Cover Image: Drummer, composer, bandleader — Michael Pignéguy lives at the intersection of rhythm and connection.

In the coming months, two extraordinary performances at Mosman Park’s Camelot Theatre will showcase the wide-ranging artistry and global vision of Australian drummer, composer and musical director, Michael Pignéguy.

On 26 October, Pignéguy leads his acclaimed Michael Pignéguy Quartet in a rare Perth collaboration with internationally renowned Singaporean jazz vocalist Alemay Fernandez. With a career that has seen her share the stage with Gregory Porter, Wynton Marsalis and the Count Basie and Duke Ellington Orchestras, Fernandez brings her powerhouse vocals and deep jazz sensibility to Camelot’s renowned acoustic setting. The evening promises a dynamic blend of modern bop, soul jazz and ballads, including the premiere of two new original compositions.

Then, on 15 November, Pignéguy returns with Tales from the Orient, a deeply evocative concert presented by The Awakenings Ensemble. Taking audiences on a sonic journey through Istanbul, Syria, Jordan, Egypt, Persia and beyond, this project weaves traditional instruments and global influences into contemporary jazz frameworks, highlighting the Ensemble’s mission to promote healing, unity and understanding through shared musical traditions.

Leanne Casellas chatted with Michael Pignéguy about the forthcoming shows, his cross-cultural collaborations, inspirations, and the musical journey that continues to unfold across continents.

On Influences and Musical Roots

Q:   Tales from the Orient is an evocative journey through music and geography – what was the spark that inspired this concept, and how do you approach weaving diverse musical traditions into a coherent narrative?

A:   A few years ago, I became fascinated with the way story and music can work together to heighten and expand both the musicians’ and audiences’ experience during a performance. At the same time, I was searching for ways to share some of the incredible experiences I had while living and travelling in the Middle East. Creating Tales from the Orient seemed to be a great way to answer those questions.

Q:   Audiences have described The Awakenings Ensemble’s performances as “cinematic” and “spiritually moving”. How do you translate cultural and emotional nuance into sound, particularly when working across traditions like Persian, Arabic, and Turkish music?

A:   I believe there are core values we share as humans that transcend culture and place, however, what is amazing is how different emotions, feelings and thoughts are expressed through the diverse cultural and artistic lenses in each region of the world.  What we attempt to do in The Awakenings Ensemble is crystallise the essence of meaning and feeling of specific stories while drawing on traditional sounds, rhythms and compositional forms. During this process we try to find a balance between authenticity and interpretation, which can sometimes be difficult!

Q:   As someone whose music has been described as both groove-driven and harmonically sophisticated, who have been your key musical influences—both in jazz and beyond?

A:    Layered rhythms and lush harmony are probably at the centre of my musical universe. Rhythmically, Latin and Oriental music have been big influences. Harmonically, Jazz and 19th century “Romantic” music opened the door to exploring creating rich chord progressions. Jazz, in particular, but also some World music styles, place a great importance on improvisation or seeing music as a language, which is fundamentally how I view the artform.

In terms of influences, a very short list would be: Beethoven (how to develop an idea), Rimsky-Korsakov (how to orchestrate), Stravinsky (the earliest punk composer), Mozart (absolute musical succinctness), Miles Davis (the ability to embrace new ideas), Chick Corea (rhythmic approach to composition and improvisation), Ziad Rahbani (ability to fuse jazz and oriental styles), Ibrahim Maalouf (direct emotion fusing jazz and aspects of oriental music), Dirty Loops (perfect blend of advanced harmony, sophisticated rhythms and production), Dave Weckl (creating new ways to orchestrate rhythms on the drum set), Buddy Rich (demonstrating how to drive a band).

On Collaboration and Performance

Q:   You’ve brought The Awakenings Ensemble to prestigious stages, the likes of New York’s Lincoln Centre to spaces across Asia, the Middle East and Australia. How has touring with the group shaped your musical direction and deepened your connection to global traditions?

A:   Yes, when we tour, we nearly always feature guests from the places we visit. This has a multilayered effect. It provides fresh musical input and inspiration for the members of the group while also exposing us to aspects of the local culture and inevitably leading to a wider artistic network, both for us and the artists we meet.

Q:   The ensemble’s instrumentation is striking – ney, oud, vibraphone, clarinets, violin – how do you choose collaborators and build these richly layered arrangements?

A:   Musical sensitivity and openness are probably the two most important attributes needed for any of the artists we collaborate with. This is due to the fact that each of us are often required to re-think how we approach playing our instruments as the styles we play often require non-traditional playing techniques to create specific sounds.

Q:   You’re collaborating with Singaporean jazz powerhouse Alemay Fernandez in the upcoming Camelot show next month. What excites you about this partnership, and what can Perth audiences expect from that performance?

A:   Yes, I’m very excited about this jazz performance which will feature my quartet and Alemay! She is an absolutely incredible vocalist who can interpret every song she sings in an amazingly unique way. Her tone, rhythm and range are outstanding and when combined with her larger-than-life personality, she is a joy to perform with.  Audiences can expect a night of world-class vocal performances with lashings of spontaneity and laughter. Good times!

Q:   How do you shift gears creatively between large-scale orchestration and small-ensemble improvisation?

A:   The two are linked to the core meaning of each composition so that the ideal is that they should flow seamlessly, if planned well. Sometimes this can only be worked out in a performance but most times I am able to pre-hear whether something will work or resolve issues in the rehearsal process, often with input from members of the group.

Global Audiences and the Future

Q:   What do accolades and international attention, from critics and presenters alike, mean to you at this stage in your career, and how do they influence your next steps creatively?

A:   Accolades used to be more important to me and, although I will always be happy to receive an award or recognition for the music I create, they do not factor into the creative choices I make. I have very specific artistic and creative goals and areas that I want to explore, so it is much about the people I work with, both on and off the stage that drive what I do. Fundamentally it’s about who you do things with that matters to me. I also believe that it is this same aspect which translates to audiences in the live setting.

Q:   Healing, understanding, and unity are core themes in Tales from the Orient. Do you see music as a form of cultural diplomacy? How do you see your role in that space evolving?

A:   My involvement in music across the areas of performance, composition and education has shown me time and time again that the artform holds a unique ability in being able to help bring people together in different ways. For the performers, they must commit to trusting and supporting their fellow artists in very particular ways while also attempting to make a connection with their audience. Concert goers must let their guard down and allow musicians to communicate with them, often in non-verbal ways, essentially taking a leap of faith that can allow for deep links to be established. Ensemble participation in education settings allows for a particular combination of multisensory experiences to take place that can have a lasting and very positive effect on young people.

Q:   Beyond the two shows at Camelot and an ever-growing global audience, what’s next for you? Are there new projects, recordings, or tours on the horizon that you’re particularly excited about?

A:   Indeed! I’m hoping 2026 will include a number of international opportunities in regions that I have not previously explored, particularly in Asia and Europe. In addition, there are several recording projects currently on the boil with both Australian and International artists. Some of these vocal and some instrumental. The Awakenings Ensemble is currently working on a new album and Alemay are in the process of recording new music – so lots of things to share very soon, I hope! 

Alemay Fernandez & The Michael Pignéguy Quartet is showing at Camelot Theatre on October 26, 6:00pm to 9:00pm. For more information visit:
https://www.trybooking.com/events/landing/1462528

Tales from the Orient is showing at Camelot Theatre on November 15, 6:00pm to 9:00pm. For more information visit:
https://www.trybooking.com/events/landing/1462649