Originally from Canberra, they revolve around the Moriarty brothers, Phil and Mick. Their signature folk-pop sound of acoustic guitar, clarinet and double bass is supplemented by organ, strings and horns.

Many Happy Returns was described by Rolling Stone as ‘their fifth and best album … which gets the inner-city grit/muso substance equation just right’.

Many Happy Returns was devoted to bassist and pianist Andy Lewis, who died before work on the album was completed.

The Gadflys found prominence on the national scene after producers of the now-defunct Good News Week liked what they saw on a pilot of the show, asking them to perform regularly.

Singer/songwriter Wes Carr can be described as many things – overnight success, is not one of them. For most of his 26 years this talented artist has put the hard-graft, determination and commitment into his love of musicianship and creative expression. Over the years his hard slog has won him scholarships, peer-approval, acclaim, and competitions, but what drives his passion to continue is the truth in his music. It’s this authenticity and musical integrity that will secure him a good place in the charts today, and it’s this that is at the heart of the connection he has with audiences around Australia.

Born and raised in Adelaide, Wes Carr first began to teach himself guitar and piano at the age of twelve years old. As his school years began to leave him uninspired, it was his burgeoning musical abilities that began take over to develop his expression and identity. Moving to Sydney at the age of fifteen, Wes won a scholarship to a performing arts school. “I knew what I wanted to do but didn’t know how I was going to get to do it, so I just started to get little acoustic gigs around Sydney, and ended up playing about five times a week. I started playing some gigs with local musicians like Abby Dobson (Leonardo’s Bride) and Paul Mac, and wrote with people like Don Walker, Andrew Farris, and Endorphin.”

Along with his experience, Wes’ local reputation as a talent began to develop over the next five or six years. “I had a few people come to see my shows off and on, and I worked with some great music talent – people who had the same kinda musical spirit. We formed this little acoustic club around town, where we’d get up and jam each other’s songs, and play on each other’s records.” Whilst drifting along and finding his way, he also picked up industry advice from some of the Australian industry’s most influential players like John Watson (Silverchair).

A succession of steps in his career followed. In 2003 he independently released his own RHYTHM TO FLY EP, which was followed by the highly-acclaimed album collaboration with Ben Gilles from Silverchair in 2005, under the moniker of Tambalane. Despite the support they received by Australian radio stations like Triple J for their singles, Tambalane ran its course, and Wes found himself back in Adelaide in early 2006 playing at a local bar. As luck would have it, Wes was then spotted by Joe Cocker’s Musical Director – who was in Adelaide on tour – and was given the chance to temporarily relocate to LA. Over the course of the next three months he worked on a handful songs, and got the chance to watch the production process first-hand from some of the industry’s most-accomplished songwriters and producers. One of the songs Say My Name even ended up on the soundtrack to the Christopher Guest film For Your Consideration.

Returning to Adelaide, Wes continued working hard on his career, and over the course of the following year he, ‘threw a collection of songs up on iTunes’ under the album name SIMPLE SUM.

Even now, as a new audience begins to embrace Wes Carr, his collection of songs still remains true to the essence of who he is as an artist. “Everything I’ve written I’m really proud of. All those songs are like friends from the past and tell the story of my progression as a songwriter.”

It’s an apprenticeship that has lasted the last ten years or so, and through his grind as a musician Wes Carr has undoubtedly paid his dues. It was this sense of diligence that gave him the courage to audition for Australian Idol in 2008.

“I had nothing to lose at that point. I was confident within myself – the option was to take on something a bit different and challenge myself. I’d worked all over the place, and worked with some amazing people, but the truth was I was just sick of playing covers-gig in pubs. I felt that wasn’t what I wanted and needed to be doing… I guess I was more ambitious, in a way.”

With his debut post-Idol single You hitting the #1 spot on the Australian charts in late 2008 and reaching platinum sales, work immediately began on Wes Carr’s major-label debut album THE WAY THE WORLD LOOKS. “Even though I didn’t write You, I really thought the UK songwriters and producers T. Jay & Adam Argyle nailed it. The music and lyrics captured where I was at the time, and it also inspired a few ideas in regards to which direction I should take with this new album too.”

Deciding to keep the You team together for the album, sessions for the new album began, against the challenge of limited time. “As soon as they set the deadlines, the timeframe, and the collaborators, I just went ahead and steered the process, and gave it my very best to come up with a collection of songs that I could be really proud of. This really was a culmination of all my musical experience over the years; this is what I’d been building towards all this time, and as a result, I really just felt it tumbling out of me.”

Wes began discussing ideas with his musical collaborators, and as a result of their shared headspace, the album began to take shape quickly. A fan of seventies rock – Bob Dylan, Nick Drake, John Lennon (his all–time favourite) – and producers like Phil Spector, George Martin, Brian Wilson, and Quincy Jones, Wes took inspiration from his influences to lay the groundwork for the new album.

“We had a limited amount of time to write the album, and it was a sink or swim scenario for us, so we just went for it. It took us a few days to get into the swing of it – we wrote a couple of songs in the first few days – and after that we just hit the ground running. We wrote about fifteen songs together in the next eight or nine days! The great thing about it was that every song was completely different. I’m really proud of all the songs on this album.”

THE WAY THE WORLD LOOKS is the story of Wes Carr. The album represents his musical progression and achievements over time. The twelve song collection includes the hit single You, eight new co-writes from Wes, and three songs that he had written over the years. Love Is An Animal was written was he was 15, East Coast when he was 23, and the title track which Wes co produced The Way The World Looks, written at 24.

“This new album is definitely more upbeat and a positive outlook for me, and has flavours from all my past and present influences. I think there’s a broader sensibility to my work now. The big difference now is that I’m more comfortable with my musicianship.”

Leading the charge from the album is the new single Feels Like Woah. “I just wanted to release something that was classic sounding and something different to everything else on the radio right now. It’s about hope and joy.”

Other highlights on the album includes the warm embrace of the title track The Way The World Looks which conveys his emotive song writing and musical instincts; East Coast - a heartfelt guitar mid tempo tale; and the soaring rock groove When We Were Kings, which was inspired by nostalgic reflection.

With his major-label debut album THE WAY THE WORLD LOOKS, Wes will soon return to his roots, taking his performances back out to live audiences around the country. With his approachable demeanour, his love of music, and his sheer talent, audiences are guaranteed of getting the chance to hear Wes Carr’s music played with the same personal touches and nuances that inspired his original song writing process.

“I’m at a great place creatively right now because I feel like the passion for my craft has been reignited. I just want to be able to write, play and produce my music. I want to set-up a studio, and be able to live off my craft. This is the only thing I know how to do well, and the thing I love the most. I’m really ready and excited to head out on the road and play this music to anyone who wants to listen to me. I want to be on the road for years to come, playing the music that I love to play – I really couldn’t think of anything better than that.”

Born in Ypsilanti, Michigan and raised in Romulus, Michigan, recorded her first appearance for radio in Detroit at the age of 10. Well known in the Los Angeles area for her duo and trio dates Ms. Morrison also tours extensively, blazing a trail as a Jazz and Blues legend in her own right across the Continental United States, Western Europe the Far East and “Down Under, ‘ wowing audiences with her band.

Fresh off a 33 US City tour, co-headlining in an all-star tribute to legendary composer Harold Arlen (most recognizable for his genius behind the music for the classic film, The Wizard of Oz), Barbara now celebrates her 30th year in the music industry. Over the years she has performed with a virtual “who’s who” of the Jazz and the Blues worlds. That list includes legends like; Dizzy Gillespie, Ray Charles, James Moody, Ron Carter, Etta James, Esther Phillips, David T. Walker, Jimmy Smith, Johnny Otis, Dr. John, Kenny Burrell, Terence Blanchard, Joe Sample, Cedar Walton, Nancy Wilson, Mel Torme, Joe Williams, Tony Bennett, and Keb’ Mo. Additional, Ms. Morrison guest stars with the Count Basie Orchestra, the Clayton-Hamilton Orchestra and Doc Severinsen’s Big Band.

The dazzling Barbara Morrison has been featured on over 20 recordings. She has dazzled fans of a wide aray of genres from traditional Jazz and Blues to Gospel and Pop. Her melodic voice, with its two-and-a-half-octave range, is known worldwide, as are her rich, unique, soulful and highly spirited interpretations of both, familiar Jazz and Blues classics and original contemporary tunes. Equally as striking is Ms. Morrison’s ability to belt out down-home, soul-stirring Blues. Her impassioned renditions of old and favorite torch songs are nothing short of breathtaking.

In addition to her multiple solo recordings, fans have experienced the pleasure of Barbara Morrison’s rich and vibrant tones on such notable film and television appearances as; the movie sound track for The Hurricane (starring Denzel Washington), Goin’ Home: A Tribute to Duke Ellington and Johnny Otis’s CD “Ooo Shoo Be Dooo”. Additional credits include the hit NBC TV comedy The Naked Truth, The Tonight Show with Jay Leno and The Dennis Miller Show.

In additional to her gigs with other Jazz and Blues groups and legends, Barbara Morrison also performs at the more renown Blues and Jazz Festivals around the world. Her many outstanding appearances, including those at Montreaux, Nice, Pori, Carnegie Hall, North Sea, Monterey, Long Beach, as well as her Salute to Dizzy Gillespie and her Tribute to Benny Golson, are fondly remembered by Morrison fans who return again and again to share her rare, unique and exceptional vocal gifts.

Steve Prestwich is probably best known as the drummer for legendary Australian band Cold Chisel. As a songwriter Steve wrote some of the bands best known songs including Forever Now, When the War is Over, and Flame Trees*. Steve’s songs have also been recorded by many other artists.

It all started back in Liverpool, England. Growing up in the 60’s, surrounded by Beatlemania and the Mersey Sound; which naturally had a big influence. Steve did his first gig playing drums at eleven years of age, having started taking drumming lessons from his father as a nine year old. Steve’s dad was singing and playing drums in a ‘Beat’ group at the time and had played at the famous Cavern Club. Steve would go along and watch them play locally whenever he could. He knew then exactly what he wanted to do.

During his teens Steve soaked up various musical influences including R’n’B, Soul (tamla motown), Reggae, Folk, Rock, and progressive Rock. Liverpool was visited by a wealth of musical artists of all genres and Steve would see as many live acts as he could. In 1970 Steve was asked to join a folk rock outfit lead by a guitarist friend from his early high school days. Steve got a taste of being on the road, as the band started to perform in and around Liverpool.

In 1971 aged 17, Steve’s family had arranged to emigrate to Australia. This was a difficult decision for Steve, as he had a day gig and his musical career was off and running. Steve initially decided to remain in England, but thought he would correspond with a cousin who was already in Adelaide, to get an idea of what was happening on the Australian music scene. It was after this correspondence, and getting copies of ‘Go Set’ and ‘Juke’ magazine that Steve thought that maybe Australia would be worth a visit. After all he could always return if things didn’t work out.

Not long after arriving in Adelaide, Steve met up with a guitarist from Liverpool and a bassist from London, and the band ‘ice’ was formed. It wasn’t long before the band were performing in and around Adelaide, doing a mixture of covers and originals. It was at a gig in Adelaide some months later that Steve met bassist Les Kaczmarek. They hit it off immediately. The next time he heard from Les, he was asking if Steve would be interested in joining a band he was putting together. As Steve’s guitarist had recently decided to return to England, he decided to go along and audition.

On that day he met Ian Moss, Don Walker and Jimmy Barnes. It was 1973 and the rest as they say is history. Over the next ten years Cold Chisel went on to become one of the hardest working and most successful bands in Australian music history. They farewelled their fans in 1983 with the Last Stand tour.

In 1984 Steve joined The Little River Band. Recorded two albums and toured America. He left in 1986.

In 1995 having moved to the country with his family, Steve started work on what would later become his first solo album. The album was put on hold however when at this time Cold Chisel decided to reform and record their first album in over a decade. This moved the focus from Steve’s project to the Cold Chisel album.

In 1998 Cold Chisel released The Last Wave of Summer album, followed by an extensive tour. The album contained two new Prestwich songs, Water into Wine and Way Down.

Steve’s solo career began in 2000 with the release of ‘Since you’ve been Gone’, showcasing a soulful mix of songs. It was released to critical acclaim. Steve spent the next couple of years performing live with the Steve Prestwich Band .**

In 2003 Cold Chisel embarked on the ’Ringside’ tour. This tour was filmed and recorded, and featured Steve performing two new songs (Lovelight, All I Wanna Do) singing and playing acoustic guitar with the band for the first time.

In October 2009 Steve releases his second solo album ‘Every Highway’. Described as a rootsy blend of blues folk and country, it features Steve singing and playing acoustic guitar on all tracks, accompanied by Paul Robert Burton (Double Bass), Clare O’Meara (Fiddle), and Kara Grainger (Dobro, Slide and acoustic guitar). Steve’s teenage son V. also makes his recording debut on guitar.

Perry Keyes was born in 1966 and grew up in the inner-city working class area of Sydney known as Redfern. He lived in a two storey terraced house populated by various uncles, aunts, cousins and grandparents. Every Saturday morning his Grandmother would do the house work whilst playing the likes of Ray Charles and Roy Orbison at a volume loud enough to spill out onto the neighbouring streets, lined with their tightly packed workers cottages and factories. This was the first music Keyes can remember hearing.

When he was twelve, Keyes got his first guitar from the local pawn shop and within six months he’d written his first song. It was during his first year at high school that his family moved to the neighbouring area of Waterloo, with it’s high rise Department of Housing blocks that stand between 16 and 24 storeys high.

It was within this environment that Keyes – after numerous false starts - formed the band The Stolen Holdens in 1989. Musically inspired by the likes of The Clash and Elvis Costello and lyrically taking his cue from artists like Lou Reed and Bruce Springsteen, Keyes and The Stolen Holdens developed a small but loyal following in the local Sydney music scene. Having not released any albums the band faded by the early 90’s. After a prolonged hiatus, Keyes re-emerged in 2003, playing solo sets featuring songs that would make up the bulk of his debut double album ‘Meter’ – released in 2005 by Laughing Outlaw Records to much critical acclaim and numerous year’s end best of lists. It was hailed by EMI Australia CEO John O’Donnell as one the best Australian debuts ever and by Whitlams main man Tim Freedman as the best Australian album of the past five years.

Keyes’ next album, ‘The Last Ghost Train Home’ was received with even greater acclaim upon it’s release in October 2007. It went on to be short listed for the Australian Music Prize and was named the ABC Radio National Album of the Year. In March, 2010, Perry Keyes will release his much anticipated third album, ‘Johnny Ray’s Downtown’. 16 tracks that, once again draw on Keyes’ local environment – the marginalised and often neglected and rapidly decaying inner-city areas of Sydney – for their inspiration. Songs about growing up, or trying to grow up in the face of an environment that often suggests that the mere thought of getting past your late adolescence is hoping for more than what’s actually on offer.

“The show gave Liddiard a chance to play a few songs the band don’t typically play in their live sets as well as providing quieter, though no less harrowing, interpretations of some The Drones’ most enduring songs … The intensity of the songs was tempered with Liddiard’s affable, funny and engaging manner between songs … The tales, sung with Liddiard’s cracked and damaged vocals, cut right to the core of humanity’s morality, corruption, and search for redemption. Amazing stuff.”
Polaroids Of Androids – 27 February 2009

“For fans of Liddiard’s verse, the unplugged show was a way to experience its horrible, apocalyptic glory free from rock postures and the distracting volume of amplification. His is a savage vision and one that’s often based in the past, but somehow it still feels more relevant than a thousand columnists in The Weekend Australian trying to give utterance to similar themes. If you haven’t listened yet, listen. And if The Drones’ screeching guitar hurts your ears, read the lyrics instead. As for Liddiard, if he plays solo again, don’t miss it. He’s likeable, he’s brilliant and he’s ours. And for better or for worse, compatriots, we’re his too.”
Musicfeeds.com.au – 5 March 2009

“You can certainly hear the influence of that period’s dark local underground in The Drones’ capacity for assault and febrile movement, not to mention singer Gareth Liddiard’s lean charisma and often brilliant lyrical ability.”
Sydney Morning Herald – 30 October 2008

“But it was in the final song for this evening, Sixteen Straws, when Liddiard broke a string and declared that he doesn’t do encores, that the crowd really showed their appreciation for the talented fellow who happens to front one of Australia’s most loved underrated music success stories.”
Fasterlouder.com.au – 12 March 2009

Monique Brumby has just completed her 4th studio album SKELETONS’ POLKA co-produced with renowned producer Mark Opitz (Paul Kelly, Divinyls, INXS). SKELETONS’ POLKA is due for release in March 2010. Monique will be touring nationally in March & April 2010 to promote the release of the album & the first single from it titled ‘They’re Still Alive’. Tour dates to be announced.

THE SONGS that make up SKELETONS’ POLKA express the underlying pulses of society & tap into universal themes that everyone can relate to. Monique’s powerful storytelling is emotive and lyrically insightful. The first unique offering from the album is the rollicking rockabilly/pop/rock tune ‘They’re Still Alive’, a song about coping with losing a loved one to dementia. With Mark McEntee (Divinyls) guitar riffs coupled with Monique’s hypnotising vocal delivery, this song elevates the listener to a higher state of being. Other guest artists include David Bridie on piano and vocals, guitarist Shannon Bourne, Bruce Haymes on keys and Candice Monique on vocals. The album fluctuates from what has become Monique’s signature style - brooding rock ballads to punchy lyrical pop/rock, revealing emotive & distinct melodies and hooks.

ARTIST BACKGROUND - Originally from Tasmania Australia, Monique is currently based in Melbourne and released her first album on Columbia Records in 1996 after a very successful musical partnership with producer David Bridie. She won 2 ARIA Awards for Best New Artist and Best Female Artist in consecutive years. Monique has also had 3 additional ARIA nominations including Song of the Year for her original song ‘The Change In Me’. Her songs that have featured on numerous film and television productions and she has co-written with varying artists including David Bridie, Paul Kelly (co-wrote ‘Melting’ released on Paul’s 1998 ‘Words and Music’ album) & Krista Polvere (co-wrote ‘Unbreakable’ released on Krista’s debut album in 2009, produced by Malcolm Burn).

DISCOGRAPHY - Monique has released 3 EP’s; ‘Mary’, ‘Eventide’ and ‘Silver Dollars’ and 3 albums; ‘Thylacine’, ‘Signal Hill’ and ‘Into The Blue’. Monique has produced albums for artists Emily Davis and Mosaik and she has toured extensively headlining her own shows as well as sharing the stage with acclaimed artists such as the Bangles, Shawn Colvin, Paul Kelly, Luka Bloom, Pete Yorn and the late Jeff Buckley. Monique’s recorded works have won her legions of fans and great respect from her peers and music critics alike.

LIVE REVIEW - “Monique Brumby is a performer comfortable with the stage with her supremely confident voice, easy between song banter and more than capable song writing. Her spirited individuality - part Mary Margaret O’Hara vocal weirdness, part fearless storyteller Patti Smith - a unique offering. That her prolific output is matched by the rigor with which she hones her song writing skills means that it’s surely only time until she breaks.” REVIEWS - Andy Hazel, Inpress mag. Time Off Magazine’s Ben Preece “A divine lady, a magnificent songwriter and above all a damn fine vocalist.” Drum Magazine’s Michael Smith said “When you care about what you do, you take the time to quietly fashion it to make sure it not only says what you want it to say, but you hope it also reveals itself to the listener. That’s the way Monique Brumby makes records.”

Tuesday March 2nd 2010 saw the gala launch of the much anticipated Casablanca Nights - undoubtedly the classiest jazz event Sydney has seen for some time. NOTES was transformed into an international jazz venue as audiences displayed the elegance of modern day celebrities - all dressed up and eager to walk the red carpet into the venue as they were greeted by Casablanca Nights own in-house paparazzi. With patrons being escorted from the red carpet to their tables by the evenings hostess, it didn’t take long for the atmosphere to build into what was clearly destined to be a great night out!

Tuesday 13th April sees the second in a series of Casablanca Nights showcasing a stunning array of local talent. Featuring a set from Evelyn Duprai with Gary Holgate, Peter Drummond and Joseph Calderazzo; with guest performances from Natasha Stuart and Anthea White; plus our special guest pianist for the evening, Sean McKenzie.

Ladies, maybe you have a dress that’s been sitting in the wardrobe waiting for another special occasion? Gents, perhaps you have a suit that you bought for an event that now doesn’t get to see the light of day?

Casablanca Nights is your opportunity to dress up for a night if you like, or come straight from the office for an early show and a divine menu guaranteed to tantalise your tastebuds. Perhaps you’d prefer to sit and have a cocktail with friends as you listen to familiar tunes that will transport you back in time.

Get ready for a musical escapade back to the culture of the jazz clubs that were once home to the likes of Ella Fitzgerald, Sarah Vaughan, Nat King Cole and Frank Sinatra.

No longer do you need to ask, “Where can I go to have dinner and listen to some good jazz music?”

Ladies and gentleman, welcome to Casablanca Nights!

Songwriter Kevin Bennett returns to Notes with a different version of his band. Mark Collins, who was in the original line-up more than a decade ago returns, this time adding percussion to his banjo duties. Wayne ‘Killer’ Kellett, another former member is back on bass and the new addition is Six-String Sensation Michael Muchow on guitar.

KB will be mixing songs from his brand-new album ‘Solo’ with Flood Faves and some hot off the presses! As a vehicle for Bennett’s songs and vocals The Flood has often been a fluid arrangement always delivering good singin’, good playin’…………just let yourself go with the flow.