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Nice playing for a girl
Trombone crimes and other misdemeanors A novel by Kellie Santin Nice Playing for a Girl is my debut novel. It draws heavily on my musical background, unusual childhood growing up in suburban Melbourne and the characters I met along the way. Nice Playing for a Girl, is an inspirational, tragic and wryly funny adventure story. But, most importantly, it celebrates the individual. While most teenagers spend their days trying to conform, even if it’s only by rebelling, Alice is determined to be herself. In the end, this character trait takes her all the way to the top! |
Quintessence
"The pure and concentrated essence of a substance. The most perfect embodiment of something."
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Tracks 1 Save Your Love For Me 2 Street Life 3 Do Nothing Till You Hear From Me 4 Chelsea Bridge 5 Nica’s Dream (play this on vimeo) 6 In A Sentimental Mood 7 Teach Me Tonight 8 All In Love Is Fair 9 Girl Talk |
Musicians Kellie Santin Alto Saxophone Grant Windsor Keyboards Simon Fisenden Bass Darryn Farrugia Drums & Percussion Elvis Aljus Percussion |
It was a tumultuous relationship from the outset. I always wanted to play something else i.e., drums, trombone or bass guitar. I liked the sax but found the embouchure difficult and preferred the warmth and sweetness of the trombone. Then, at age twelve, everything changed. I heard Charlie Parker.
Next, came Noel Matthews, Peter Martin & Graeme Lyall (my teachers), Cannonball Adderley, Art Pepper, Phil Woods, Paul Desmond, David Sanborn and Kenny Garrett. Day and night, throughout my adolescence, I listened almost exclusively to this music, played along to it and transcribed it.
My playing came to vaguely resemble whoever my favourite sax player was at the time. Eventually, I tired of hearing “You sound like…..", so took a hiatus from listening to saxophone. Then came my obsession with singers, guitarists and drummers. In particular, Mike Stern, Aretha Franklin, Chaka Khan,
Dave Weckl, Stevie Wonder, Michael Jackson & James Brown.
This brings me to today and my very first recording. Prior to making this album, there was no way I would’ve had the audacity - as I saw it - to pollute the world with yet another saxophone album.
One of the very few good things about getting older is you kind of get over yourself!
So here it is. This is how I hear it today. Did I feel ready to record? No, not really, but I've come to understand that imperfections and perceived weaknesses make us unique and recognisable and that perfection is something better reserved for sport! For me, it’s not about right or wrong, good or bad, it’s about sincerity, fearless commitment to the phrase and getting out of the way so the music can happen.
All nine compositions were chosen with little conscious thought. I have been aware of these tunes since childhood and find the melodies and chord progressions inspiring, timeless and soulful.
My main inspiration for this album came from the musicians I chose to record with. They understood the mood I was trying to capture, were able to see the bigger picture and in each case, exceeded my expectations. I was and remain in awe of these incredible musicians.
Playing entirely by ear, I’m seldom aware of keys or chord progressions. I play only what I hear and that includes frequent silence - which I especially hope you appreciate!
Next, came Noel Matthews, Peter Martin & Graeme Lyall (my teachers), Cannonball Adderley, Art Pepper, Phil Woods, Paul Desmond, David Sanborn and Kenny Garrett. Day and night, throughout my adolescence, I listened almost exclusively to this music, played along to it and transcribed it.
My playing came to vaguely resemble whoever my favourite sax player was at the time. Eventually, I tired of hearing “You sound like…..", so took a hiatus from listening to saxophone. Then came my obsession with singers, guitarists and drummers. In particular, Mike Stern, Aretha Franklin, Chaka Khan,
Dave Weckl, Stevie Wonder, Michael Jackson & James Brown.
This brings me to today and my very first recording. Prior to making this album, there was no way I would’ve had the audacity - as I saw it - to pollute the world with yet another saxophone album.
One of the very few good things about getting older is you kind of get over yourself!
So here it is. This is how I hear it today. Did I feel ready to record? No, not really, but I've come to understand that imperfections and perceived weaknesses make us unique and recognisable and that perfection is something better reserved for sport! For me, it’s not about right or wrong, good or bad, it’s about sincerity, fearless commitment to the phrase and getting out of the way so the music can happen.
All nine compositions were chosen with little conscious thought. I have been aware of these tunes since childhood and find the melodies and chord progressions inspiring, timeless and soulful.
My main inspiration for this album came from the musicians I chose to record with. They understood the mood I was trying to capture, were able to see the bigger picture and in each case, exceeded my expectations. I was and remain in awe of these incredible musicians.
Playing entirely by ear, I’m seldom aware of keys or chord progressions. I play only what I hear and that includes frequent silence - which I especially hope you appreciate!
