderstood - non-commercial project. For instance, one critic reviewing "Passion" in a popular daily newspaper, described Grabowsky's opening contribution as "11 minutes of excruciating, brain-deadening dissonance" to "survive". Such an ill-informed stance goes with the territory, and can be easily dismissed with a laugh. But obviously Grabowsky and some other members have been both hurt and rankled by the perceived lack of support (and thinly-veiled antagonism) of some non-musican figures in the 'jazz establishment' who have still not embraced the ensemble as a 'national' project. As Grabowsky sees it, "The establishment of the AAO has revealed some of the paradoxes inherent in the Australian music scene. On the one hand, in spite of early attempts to involve Jazz establishment figures such as Eric Myers in the development of what one might see as a positive development to the scene in general, particularly with regard to the close working relationship between musicians from diverse areas geographically and musically on projects of great originality, the response from what I would describe as the Jazz orthodoxy has been negative when not openly hostile. This should not surprise given the lack of musical breadth demonstrated by people whose job descriptions hang on a word whose very meaning is highly contentious and within the funding context dangerously ideological".
Taking a narrow parochial view, these critics queried and attacked the very existence of the AAO from the outset, seemingly miffed that the initiative did not come from Sydney (and ignoring the large number of NSW musicians involved in the project). Perhaps they simply felt that their own funding may be threatened. Regardless of motivation, these figures have asked whether we need a national 'improvising' orchestra; does this project hinder the availability of other key ensembles featuring orchestra members; and, does it soak up too much of the 'available' funding for jazz? Following the Music Fund's triennial grant of $85,000 per annum for 1999-2001, these critics became even more vocal and strident in their protests. Yet these 'attacks' from within have only served to bond and galvanise the the players in the orchestra.
Following its successful debut at Wangaratta, the AAO had some teething problems with direction and repertoire. As it was not obviously based on the big band model, some early critics (including a prominent Melbourne pianist) wanted to dismiss it as simply a copy of the Vienna Art Orchestra. Melbourne drummer Niko Schauble *has not only been with the A.A.O. for every performance and contributed compositions, but brings a unique international perspective from his past and ongoing experiences in the European scene. He disdainfully retorted, "Those who cannot hear a difference between the AAO and the VAO won't be able to hear a difference between the Ellington big band and that of Count Basie!"
But it soon began accumulating an impressive list of high profile performances, some highly imaginative international collaborations, and a strong and diverse body of original repertoire. Yet despite both national and international touring success, in early 1999 it still had only one early (and challengingly brave) CD album (Ringing The Bell Backwards, on the ORiGiN label), and thus lacked recorded, tangible 'proof' for these critics of its strong development and artistic maturity. It was fortuitous timing then that a logical marriage came about with the ABC Classics label, resulting in the release of the stunning "Passion" album in mid-1999, and followed by "Into The Fire", in mid-2000. Taken together, each album is equally impressive, yet quite distinct, displaying the full breadth of the orchestra's talents: taken seperately, each more than answers any remaining queries regarding the AAO's artistic worth. And a fourth album, with a classical contemporary orientation (three concertos by Mary Finsterer, Kats-Chernin and Grabowsky's "impossible" Piano Concerto, featuring Sandy Evans, John Rodgers and Michael Kieran Harvey respectively), is planned for late 2000. Grabowsky points to this catologue with obvious pride, claiming that, "As these projects indicate, the AAO continues to expand its horizons with an angle on contemporary music which, while it acknowledges the debt to different traditions (including the African-American) which have led to today's music, certainly does not feel bound to any one of these traditions. From a humble beginning built around a suite of pieces written by me during 1990-1993 we now have a large and multi-faceted repertoire which has involved some of the most exciting collaborations ever undertaken in this country. This is what I set out to accomplish with the group and I am proud of what we have achieved".
"Into The Fire", which was showcased on the European tour, was a product of their Indian collaboration with K.R.Mani's Sruthi Laya percussion ensemble, the genesis of which was their work together during the AAO's ground-breaking 1996 "New Horizons" tour of India. It is the latest in an impressive number of international collaborative projects which include Danish trumpeter/composer Palle Mikkelborg (1997 Brisbane Biennial), American conductor/composer Gunther Schuller (1995 Brisbane Biennial), and American soprano saxophonist Steve Lacy (1994 Wangaratta).
Important Australian collaborations include classical pianist Michael Kieran Harvey, the Australian Chamber Orchestra (1995 Brisbane Biennial), and the Melbourne Symphony Orchestra (performing Ellington's rarely heard "Night Creature" in 1996). Composer commissions were granted for leading contemporary composers Mary Finsterer and Stuart Campbell (via Australia Council funding),and Elena Kats-Chernin and Willy Ziggier (via Arts Victoria funding), while repertoire contributions from jazz composers outside the orchestra's ranks include Mike Nock, and Tony Gorman.
Due to the fact that its performances have been spread over four States (including regional areas), Europe and India, many are unaware of the true level and range of activity of the A.A.O. In addition to their international tours, the AAO has toured regional Australia twice via Playing Australia grants: Victoria, Tasmania and NSW in 1995, and northern NSW and Queensland in 1997. As well as appearances at Wangaratta in 1994, 1995, 1997, 1998 and 2000, other major festival appearances include the 1996, 1998 and 2000 Adelaide Festivals and the 1995 and 1997 Brisbane Biennial. Surprisingly, the AAO was yet to appear at the Melbourne Festival until this year. Other high profile performances have included the AFI Awards, and the sell-out Metropolis Series performance with the MSO.
This impressive list of achievements is also a testimony to the incredible behind the scenes work of part-time administrator Ann Moir, who frequently goes beyond the call of duty in her efforts, and has produced miracles in stretching some very modest past budgets (compared to any other orchestra or big band). The AAO also had to deal with carrying two large bad debts, but the musicians were paid in full (with Grabowsky donating a substantial director's fee back to the orchestra). When questioned if current levels of funding were acceptable, Grabowsky protested, "No. It is not even close to what we need. Our administrator's work load is close to overwhelming".
Because of the long-term planning and precarious nature involved with festival proposals for an expensive (and adventurous) improvising orchestra, not all of the behind-the-scenes work comes to fruition. For instance, while there was no major celebration of Ellington's Centenary
in Australia during 1999, the A.A.O. had made a detailed submission to a major arts festival in 1998, only to be eliminated from the final festival because of budgetary considerations (as the project involved the additional costs of royalties to the Ellington estate, and transcriptions of some charts).
The A.A.O.'s latest collaboration, the Balinese Wayang Gender project, "The Theft Of Sita", has certainly shown how a project can be extended and successfully marketed. Featuring a core of seven A.A.O. soloists (including Sandy Evans and John Rodgers) with Balinese musicians, it debuted successfully at the 2000 Adelaide Festival, where "The Age" critic John Slavin praised it as "the most original and brilliant production at this year's festival". It will also feature at the Wangaratta and Melbourne Festival, and has already had some international offers on the basis of its Adelaide success. Grabowsky believes in the enormous cultural significance of such regional collaborations, and feels that these will further help define the unique identity of the A.A.O. in the international arena.
While Grabowsky's resignation as Artistic Director may come as a surprise to some, in the initial setting-up discussions for the A.A.O., Grabowsky made the suggestion of a paid artistic director-ship being rotated on three-year terms with other respected jazz figures (such as the Sydney's Mike Nock and the late Roger Frampton). However, as there has not been the necessary funding to date for a paid artistic director , this had not been a viable option in this establishment phase. This has effectively been a honourary position for Grabowsky (who is paid only as a performer).
Grabowsky had begun sharing the artistic direction with key members of the ensemble back a few years ago, at the start of the "Passion" project, when Grabowsky split the composer credits with John Rodgers, Doug DeVries, Alister Spence and Niko Schauble. When queried last year about the possibility of a new Artistic Director in the foreseeable future, Grabowsky replied, "Yes. In fact Niko Schauble has taken over the artistic direction of a series of concerts featuring small group projects which have arisen from within the group. Inevitably I will go but I've still got a few years in me yet. There is talk of a collaboration with Heiner Goebbels who does amazing multi-media work and we have just commissioned a new work from Howard Shore for 2001 to name but two".
In addition to the focus on the personal drive and much-envied networking skills which bought the AAO vision to fruition, Grabowsky should also be given his long-overdue artistic kudos too. He continually takes chances, sets 'the bar' higher, and pushes his musicians (as he did with his challenging arrangements back with the Vizard Show), but his faith is always repaid by his musicians*. In rehearsals for the premiere performance here of "RTBB" , many of the musicians openly stated thier belief that it was possibly not going to all come together on the night, yet Grabowsky coaxed and drove them through it. And then immediately started on the next project! There has certainly never been any artistic complacency with Grabowsky as artistic director.
Artistic output aside, however, a significiant part of the continuing value of the AAO is that it provides the only formal forum (along with the Wangaratta Festival, and to some degree, the Vince Jones band) for contemporary musicians from around Australia to get together on a collaborative basis. As such, it is an essential mechanism for the ongoing development of both a national scene and a national style. The Sydney pair of saxophonist/clarinetist Tony Gorman and saxophonist Sandy Evans joined the AAO in early 1995 (after Evans was commissioned to write Feast and Lament for The Warrior Queen in 1994), and both have valued their experience highly. Gorman (who left the AAO due to health issues) joined a five member sax section of Ian Chaplin, Mark Simmonds, Sandy Evans and Elliot Dalgleish. "It was thrilling to be part of something whereby the whole sax section had the ability to play anything from the wildest 'classical' extravaganza, to recreating an Ellingtonian richness that is genuinely, in my opinion, as rich and interesting as as anything current today, anywhere in the world. Over time I realised that with the AAO you have band with which you can do almost anything. The fact that the band tries to do so much, and so often succeeds is brilliant". Evans, a key founding member of several large Sydney ensembles, was highly articulate in praising the unique qualities of the AAO, while stressing her belief that it did not 'compete' with any other band in Australia. "The AAO is an extraordinary and unique band, not just in Australia, but internationally. It reflects the broad vision and musical brilliance of its leader, and challenges the players to respond to an unending stream of amazing compositions - the scope of which deny categorisation. I am astonished and humbled by the musicianship of everyone in the band - in fact it would be fair to say that I often feel intimidated by it! I think that the band has a place in the Australian scene which is not in competition with any other group, but adds an incredible, innovative, fresh dimension to our musical landscape". Gorman adds, "Where else in the world would there be an opportunity like this: to have a band of world class musicians, most of us band leaders in our own right, playing the variety of music and styles that this band embodies. This level of co-operation is truly amazing. Sheer magic." Regardless of who the Artistic Director is, the AAO will no doubt maintain its high standards if for no other reason than simply because its musicians value this collaborative experience so much. As Grabowsky acknowledges, "the evolution of the AAO from the players' point of view has been a gradual transformation from initial curiosity and willingness to participate in an experiment to a feeling of belonging to what we all now know is a project of immense significance. We should continue to define the creative moment of the advent of the 21st century with ideas of significance, substance and courage".
The AAO has a comprehensive Internet site at [http://www.aao.com.au][1] detailing players, repertoire and performance history with real-audio samples.
[1]: http://www.aao.com.au
- JazzChord (Martin Jackson), August 2000
