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Jenny Queen

The power of the small town life has moved many songwriters to praise – both nostalgically and regretfully – its many foibles and its less than obvious joys.

The third album by the pride of Ohio, Sydney-based US country folk singer Jenny Queen takes the small town life through a song cycle that packs an emotional wallop. Like many great country albums before it, it comes with swings, roundabouts and sucker punches. You can feel the pulse of its powerful themes of loss, redemption, and abuse and – yes – love. 

This album, sung by an American girl, played and produced by Australians, gives us some clue to the simpatico nature of our two cultures, and our shared small town experiences. No matter where you grew up, no matter what the roots of your raising, Jenny Queen’s SMALL TOWN MISFITS is a record to hit you where you live. 

Each song on the album revels on the intensity of its time and place, crafted to capture a single moment, an evening, or a long dark night of the soul. The song, Wait For The Night, is a simple meditation on a proud, determined girl whose broken high heels and slipped hem don’t signify the end of her rowdy ways – it’s just the end of another night out; “But it’s nothing your mother can’t mend”.

Queen’s lyrics are outstanding, suggesting a true literary bent. “All the lyrics, with the exception of I Don't Want You, which was a little more collaborative, are mine,” says Jenny.

My Sick Love is like the hardest distillation of a Carson McCullers short story, in which the protagonist’s sleep is haunted with visions of an unhealthy attraction; “My sick love/ I’ll take it like an aftershock/ coursing through my brain”.

The bluegrass-flavoured Mother’s Son is a song of roadside crosses and the despair that only someone who’s had their job taken away from them could feel. A sad and powerful narrative that could bring a statue to tears, exemplifying the acuity of loss, but you feel the narrator is not quite long inured to the pain. 

The green apple quickstep of Blood Meridian is an album highlight, driven by the song’s powerful westward dream lyrics; “Bleeding west/ like a burning mark”. It’s a highpoint in an album positively groaning with them.

Let Her Go rides the ridge between Tex-Mex and country, its hook “You might as well be holding a shadow” twists the knife deftly, with the help of Shane Nicholson’s vocals and evocative slide guitar.

To enable the birth of this album, Queen worked with the cream of Australian alt-country songwriters. “I wrote with so many people, from Suzy ConnollySam ShinazziKim Richey, those baby geniuses in Winterbourne, and Sinead Burgess (whose guitar riff made Dead Man's Hand). In the end, Stuart Crighton and Danielle Blakey and I wrote most of the record.

Once the intensive work was done on creating the songs for SMALL TOWN MISFITS, she took her songs to ARIA and Golden Guitar winning artist and producer Shane Nicholson (Catherine Britt, Kasey Chambers & Shane Nicholson, Alex Lloyd).

“Insisting on him for the producer was the best and most important decision I made. We had a weird, wonderful mind meld. I hardly had to tell him anything after our first meeting. He just made the record exactly as I wanted it to sound. Better even. And he sort of encouraged a strange and more vulnerable vocal, which I love. Shane was pretty insistent that I use the frailties and flaws as a strength. The more fucked up, the better, was the motto, I guess.”

Nicholson’s subtle and powerful production cuts to the heart of Queen’s lyrical concerns. Each song traverses the vagaries of this small town of the mind; the narrator’s unmistakable voice is your guide, a lone rider in a beat-up car with only cigarettes and radio for company. 

With featured vocals from Brook McClymontShane NicholsonMatthew Ryan and Winterbourne, Queen has arrayed quite a display of talent alongside her own. “Each of them were amazing,” says Jenny. “Matthew's vocal hurts my heart a little. Crazy talented guy.”

SMALL TOWN MISFITS is an album that’s going to make a strong impact on Australian roots music in 2014. A winning combination of powerful songs and Queen’s unmistakably raw, emotional delivery should propel her toward a new audience. 

"Queen delivers songs filled with raw emotion … like an intimate conversation between close friends" Music Insider with Jonathan Moran, Sunday Telegraph

"(She) sits somewhere between the rootsy Lucinda Williams and Gillian Welch ... although there's more delicacy to her tone and her music has an occasional poppy sensibility" Iain Shedden, The Australian 

"(Queen) uses her voice to paint 10 shades of heartbreak, with enough dark humour and quiet resilience to keep you rooting for her" Barry Divola, Who Magazine

"(Queen) has released a beautiful album of alternative country stuff which melts the heart and soothes the soul" Sydney Confidential, The Daily Telegraph

www.jennyqueen.com
https://www.facebook.com/JennyQueenOfficial
https://twitter.com/JennyQueenMusic

Release
ABC Jazz presents Kiri, an exquisite and ravishing new album from Australian trumpeter Niran Dasika and Japanese pianist Sumire Kuribayashi.Recorded live at the Wangaratta Festival of Jazz in 2018, Kiri captures two exciting young artists utterly in synch with each other, demonstrating the sort of chemistry that only comes from a deep musical connection.Dasika met Kuribayashi met in Tokyo in 2015, shortly after he moved to Japan, and over the following years they played together in various combinations. Says Dasika, “As with all good musical collaborations it started from an unlikely chance meeting and was sustained by a combination of friendship and shared musical vision.”The compositions on this album are inspired by the ‘nihonga’ paintings of renowned Japanese author and painter Kaii Higashiyama, which occupy a special place in Dasika and Kuribayashi’s relationship.“When I moved back to Australia at the end of 2017,” Dasika recalls, “Sumire gave me a book of Higashiyama prints as a parting gift. This book remained open on my piano music stand in Perth for about three months, during which I would sporadically open to a page that caught my interest and improvise, playing the piano and singing melodies, until it started to sound like how the painting feltto me. I don’t consider myself at all knowledgeable about art, but Higashiyama’s paintings seem to me, with only some simple colours and geometric shapes, to really capture the feeling of being in nature.“The first sketch I wrote was for the painting ‘Kiri’ (Mist) which forms the cover artwork for the album. ‘Kiri’ depicts just a few tree trunks fading into the distance, but there’s something about the textures that conveys the feeling of cool, damp mist on my skin. ’Evening Tide’ shows a shoreline at night with barely anything visible yet I can hear the sounds of the waves crashing unseen on the shore.”Most of the compositions on the album fill no more than a single page when written out, but such is the connection between these two that these outlines can become over ten minutes of music in a performance.“Both Sumire and I approach improvising in this project from a very compositional angle. By playing together over several years we’ve been able to develop enough trust and mutual understanding that we anticipate each other’s reactions and can create longer spontaneous forms in the moment.”Born in Canada and raised in Melbourne with Indian and German heritage, Niran Dasika is a trumpeter gaining increasing attention around Australia and abroad for his distinctive, ethereal trumpet sound and compositions. Niran’s virtuosic trumpet playing has placed him in high demand both in Australia and in Japan, where he spent some years performing and recording on albums from Blue Note Records, Sony Music, Diskunion Records and more. Awarded 2nd place at the 2017 National Jazz Awards, in 2019 Niran was the recipient of the APRA AMCOS Professional Development Award and the Jazz Bell Awards Young Australian Jazz Artist of the Year, in addition to being nominated for the Freedman Jazz Fellowship.Sumire Kuribayashi is a Japanese pianist and composer gaining increasing renown within Japan and overseas. She has performed with Japanese jazz legends Hino Terumasa, Hideaki Kanazawa, Naoko Terai and has released four critically acclaimed albums under her own name. Jazzconvention.net said of Sumire, ”Belonging to the young generation of Japanese jazz scene, Kuribayashi has become in the last few years one of the most appreciated pianists both for her noteworthy creative qualities and the remarkable storytelling that crosses the textures of her music.”TRACKLISTING1. Kiri (Mist) 11’572. Seikyou (Green Echoes) 7’133. Wildflower / Iku Haru (Passing Spring) 12’464. Hana Akari (Bright Cherry Blossoms) 7’155. Bochou (Evening Tide) 9’576. Spring Hymn 5’08Niran Dasika trumpetSumire Kuribayashi piano
Release
Building on the success of our first Women of Note album last year, ABC Classic is thrilled to be releasing the second volume in our now annual celebration of Australia’s female composers.This 2CD album, released in time for International Women’s Day (8 March), begins with music from pioneers of Australia’s musical heritage: Margaret Sutherland, Miriam Hyde, Dulcie Holland, and introducing Linda Phillips, whose work as a critic and as chief adjudicator of the prestigious Sun Aria competition across three decades helped to shape this country’s musical landscape, but whose compositions – prized by such artists as Dame Joan Sutherland – have been unjustly neglected in Australia’s recorded music catalogue. Her quartet Exaltation, a swirling mixture of melancholy and exuberance, shows the composer exploring the musical legacy of her family’s Jewish background.Five other world premiere recordings feature on the album. Multiple award-winning composer Mary Finsterer is represented by a live concert recording of her double bass concerto Lake Ice, an exploration of music as storytelling and as journey, guided by the beautiful yet rarely heard sonorities of the bass as solo instrument. From Miriama Young we have a re-imagination of the historical soundworld of Sydney Harbour in Time and Tide, blending field recordings ancient and modern with brass and percussion instruments. We are also delighted to be presenting the first commercial recording of music by rising star Ella Macens: her soaring orchestral work The Space Between Stars.The other two world premiere recordings are by Indigenous Australian composers. From Yorta Yorta woman, opera singer, composer and educator Deborah Cheetham comes Eumeralla, a war requiem for peace: a powerful and poignant response to the resistance war fought by the Gunditjmara people in southwest Victoria and to the troubled spirits of all who fell in those battles, on both sides. And Yuwaalaraay composer Nardi Simpson gives us Wilga’s Last Dance, honouring the only traditional melody from her people that was ever recorded.Moya Henderson takes us to the Tasmanian wilderness with her transcendent string quartet Kudikynah Cave, evoking moments of ecstatic stillness during the raft journey to the cave’s entrance, along the Franklin River. Katia Tiutiunnik draws inspiration from the moment a mother first feels her baby move inside her womb for her flute and piano duet The Quickening. Katy Abbott, always alert to the quirks and foibles of humanexistence, applies wit and humour to the multiple meanings of the word Punch in a work for brass ensemble. Amanda Cole marries marimba and cowbells in her energetic percussion solo Glocken Blocken. Rachel Bruerville (Dancing on Tiptoes) and Natalie Nicolas (We Won’t Let You Down) worked with teenagers in hospital mental health wards to create music of joy and profound optimism. And Elena Kats-Chernin’s beloved Eliza Aria is presented in its original version for quizzical soprano solo over delicately plucked stringsTRACKLISTINGCD 1DULCIE HOLLAND 1913–2000 Sonata for violin and piano 1 I. Quasi recitativo – Andante – Vivo 2 II. Slow and somewhat rubato 3 III. AllegroAsmira Woodward-Page violin, Scott Davie pianoLINDA PHILLIPS 1899–2002 4 Exaltation (Chassidic Air and Dance)*Anne Gilby oboe, Isin Cakmakcioglu violin, Rachel Atkinson cello, Robert Chamberlain piano LIVE RECORDINGMIRIAM HYDE 1913–2005 5 Village FairSydney Symphony Orchestra, Dobbs Franks conductorMARGARET SUTHERLAND 1897–1984 6 Haunted HillsMelbourne Symphony Orchestra, John Hopkins conductorMOYA HENDERSON born 1941 7 Kudikynah CaveAcacia QuartetKATIA TIUTIUNNIK born 1967 8 The QuickeningLaura Chislett flute, Stephanie McCallum pianoELENA KATS-CHERNIN born 1957 9 Eliza Aria from Wild Swans – Concert SuiteJane Sheldon soprano, Tasmanian Symphony Orchestra, Ola Rudner conductorCD2KATY ABBOTT born 1971 1 PunchBrass ensembleMARY FINSTERER born 1962 2 Lake Ice: Missed Tales No. 1*Kees Boersma double bass, Sydney Symphony Orchestra, Jessica Cottis conductor LIVE RECORDINGAMANDA COLE born 1979 3 Glocken BlockenClaire Edwardes marimba and Almglocken (cowbells)MIRIAMA YOUNG born 1975 4 Time and Tide*2018 Sydney Symphony FellowsRACHEL BRUERVILLE born 1991 5 Dancing on TiptoesACO CollectiveNATALIE NICOLAS born 1992 6 We Won’t Let You DownACO CollectiveELLA MACENS born 1991 7 The Space Between Stars*Sydney Symphony Orchestra, Jessica Cottis conductor LIVE RECORDINGDEBORAH CHEETHAM born 1964 Eumeralla, a war requiem for peace* – excerpts 8 IV. Kooyeen-wanoong (Liber scriptus) 9 V. Tyookooyong-ee (Agnus Dei)Libretto by Deborah Cheetham, translated into Gunditjmara dialects by Gunditjmara language custodian Vicki Couzens and linguist Travers Eira.Deborah Cheetham soprano (Yorta Yorta), Linda Barcan mezzo-soprano, Don Bemrose baritone (Gungarri), Melbourne Symphony Orchestra Chorus, The Consort of Melbourne, Dhungala Children’s Choir, Melbourne Symphony Orchestra, Benjamin Northey conductor LIVE RECORDINGNARDI SIMPSON born 1975 10 Wilga’s Last Dance*Royal Australian Navy Band* World premiere recording
Release
“This was a superb concert. 5 stars.” Artshub“The idea of pairing Australia’s finest up and coming pianist with our finest contemporary conductor to perform and record a cycle is a great one.”LimelightABC Classic is thrilled to announce the release of the complete piano concertos by Beethoven, performed by pianist Jayson Gillham, with the Adelaide Symphony Orchestra conducted by Nicholas Carter.This cycle – the first in twenty years recorded with an Australian pianist, conductor and orchestra – is a major contribution to the ongoing celebrations of Beethoven’s 250th anniversary.Beethoven’s five piano concertos stand at the very pinnacle of classical music. Written between 1795 and 1809, they trace the evolution of Beethoven’s music from the inheritor of the Classical style perfected by Mozart and Haydn, to the inventor of a style that was entirely his own: dramatic, expressive, and revolutionary.Recorded in five concerts performed over 10 days at Adelaide’s Elder Hall in June 2019, these recordings capture a soloist, conductor and orchestra totally in synch with each other, with a shared vision for the sound world and rhetoric of these mighty works. Reviews of the concert remarked at the “chamber music-like intimacy” between the performers, with a “sense of balance and support… often never heard before within these well-known and much listened to works” (Limelight).Internationally praised for his compelling performances, Australian-British pianist Jayson Gillham is recognised as one of the finest pianists of his generation. His debut album, released in 2016, immediately reached the No. 1 spot in both the Core Classical and Classical Crossover ARIA charts, while his latest album, 2018’s Romantic Bach, was described as “exceptional” and “a supremely satisfying recital from start to finish” by Limelight, and Gramophone said that, “many of these performances must bear comparison with famous recordings of the past by Rachmaninov, Myra Hess and Dinu Lipatti. Gillham comes up trumps every time.”Nicholas Carter was appointed Principal Conductor of the Adelaide Symphony Orchestra in 2016 – the first Australian to be chosen as Principal Conductor of an Australian orchestra in over 30 years – and has established a reputation as a conductor of exceptional versatility, equally at home in the concert hall and opera house, and fluent in a diverse repertoire. Newly appointed as Chief Conductor of the Stadttheater Klagenfurt and the Kärntner Sinfonieorchester, Nicholas Carter will lead three new productions per season and appear regularly in the orchestra’s concert series.With a reputation for vitality and versatility, the much loved Adelaide Symphony Orchestra is South Australia’s largest performing arts organisation, established in 1936. For over 80 years, the ASO has been there to corroborate life and contribute to South Australia’s identity. Today the ASO plays a major role in Adelaide’s cultural and economic vibrancy, and enriches the community through a diverse program of world-class performances to more than 100,000 concertgoers each season.TRACKLISTING LUDWIG VAN BEETHOVEN CD1Piano Concerto No. 1 in C major, Op. 151 I. Allegro con brio2 II. Largo3 III. Rondo: Allegro scherzandoPiano Concerto No. 2 in B-flat major, Op. 194 I. Allegro con brio5 II. Adagio6 III. Rondo: Molto allegroCD2Piano Concerto No. 3 in C minor, Op. 371 I. Allegro con brio2 II. Largo3 III. Rondo: AllegroPiano Concerto No. 4 in G major, Op. 584 I. Allegro moderato5 II. Andante con moto6 III. Rondo: VivaceCD3Piano Concerto No. 5 in E-flat major, Op. 73 ‘Emperor’1 I. Allegro2 II. Adagio un poco mosso3 III. Rondo: AllegroJayson Gillham pianoAdelaide Symphony OrchestraNicholas Carter conductor
Release
       “250 years ago, Ludwig van Beethoven, the Grand Mogul from Bonn (as Haydn cheekily referred to him) was born. The German composer, whose own extraordinary story famously includes suffering from profound deafness from his late 20s, would become regarded as the great musical liberator, forging the course of the Romantic movement and beyond.” Richard TognettiIn 2020 the Australian Chamber Orchestra will celebrate two monumental anniversaries: 30 years of fearless leadership with ACO Artistic Director Richard Tognetti and 250 years since the birth of the great Ludwig van Beethoven.To celebrate both milestones, ABC Classic is releasing a collection of the ACO’s legendary Beethoven recordings – including never-before released recordings of two of his greatest works: Symphonies 5 and 6.These recordings represent some of the orchestra’s finest performances, including two #1 albums and three ARIA Award-nominees, and feature collaborations with some of Australia’s finest artists – soprano Nicole Car, and pianistsTamara Anna Cislowska andErin Helyard.Beethoven has endured for centuries as one of the most popular and beloved composers around the world, with his music found everywhere from concert halls, to film soundtracks, to disco-era chart-toppers. He was a true musical revolutionary and is credited with paving the transition between the Classical and Romantic eras. His music has always been a mainstay of the ACO’s core repertoire, but this marks the first time that they have recorded these two monumental symphonies.Since its establishment in November 1975, the Australian Chamber Orchestra has become one of the world’s most daring and exciting ensembles, renowned globally for its inspired programming, unrivalled virtuosity, energy and individuality, showcased through an extensive and ongoing program of international touring and recordings for many of the world’s top labels.★★★★★“The Australian Chamber Orchestra was splendid in its all-Beethoven concert… [achieving] revealing clarity that gleamed like the colours of an old master newly restored.” – Sydney Morning Herald“[Beethoven’s] Fifth is always a crowdpleaser, and the ACO made it exceptionally so. This was the stuff of dreams.” – LimelightTRACKLISTING  CD1Symphony No. 5 in C minor, Op. 67 *1   I.   Allegro con brio2   II.  Andante con moto3   III.Allegro –4   IV.AllegroSymphony No. 6 in F major, Op. 68 ‘Pastoral’ *5   I.   Awakening of cheerful feelings on arrival in the countryside6   II.  Scene by the brook7   III.Merry gathering of country folk –8   IV.Thunder, Storm –9   V.  Shepherd’s song. Cheerful and thankful feelings after the stormCD2String Quartet in B-flat major, Op. 130, with Grosse Fuge, Op. 133 (arr. for string orchestra by Richard Tognetti)1   I.   Adagio ma non troppo – Allegro2   II.  Presto3   III.Poco scherzoso4   IV.Alla Danza tedesca5   V.  Cavatina6   VI.Grosse Fuge7   Romance for Violin and Orchestra in F major, Op. 50      Satu Vänskä– violin8   Piano Concerto No. 5 in E-flat major, Op. 73 ‘Emperor’: II. Adagio un poco mosso     Tamara-Anna Cislowska– piano9   Ah! perfido ... Per pietà, non dirmi addio, Op. 65     Nicole Car – sopranoCD3Sonata for Violin and Piano in G major, Op. 30, No. 3 1   I.   Allegro assai2   II.  Tempo di Minuetto, ma molto moderato e grazioso3   III.Allegro vivaceSonata for Violin and Piano in A major, Op. 47 ‘Kreutzer’ 4   Ia.Adagio sostenuto –5   Ib.Presto6   II.  Andante con Variazioni7   III.Presto     Richard Tognetti – violin     Erin Helyard– fortepiano8   Violin Concerto in D major, Op. 61: I. Allegro ma non troppo     Richard Tognetti– violin* Never previously released
Release
The Huntington Estate Music Festival is one of the brightest stars in Australia’s musical firmament. For three decades, it has been bringing together top-flight musicians from around the country and around the world to present a breathtaking array of chamber music masterpieces, both iconic favourites and delicious new discoveries. Presented by the Huntington Estate Winery in association with Musica Viva Australia, and held in the winery’s Barrel Room, one of the most remarkable and surprising music venues in the world, the Festival is a delight to audiences and musicians alike.After 30 stellar years of exceptional music-making, however, the 2019 Festival will be the last, with Huntington Estate owners Tim and Nicky Stevens reluctantly deciding that their grapes – and their young family – must come first. To mark this significant occasion, ABC Classic is proud to delve into its broadcast archives to present this selection of some of the Festival’s most memorable performances across a typically diverse and intriguing range of repertoire: from Schubert and Dvořák to Bach’s astonishing eldest son Wilhelm Friedemann and Australian composers Ross Edwards and Ian Munro.It was Richard Tognetti and the Australian Chamber Orchestra who began the Festival and established it as a serious contender on the world stage – and the hottest concert tickets in the country! This album includes superb three recordings from those early years: music of Mendelssohn, Brahms and Percy Grainger.In 2006, the ACO passed the baton to Musica Viva and Artistic Director Carl Vine, opening up the Festival’s artist roster to an extraordinary range of musicians, both local and international. From among the literally hundreds of thrilling performances, this album features New York-based Australian pianist Andrea Lam, Russian-Armenian clarinettist Narek Arutyunian, the rich bass-baritone of Teddy Tahu Rhodes and Vienna’s acclaimed Eggner Trio, along with regular Festival guests the Goldner String Quartet and the rising stars of the Australian National Academy of Music (ANAM) Chamber Orchestra.…/2The CD of this compilation is available exclusively at the Festival itself, but for all those who can’t make the trip to Mudgee, ABC Classic is releasing the full album as a digital album, for download and streaming, so that audiences all around the world can share in the celebration. TRACKLISTING  1     MENDELSSOHN Symphony No. 3 ‘Scottish’: II. Vivace non troppo2     BRAHMS arr. ANGERER Chorale Prelude ‘O Gott, du frommer Gott’3     GRAINGER Blithe Bells       Australian Chamber Orchestra, Richard Tognetti director (2002 / 2004)        SCHUBERT4     An die Musik (To Music)5     Erlkönig (The Erl-King)6     Die Forelle (The Trout)7     Die Taubenpost (Pigeon Post) from Schwanengesang       Teddy Tahu Rhodes bass-baritone, Kristian Chong piano (2007)        WF BACH Sinfonia in F major ‘Dissonant’8     I. Vivace9     II. Andante10   III. Vivace11   IV. Menuetto I & II       ANAM Chamber Orchestra, Paul Wright violin / conductor (2010)      12   ROSS EDWARDS String Quartet No. 2 ‘Shekina Fantasy’:       I. Allegro moderato       Goldner String Quartet (2010)        MENDELSSOHN13   Song without Words Op. 67 No. 2 – Allegro leggiero14   Song without Words Op. 85 No. 4 – Andante sostenuto       Andrea Lam piano (2012) 15   WEBER Clarinet Quintet in B-flat major: II. Fantasia       Narek Arutyunian clarinet, Australian String Quartet (2012)        MUNRO Piano Trio No. 2 ‘Book of Lullabies’ – Excerpts16   II. Lullaby in Edo17   III. Kun Mun Kultani Tulisi18   IV. Skye Boat Song       Dimity Hall violin, Julian Smiles cello, Ian Munro piano (2013) 19   DVOŘÁK Piano Trio No. 1: II. Adagio molto e mesto       Eggner Trio (2015)