Tom Pickering: Jazz on the periphery of the periphery

This article explores the initial encounter with jazz by Tom Pickering, and documents his musical development until the first Australian Jazz Convention in 1946. The AJC is a useful demarcation in time: the broad division in Australian jazz, which still exists, between those pursuing more traditional styles and those focused on modern styles (bebop and beyond) can be traced to this event. Through the examination of the early career of Pickering, the cultural transfer of jazz is explored. I argue that given the sociological environment, scarcity of materials and sheer enthusiasm for the American models, Australian jazz has at its core a distinctive sound that is nevertheless closely related to its American roots. Pickering represents the typical encounter and pursuit of jazz in Australia during the first half of the twentieth century: a teenage introduction to dance music and hot music, experimentation with instrumental performance given little to no tuition, appropriation of the music by imitation of recordings individually and within a group setting, and the relentless consumption of all available information connected to the art form. By taking Pickering as a case study, I will demonstrate the initial period of exposure and appropriation that is common to many Australian jazz musicians, which was crucial in the formation of an Australian jazz sound. Through the dissection of the developmental processes of a typical Australian jazz musician in the former half of the twentieth century, this article sheds new light on the identity of Australian jazz and demonstrates modalities concerning the international movement of musical form. Aside from Bruce Johnson’s work in The Inaudible Music and Timothy Steven’s study of The Red Onions Jazz Band, there is little documentation of the processes of appropriation of traditional jazz styles undertaken by Australian musicians. This paper explores the initial encounter with jazz by Tom Pickering, and documents his musical development until the first Australian Jazz Convention in 1946. The AJC is a useful demarcation in time: the broad division in Australian jazz, which still exists, between those pursuing more traditional styles and those focused on modern styles (bebop and beyond) can be traced to this event. Through the examination of the early career of Pickering, the cultural transfer of jazz is explored. I argue that given the sociological environment, lack of endemic culture, scarcity of materials and sheer enthusiasm for the American models, Australian jazz has at its core a distinctive sound that is nevertheless closely related to its American roots. Pickering represents the typical encounter and pursuit of jazz in Australia during the first half of the 20 th century: a teenage introduction to dance music and ‘hot’ music via radio and gramophone, experimentation with instrumental performance given little to no tuition, appropriation of the music by imitation of recordings individually and within a group setting, and the relentless consumption of all available information connected to the art form. Through the analysis of recordings and journals from the period, and Pickering’s own autobiographical notes, I will elucidate the role of the local importer in the creation of a differentiated jazz approach. By taking Pickering as a case study, I will demonstrate the initial period of exposure and appropriation that is common to many Australian jazz musicians, which was crucial in the formation of an Australian jazz sound. Through the dissection of the developmental processes of a typical Australian jazz musician in the former half of the 20 th century, this paper sheds new light on the identity of Australian jazz and demonstrates modalities concerning the international movement of musical form.