Monday, January 16, 2017


We'd love you to listen to our latest collaboration with VOCALATTI.  Available to hear and to download via the following links!  Enjoy! 


Arterial Flow
Edge of a Difference

Sunday, January 15, 2017


Janice:  Hilde, I'm so excited to hear that you have a new CD about to be released.  Can you give us an idea of the content?
Hilde: Thank you dear Janice, I’m more than excited myself and at the same time it’s like sending my child out in the world on its own for the first time. :)

In my opinion this is my most personal and original album. I am taking you with me out on the ocean, you’ll be flying with the birds, diving with whales and much more.
You’ll find beautiful ballads, and a very special, groove-based a capella composition called “The End – TBA”.
On this album I have composed and written lyrics for seven out of nine tracks, done all the music-arrangements, I’m playing all instruments on 75 % of the tracks, and I did all vocals.
The album is called 'Quiet Dreams' after one of the compositions.
On this recording I'm creating my own little universe. 
Triggered by being asked to write the commission work for Tall Ships Races 2015 I started composing more music and by this exploring new sides in my musical universe.
Water has always been a huge part of my life and I love this element. Because of this I called the Tall Ships composition «Sea Stories».

When I went to the studio I brought with me part 1, 2 and 3 from this commissioned work and composed some more to bring with me too. AND I also brought with me a lullaby called «Nu til hvile går" written by my great grandmother. My great grandmother sang this for my grandmother, she sang it for my mother, my mother sang it to me and I sang it for my son when he was little.

Janice: Who are the players?
Hilde: The content is maybe a little bit different from what most people know of/about Hilde Hefte. Hopefully the music speaks for itself - AND I am so proud both of this album and myself.
The players and few (and excellent), but the main work is done by me. :)

Hilde Hefte: All vocals, sansula, xylophone, Fender Rhodes, piano, various percussion, water-percussion, singing bowles, bracelet-shaker, triangle.
Egil Kapstad: Piano (on three tracks)
Simen Hefte: Soda-percussion (on one track).
 Janice:  Always great to hear of your projects Hilde, I know you have a great following near and far.  Wishing your latest CD much success!

Album tracks:
1. Come Fly With Me - Hilde Hefte (Hilde Hefte vocal, sansula)
2. The Sea - Hilde Hefte (Hilde Hefte vocal, perc., water-perc., whale-sounds, singing bowles, bracelet shaker, triangle)
3. Quiet Dreams - Hilde Hefte (Hilde Hefte vocal, Egil Kapstad piano)
4. Mother and Son - Hilde Hefte (Hilde Hefte vocal, Fender Rhodes, xylophone)

5. Nu til hvile går - Family lullaby (Hilde Hefte all vocals, Egil Kapstad piano)

6. Liten stemming - Egil Kapstad (Egil Kapstad piano)

7. Throw It Away - Abby Lincoln (Hilde Hefte all vocals, Fender Rhodes)

8. And Even More - Hilde Hefte (Hilde Hefte vocal, piano)

9. The End – TBA - Hilde Hefte (Hilde Hefte all vocals (A cappella))
Love and hugs and all that’s good from me to you.

Friday, July 15, 2016


JANICE:  Kirk tell me about your new trio and your first release:  KADISH, GAGAN, BARTLIT - 'STILL HERE'.

KIRK:  I have to credit Jon Gagan with getting the ball rolling. He suggested we combine our writing forces and then even offered up the use of his studio to get the work done. A tough offer to refuse! Jon and I have been friends and collaborators since 1980 and have rekindled our relationship since I returned to Santa Fe a few years ago. John Bartlit is a legend in these parts and for very good reason. He's a brilliant musician and artist as well as a joyful and often hilarious human being. We have a delightful chemistry!

JANICE:  Are you writing together or are they your comps only?

KIRK:  Both Jon and I contributed original compositions to the project. We didn't write anything together this time, but there is a great affinity in our writing styles, and our choices of material makes for what I think is a very unified concept and style.

JANICE:  Tell us about your new album?

KIRK: it's a "classic" jazz piano trio album in format: acoustic piano, acoustic bass, and drums. I'm the pianist, Jon is the bassist, and the brilliant John Bartlit is the drummer. No electronics, no overdubs. As I mentioned, we rehearsed and recorded at Jon's studio here in Santa Fe. I have to take a moment to praise Jon's artistry here. He not only wrote half of the material and played bass on the recording, but he also engineered the project, to include the editing and mixing. That's quite a remarkable feat! All three of us are fans of Manfred Eicher and his ECM record label, and we strive to bring that same level of skill, the same attention to detail, and a similar emotional strength and maturity to everything we do.

JANICE:  Interesting that you cited that each of you found Eicher and ecm as your guiding light for this album. Like you, I listened to many of his artists in the mid '70's and was particularly hypnotized by their subtle beauty & artistry, not to mention album covers and quality of his productions!   I had the opportunity to study with Norma Winstone in a series of workshops in 1980 at Wavendon Allmusic Plan in the UK. She was so generous in sharing her artistry. I also briefly met Ralph Towner along the way; both artists displayed such joy, good humour and camaraderie and furthered my inspiration and love of music which was exploratory in the jazz idiom.

KIRK: Yes, Eicher's seminal work in the '70s really inspired us young musicians! Keith Jarrett, Gary Burton, Pat Metheny and many more were our heroes. Jon Gagan has been deeply influenced by fellow bassist/ composer, Dave Holland. And then, in the '80s, he helped introduce us to the contemporary classical scene, including Steve Reich, John Adams, and Arvo Pärt. And, yes, the quality of the artwork and production were as compelling as the music. And he's still doing it today. His roster of artists is as strong now as ever. Manfred's vision is unflagging!

Links: Kirk Kadish

Links: Norma Winstone

Links: Ralph Towner 

Saturday, April 23, 2016

An Interview with UK singer/songwriter VOCALATTI!

Janice:    Vocalatti, I've just listened to your first CD. What struck me first of all are your glorious, sultry vocals, some of which are reminiscent, in the Jazz context of Julie London & June Christie; two of my favourite Jazz singers from the '50's. Who are your major influences? Not necessarily in music; perhaps art etc? You're a good songwriter; not to mention wonderful vocalist with a unique sound!‬

Vocalatti:  As a child I was really influenced by the beautiful voices of Ella  Fitzgerald and Sarah Vaughan  and  the wonderful music of Burt Bacharach,  Jobim and the Count Basie Orchestra.

‪Regarding my debut album.  I have not really put the final one together.  The response has been slow, as you know it's getting your self known out there.. And there is SO much music! Certainly not for lack of trying!‬

‪Janice: Where did you record your album? ‬

‪Vocalatti: My music is very much a "cottage Industry" so my album was recorded in my home studio and mixed and mastered by myself.‬

Janice, I noticed too you are an artist too!!!  I love painting portraits too!! I studied at art college. And spent most of my life as a graphic designer in various advertising agencies! I love Pre- Raphaelite art especially "Ophelia" by John Everett Millais. And the paintings by Atkinson Grimshaw.

Janice:  How did the you develop the name Vocalatti?

Vocalatti:-   That is a very good question!! I thought of many names, I was trying to think of something that was different! and original , and  there was nothing that showed up in Google search under  the name "Vocalatti" so I thought that must be pretty original!!!

Janice: What equipment do you use and are you a self taught musician etc?

Vocalatti:- I use a Korg Triton Le keyboard, which I also use for many of my drum beats and strings also. I record , mix and master all of my songs in my Zoom MRS 1608 multi track recorder , and I use a Red 5 Audio mic.

 Janice:  You've kindly given me your time and energy on some vocals of my songs and I want to thank you for your generosity.

Vocalatti:- Thank you Janice, it has been such a thrill to be asked to add my vocals to your beautiful songs! And I would like to say thank you for all of your kind advice  and encouragement.

Saturday, February 20, 2016

NEW CD RELEASE! An Interview with Australian Jazz Diva, Maggie Britton

L to R Wil Sargisson piano, Willy Qua Drums Sax Flute, Maggie, Col Atkinson Bass and Arranger, Al Cesario Drums. 

Janice:  Maggie, you're new band is sounding hot, not to mention looking very cool. How did this lineup come about Maggie?

Maggie:  About 3 years ago I heard Wil Sargisson and Willy Qua playing with Galapagus Duck and met them after the performance. Col Atkinson I got to know when he was playing at our local jazz club so next time I was offered a gig I contacted them and we have been working together and having a great time ever since.
Janice: You have a new album coming out. Where did you record your new CD?
Maggie: Lovestreet Studios on the Gold Coast, great studio and an exceptional engineer Scott French.
Janice: Hey Maggie, that's great. What's next on the agenda for you and the band?
Maggie: Making a video clip for the first single Indigo Eyes, promoting the album ‘Live at Lovestreet’ because we made it to share and we will be doing the same with some nice live gigs.

To support the completion of Maggie's CD release please go to: 



Saturday, November 7, 2015

Judy Jaques Interview

Helloe to my lovely blog readers!  The following began as a number of questions I needed to ask the wonderful Australian singer Judy Jacques.  Many articles and links and videos will be available online covering Judy's extraordinary and exquisite vocals but for now please enjoy the following and do tune into my next guest appearance on Curved Radio where I'll play the following track of Judy's along with other tasty morsels.


Janice:  Judy I'm going to feature your Mungo Woman track on my next CR guest spot on Nov 8th...and bookend it with an exciting female German sax player, Nicole Johanngten!

Just a couple of questions as I've accessed your bio on line but could you tell me the details of that track:

It's title: Mungo Woman. From my ’97 CD judy jacques Lighthouse. Subtitled Going for a Song.
Personnel: Judy Jacques voice, Sandro Donati trumpet, flugal horn, Nicola Eveleigh bass flute, voice, Scott Dunbabin SD1 bass, James Wakeling guitar, Pip Avent Tuba, Serg De Leucio cajon and percussion.
Recording details etc and why you recorded it and I presume wrote it...and with whom?

Dear Janni,

I found this pic of the lovely Lighthouse Band that went to Edinburgh, but missing Pip Event, Tuba in this…Nicola Eveleigh, James wakeling, Sandro Donati and myself…XXJ

JUDITH:  Recorded by Chris Corr and Sandro Donati, Produced by Lighthouse at Wild Dog Hill Studio, St Andrews Victoria (our ‘home' studio) April to June 1997. Judy Jacques Lighthouse, was the name of the band.

The recording combines music that I had written in 1974 (in Nth Berwick Scotland) with Lyrics by Australian Poet Eric Beach, and the then recent compositions of my own. 

I wrote lyrics and music for Mungo Woman. 

The record was made as we had been asked to play at the Edinburgh Festival Fringe in August 1997. 
JANICE:   Also a little background you'd like to share on where you're living now and anything of significance re linking the track to place…etc.

JUDITH:  I had lived just out of the small town of St Andrews in Melbourne’s Nth East, for 47 years, then In 2011, two years after surviving the ’09 fires, Sandro and I moved to Flinders Island, Bass Strait Tasmania.

Flinders is the largest of the Furneaux group of islands. The Islands have important though tragic Aboriginal History, and rich in very early white settlement history. It is remote.

I think my approach to composition words and songs developed over the years, are deeply influenced by travels to outback areas of Australia and initially around Tibborburra NSW. 

On one of those adventures, we camped at the Menindee Lakes which was dry that year. 

I walked along the sandy lake bed and came to a wire fence stretched way across and into the distance…the wind was strong enough to vibrate the wire, making sounds singing like an atonal choir.  

I whizzed back to the car for my tape recorder, then used sticks and whatever was around... joined in with the wind and the fence. 

This eventually made a composition called ‘Menindee Wire’ which I thought worked well and was performed using the original recording, voices and images for the ‘Next Wave Festival’ and other was recorded by my Wild Dog Ensemble…through those experiments,  I was excited to continue to compose with traveling through land as inspiration…

That first month long journey showed me new territory and I felt closer to Aboriginal country, new birds, desert and songs, everything was inspiring.

On the following trip to the Tibborburra area, we detoured to stay a few days in the Mungo National Park. This was managed  by rangers from the barkindji clan who were happy to show us around. We stayed in a cabin and at night, we sat around the fire listening to their stories and watching the young folk dancing their traditional dances. 

I had previously read about the burial grounds at Mungo and I was especially interested in Mungo Woman. Her remains being the oldest dated in the world. Mungo man followed.
 I found it to be very Spiritual country out there. The old burial grounds are surrounded by huge wind sculpted moonscapes and white sand dunes...  Like nothing I’d seen before. So, carrying stories with me, I walked long distances through that powerful country, writing as I walked. Mungo Woman came from that journey.

JANICE: I can also talk about our meeting up at VCA (Victorian College of the Arts)...any refresher would be great too!

Funny about that... I listened for the first time a few days ago, to a taped interview made years ago for NFSA where I talked about you and I being the only singers…I think we were the only women! It was a boys own jazz biz…and we just had to make a way for ourselves, that’s what I recall…and I remember going over the top, singing a pretty wild improvisation solo with the group I had forced my way into ( from the audition, I’d been placed in a group of ‘beginners’ and was furious and insisted on working with…a group with Peter McCutcheon on piano…that just came to me)…so I had to prove myself…something like that and maybe we shared being cross about where we found ourselves and agreed to just get stuck into it…. I don’t think we learn’t much, except that then, it was a boyz own…! 
JANICE: I also happened to find a great interview on Mungo man and lady on Radio National which followed on after my decision to play your 'as if it found me’…as it happens!

 Re: Nicole Johanntgen