about the band...

It all started with the ‘College Funk Ensemble’ – a rebellion against the typically narrow music curriculum back in high school days. Then came graduation, and the realisation that this music was just too much fun to give up on. So a new band was formed…

Dancing About Architecture cut its teeth with late night rooftop jam sessions in Brisbane’s West End. From there the band has continued to grow steadily, picking up extra players and added groove along the way. Now a 7-piece outfit, the band represents the enthusiastic youth of Brisbane’s jazz scene, playing all original jazz funk compositions…good fun music!

Rowan Hamwood, flute We originally enlisted Rowan to help us out with our stint at the Woodford Folk Festival. Our plan was to wham him, bam him then thank you m'aam him, but he clearly had other plans. As we delivered the inevitable "thank you for doing this massive favour, but we never really planned on making it worth your while" speech, there was very little emotional response from the plucky flautist. Although we thought it strange, we didn't make anything of it until next week at rehearsal, up to which Rowan showed. He did so week after week until the process of rejection became far too awkward for us to continue, at which point he officially "joined" the band. Despite the d ubious circumstances pertaining to his inclusion, I've come to love the little guy, if only because he plays an instrument yet to be mastered by a lesser primate. Rest assured though that as research continues, a less skilled but far more amusing ape or ape-like creature (see Manpanzee) will be scheduled to take his place. Until then please come to one of our gigs and enjoy Rowan's sizzling flutastication, immaculate phrasing and general awesomeness as he emits them in discrete packages of marvel and we, as musical electrons to his solid nucleus, orbit around him.

Carson Edgeworth, sax There is something undeniable about the sound of Carson's saxophone. If he only knew the leg-weakening power he possessed over me he would be a much more influential man; as it stands though he does not and I maintain some shred of free will. Carson is also officially the youngest person in our band... although I'm not entirely sure just how old he is... but his supple facial features and naive smile possess the qualities of an innocent. Anyway, you wouldn't really sense the youth upon seeing the ease and confidence with which he slipped into our little ensemble. His addition only strengthens the growing majority of con students, which fortunately also bolsters my talent-by-association (if you're interested, t-b-a as i call it is a monotonically increasing function of the number of con students in our band). However if I might eschew my fresh and zany brand of humour for just a moment, I'd also like to point out that Carson (much like our other addition in Rowan) is a fabulously talented and valuable addition to DAA. Finances being as they are, another recording seems a way off, so really the only way for you to hear these two wunderkinds in action is to come and see us live some time soon. ...plus he's got the most 'awesome-to-the-max' 80's sounding name ever.

Charis Chua, keys Charis Chua was born in 1985 in a small country town in Malaysia. Her musical training began when she was three and a half, with piano lessons following at age seven. At eleven she realised that it was boring just to play the piano and started playing the violin as a second instrument. By 2002 she had attained Grade 8 in violin, ATCL in piano and AMusTCL in theory, giving her more letters after her name than most PhD graduates. Her interest in improvisatory piano also began around this time. Upon completing high school Charis ignored the best advice of her teachers who wanted her to study medicine and decided to undertake a career in music. She received a scholarship to study at Adelaide's University Foundation and successfully auditioned for the jazz piano course at the Queensland Conservatorium, picking up another scholarship in the process. In 2005 she undertook a cross studies major incorporating jazz voice as well as piano. Charis plays Fender Rhodes with the band, occasionally lending her talent.

Neal Apel, bass guitar Neal is a man's man's ladies' man. It would be unfair to describe him as any less, for truly of all the men's men's ladies.... there are none that could resist his masculine curls, his unassuming good looks. I find myself swooning at this very moment. Neal's bass lines are no less solid than they are heaving, sweaty funk tapestries... testament to his wealth of chops. I propose a toast to our new bassist Neal; not only the man's man's ladies' man.... but the ladies' guitarist's bassist, also. Cheers!

Jo Mullins, guitar Part of the original duo from way back in high school days, Jo has always taken a more prominent role in the band than most jazz and funk guitarists. In a way his style is similar to that of John Scofield or maybe John McLaughlin, but his indie influences seem to show though a little as well. He creates an interesting blend of not only solid, ambitious licks but also subtle supporting grooves on the rare occasion that somebody else in the band gets the chance to solo. What must be said about his playing though is that he listens to the band as a whole and seems always conscious of both the underlying groove and the other various melodies and harmonies. I’d go into more detail describing Jo, but you’re probably better off having a browse through the pictures from the photo shoot…you’ll get a pretty good idea.

Matthew Horsley, percussion Matt has been playing percussion for since he was nine although his infatuation with Latin percussion began in 2002. He is currently studying classical percussion at the Queensland Conservatorium. Matt typically plays congas and bongos in the band with occasional forays on marimba and has been known to contribute in a lyric-writing capacity. He also plays congas in Brisbane-based salsa band Raza Latina. Aside from the various classical and Latin percussion instruments he enjoys playing (or perhaps more properly playing at) the didjeridu and bodhrán. His musical interests and influences are fairly eclectic although Latin jazz holds a special place in his heart. Someday he would like to be able to play like Mongo Santamaría, write like Lord Byron and dance like Nick Cave but for now he has to be content with worshipping the ground they walk (or indeed dance) on. Not that Lord Byron has walked on any ground for some time but if he were to be raised as some sort of particularly melancholic zombie, chances are Matt would be worshipping the ground he was currently shambling on.

Andrew Carter, drums Andrew plays drums. In fact he plays them rather well. Andrew’s beats generally follow a fairly simple ethic, but at the same time they can be deceptively intricate. I won’t bother with the terminology here but his grooves are consistently solid, without losing substance or subtlety. He worships drummers like Steve Gadd and Carter Beauford, and I would posit that he references them with great humility in his playing. Andrew is also a surprisingly strong creative influence, given his ability to hit skins and not much else. They say that monkey’s can play the drums, but Andrew has proven with his ambition and drive that he is indeed, no monkey. That is of course unless he were of those monkeys from Planet of the Apes… but I’m pretty sure he’s not.