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Blue Grassy Knoll

About Me


The Blue Grassy Knoll are back from touring China and have gigs in Melbourne and up at the Woodford Folk Festival before the end of 2007.
So if you've never heard of the BGK, there's two things to witness. Firstly the live gigs as a band. Why write about it when you can watch it? Click on the YouTube clip and decide for yourself what they are like.
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As well as their reputation for scorching live performance as an energetic five piece gypsy-bluegrass troupe, The Blue Grassy Knoll have developed a truly unique project of writing scores to accompany the silent films of Buster Keaton. They so far have six Buster Keaton silent films in their repertoire - Our Hospitality (1923), Cops (1921) Sherlock JR (1924) The Boat (1922), Go West (1925), and One Week (1921). These brilliant live scores have become as notorious as the films they accompany.
This unique live filmscore concept has created for the band a successful touring show which over the last 10 years has enjoyed repeat seasons in every continent on the planet, the highlights being seasons at The New Victory Theatre on Broadway, The Edinburgh Festival, Lyric Theatre in London, a 3-month regional tour of North America, and festival appearances in Ireland, South Africa, Brazil, Korea, Germany, the Netherlands and New Zealand. Each separate venture has been a commercial and critical success in its own right
Check out why:
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It turns out that Buster Keaton and Blue Grassy Knoll are quite a team, once described as “two professional entertainment troupes working in tandem to create a cinematic experience greater than the sum of the parts” (In Press Magazine, April 97). The BGK have used Buster Keaton’s masterpieces to extend their range, capitalising on the multi-instrumentalist abilities of the band members to broaden their pallet of sounds. When the theatre lights are dimmed and the audience's attention is turned to Buster, they transform from a band into an orchestra, exploring a more subtle, sensitive, experimental and contemporary aspects of their musical creations. In doing so they also transform movie watching into an aural event, matching wits with Keaton by citing modern musical references that bring the show alive and make it relevant for today’s audience. Respectfully deferring to film for their emotional and structural reference, their artistic vision is to produce a contemporary score that draws inspiration from a variety of familiar musical styles - bluegrass, gypsy, hillbilly, zydeco and swing music of the early 20’s - while at the same time incorporating a modern filmic quality to the form, blending old motifs with more subversive, contemporary and classical arrangements. The group’s mischievous musical theatricality is never far away, however, and the final construction is a form that is not dated by it’s cinematic source, but rather re-invents this source, thanks to the cannon of film composition that has occurred over the 80 years since these films were first screened. The BGK are intentionally pushing the filmscoring form in new directions, and in doing so release these brilliant works from their preconceived shackles of old-fashioned rigidity and quaintness, lovingly reinvigorating them with the life and energy they deserve.
And they've toured everywhere. Beginnnig at the Melbourne Fring Festival in 1996, they've gone to
The Esplanade, Singapore Arts Festival, 2006, New Lyric Theatre, London, April 2003, Temple Bar, Dublin, June 2002, New 42nd St Theatre, New York, November 2001, Seoul Performing Arts Centre, July 2001, Milk Children’s Arts Festival, Toronto, May 2001, Cultura Inglesa, Sao Paulo, Brazil, June 2001, Royal National Theatre, London, July 2000, World Expo2000, Hannover, June 2000, Temple Bar, Dublin, August 2000, British Film Institute, July 2000, Sydney Opera House, November 1999 & December 2000, Edinburgh Fringe Festival, 1999, 2000 (Award Winners - Spirit of the Fringe 2000), Spier Arts Festival, Cape Town, November 1999, Wellington Fringe Festival, NZ, March 1998, Lake Taupo Arts Festival, NZ, February 2000, Stockton International Festival, UK, 1999, Klankenberg Festival, Belgium, July 2000, Taranaki Festival, New Zealand, March 1998, Woodford Folk Festival, Queensland, 96,97,98,2000/01, Netherlands Regional Theatre Tour - Jan-Feb 2001, Galway Arts Festival, Ireland, July 1999,
Australian Performances:
Sydney Opera House, November 1999 & December 2000, Melbourne International Film Festival (97 & 98), Melbourne International Comedy Festival (97), Melbourne International Festival of the Arts (97,98, 2000), Adelaide Fringe Festival (98, 2000), Port Fairy Folk Festival (98) Apollo Bay Music Festival (97, 98) Winter Solstice Festival, Brisbane (97) Rockhampton Fringe Festival (97) Sunset Cinema, Perth, 1999 Sydney City Council Special Outdoor Event (1998) Senior Citizens Week 1997 Astor Theatre, Melbourne, 1999, 2000 Valhalla Cinema, Sydney, 97, 98. Luna Cinema, Perth, 97, 98 Capitol Cinema, Melbourne, 1997, 98.

My Interests

Music:

Member Since: 17/10/2006
Band Website: You&39;re looking at it
Band Members: Simon Barfoot (Guitar, vocals, percussion) The public face of the Blue Grassy Knoll, Simon takes care of vocal and MC duties in the band with charm, humor and a faultless sense of fashion. He also bashes out all guitar, percussion and foley duties. Armed with a secondary education from St. Pat’s Cathedral Choir School and a tertiary education Melbourne University Conservatories, Simon dropped out to play in Irish rebel band The Craic for 4 years and pursue his career in the theatre as an actor, director and writer. He wrote and directed the 1993 Melbourne University Comedy Revue which culminated in a national tour, as well as Whitlam - The Musical for the 1994 Melbourne International Comedy Festival. He has since written comedy for ABCTV and Channel 7. In 1995 Simon was Assistant Director of the Melbourne Fringe Festival, coordinated Cyber-Fringe and New Short Works. In 1996 he played Macbeth in the Merri Shakespeare Company's production of Macbeth.
Gus Macmillan (Banjo, guitar, flute) Gus is an experienced freelance multi-instrumentalist who, discarding his Masters degree in Australian Literature from Monash University, has instead gone on to master guitar, flute and banjo. Playing in numerous weird sometimes wonderful bands he has also accrued eleven years experience as a band & venue booker, managing tours and coordinating publicity for half a dozen Australian acts. An experienced musical director of various theatrical projects he has toured schools as a musician-in-residence and written filmscores for independent film productions. He also has owns a small recording studio for his own indulgences. He was (via his company Back and to the Left Productions) the initiator & coordinator of the Buster Keaton/Blue Grassy Knoll project and is responsible for plotting and scheming the band’s rise to world domination.
Philip McLeod (accordion, cello, mandolin, harmonica, casio) Philip is an over-talented Melbourne-based musician and performer. After completing his Bachelor of Arts with a major in music at La Trobe University, Philip has been actively pursuing a career in the music industry between dole payments. As a composer and performer in many music theatre productions, he has toured the country playing in various festivals. As well as his ongoing commitment to the Blue Grassy Knoll he plays in bands ranging from Latin, country and western, and disco bands to string quartets and orchestras. Philip was a member of the Graeme Leak String Quartet, and co-wrote, composed and acted in Man Eats Man, as well as performing in a number of small ensembles, including Adana and The Yetnikov Trio.Stephan O'Hara (Fiddle).
Steph started playing the violin when he was six. After finishing his degree in composition and computer music at La Trobe University, he has played in numerous bands including techno-cabaret outfit Fimo and gypsy ensemble Adana. He has also written and played for theatre and dance and also involves himself in recording projects as a sound engineer and producer. Steph also spends time playing with electronic noise making machines and inventing electronic equipment, and writing random music generating programs. He has been working as a sound and lighting engineer in Amsterdam between Blue Grassy Knoll tours.
Alex Miller (double bass) Alex has been playing bass since he was 12 years old. He moved to Melbourne in 1995 from Canberra where he studied jazz at the ANU. He is a full time musician and plays in countless bands around Melbourne including his own project The Case Managers. He teaches bass and double bass and works part time as a music therapist and carer of people with intellectual disabilities.
Influences:
Record Label: Unsigned

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