The 35th National Jazz Award - Brass

Information for the 2025 National Jazz Award - Brass is coming soon.

There were six finalists this year. Selecting them out of a strong field was already a hard task. For those lucky enough to hear all six play live at the revitalised Wangaratta Jazz Festival the level of talent and creativity on display was truly inspiring. The investment they have all made in themselves to get to this point is the real reward for each and every one. But two stood out as so obviously at ease on stage, integrating seamlessly with the backing trio to sound like a unified road tested unit – Their performances were masterfully relaxed, seemingly free of any signs of nerves, while their cues appeared to be telepathic.

Listening to Stephen Byth’s blistering set the most apparent thing was that the MUSIC came first and foremost. All the adjudicators got goosebumps multiple times during Stephen’s performance. Even discussing it later gave us chills. Which really is what music should be all about, making the audience FEEL something. He made Andrea Keller’s One sound like his own, and his flawless playing throughout had endless gears. He seemed to never run out of ideas or repeat anything and his whole performance was a pure joy.

Tessie Overmyer’s almost five minute solo introduction to Jonathan Zwartz’ And In The Night Comes Rain left no doubt that at 23 she is already an established star of the Australian music scene whose name deserves to be spoken with the same reverence as those of Bernie McGann, David Ades, Sandy Evans, Troy Roberts and Dale Barlow. Tessie’s solo on the blues was a masterclass in thematic development and could be studied many years from now.

All the finalists blew us away with at least one tune. But Steve and Tessie blew us way with every nuance of every note. They could tell a whole story within one long tone. Every phrase was free of any trace of cliches, absolutely assured and relaxed, their influences integrated to such a degree that all we heard was their unique voices.

Michael Avgenicos’ version of Lush Life was world class. Ben Lerner’s rendition of John Coltrane’s Cousin Mary burnt the house down. Jayden Blockley’s original, Her, was heartbreakingly poignant.

21 year old Oscar Bruten’s whole set established a mature warm glow that smouldered throughout, but his ballad, A Time For Love played so sparingly but followed by an immense solo cadenza, showed that he is a future star with a very bright future.

The most encouraging element of the whole event was the camaraderie, respect and mutual support on display from all six of the finalists throughout the whole weekend. They showed that the future of Australian jazz is in creative, capable, and caring hands.

The National Jazz Award is a truly exceptional touchstone in Australian music. Thankyou to all those who believed strongly enough to ensure it continues. Opportunities like this are all too rare, and their impact on our culture and ambition and ability to dream big dreams cannot be overstated.

Julien Wilson, Angela Davis, John Mackey – Nov 2nd 2024