NICK PARISH (jazz guitar)
for this concert Nick will be joined by Nick Haywood (double bass) and Matt Ives (drums).
1:00pm | Friday 20 May 2016
Conservatorium Recital Hall
5 Sandy Bay Road, Hobart
Nick started learning classical piano at the age of 9 and soon after took up the guitar, with an interest in rock and blues music. Upon hearing the Miles Davis album In a Silent Way at age 16 he become a jazz devotee, and has since studied with various teachers in Hobart and Sydney. A diverse range of music and musicians inform his playing, most significantly the jazz guitarists John Scofield, Joe Pass, Jim Hall, Ted Greene and Pat Metheny as well as David Gilmour, Jimi Hendrix and Robben Ford. Nick is also keenly interested in all forms of musical composition.
Nick graduated with a Bachelor of Arts degree in 2003, and a Bachelor of Music with Honours in 2012. In 2010 he was the recipient of the Jack Kirwan bursary, and in 2012 was awarded the Jack Duffy Award – both being awards from the Hobart Jazz Club. Nick commenced his PhD studies in 2014.
His current projects encompass jazz, funk, blues, acid jazz and pop, with groups such as: Matthew Ives & his Big Band, Modern Operative, Fairweather and MIQ. Nick has shared the stage with musicians including David Theak, Kristin Beradi, Tim Firth, Nick Haywood and Kelly Ottaway. From 2013 Nick has been a member of Opus House, an ensemble dedicated to performing modern & contemporary compositions.
Nick has been teaching guitar & music professionally for many years to students of all ages & skill levels.
Nick's PhD research will focus on American jazz guitarist Jim Hall (1930-2013). Hall has a unique approach to improvisation that incorporates motivic development, and described himself as having a 'compositional' approach to improvisation. When improvising he places particular importance on continuing and developing his musical ideas and on constructing solos that 'make musical sense'. In his playing it sounds like he is ever 'answering' or responding to his preceding phrases. While this aspect of his musical style has often been mentioned anecdotally and is widely agreed upon, there is a lack of detailed analysis of his improvisations.
It is proposed that a deeper understanding of Hall's use of motivic development will enrich Nick's own musical aesthetic, in both composition and improvisation. With the enhanced understanding gained through this project Nick seeks to contribute to the body of knowledge regarding Hall's music.