The jazz pianist-composer reflects on reinterpreting Mozart for a good cause.

Limelight, Dec 2011, pp78

When Paul Grabowsky, artistic director of Hush, asked me to record an album for the series, I thought it was an honour to do something good for other people, especially by way of my life’s passion. And it was Paul who believed that the way I construct melodic lines in my improvisations – the cantabile and directness – were compatible with Mozart. It turned out to be an inspired decision: after hearing this recording, the formidable pianist Nikolai Demidenko recommended me to the Queensland Symphony as soloist in a Mozart concerto!

I could have reworked just about any of Mozart’s music, so I settled on the first 12 pieces I thought of. Sometimes, such as in Eine Kleine, I’ve kept only the melody – or a remnant of it – and changed everything else. In these cases, I see my work as belonging to the realm of composition, not arrangement. As such, I imagined that Wolfgang handed me a tune he was working on, perhaps unfinished, and said, “Do something exciting and unique with it – play with it, change it all you like, but make sure you keep my essence, and don’t forget to tell me something about yourself in the process.”

In a way, Chopin, Liszt, Bach and Mozart – all legendary improvisers – had more in common with jazz practitioners than modern-day classical performers. I don’t put on a jazz hat as such: in the slow movement of K595, I play the original and then improvise around it in a very Mozartian way so that the line between the original and my improvisations is blurred. This is what sets me apart from musicians such as Jacques Loussier. I’m not jazzing anything up or trying to make classical music cool, but providing an alternative view, by way of a serious tribute.

Hush was also a chance to find an artistic meeting point for me and my partner, violinist Zoë Black (above). We have since formed a duet, expanding this concept to the music of Schumann, Bach, Couperin, Handel and 20th-century composers – a real meeting of musical worlds.

‘America!’ – Joe Chindamo plays the Paul Simon song book (2002)

“He has that Bill Evans knack for bringing unlikely material into his own orbit.”

Michael Cuscuna, Producer of the reissue program, Blue Note record label USA

“No matter how over played the tunes – and the 13 tracks here by songwriter Paul Simon have been covered dozens of times – Chindamo has the rare ability to turn them into personal musical statements. Chindamo has an amazing harmonic sense and great time that enables him to imbue these songs with a fresh vitality. He continues to raise the bar of excellence with each new disc.”

Kevin Jones, The Weekend Australian

“The Melbourne pianist knows how to deconstruct and rebuild, how to refashion the familiar without losing it's essence. The musicianship and interplay shine through and more often than not the familiar is transformed.”

Leon Gettler, The Age

“Given his attraction to melody, it makes sense for Melbourne pianist Joe Chindamo to spend an album on the songs of Paul Simon. Casting familiar material in a new light – revising the harmony and rhythms while retaining the melodic essence – is something Chindamo has always enjoyed. He excels here. Chindamo displays masterful touch and enjoys tasteful support from bassist Matt Clohesy and drummer David Beck.”

Adrian Jackson, The Bulletin

“Local composer and pianist Joe Chindamo has rifled through his flower-power records and put the mojo into Mrs Robinson so to speak. Chindamo is challenging audiences to resist singing along to his interpretations of Paul Simons hits.”

Blanche Clark, Herald Sun