Robert Vincs performance practice spans a diversity of contexts that include improvised and jazz based music, cross-media performance, experimental and popular music.
Vincs currently lectures in Saxophone, Improvisation and Music Technology at the Victorian College of the Arts. He has been involved in music and education since 1983, upon completion of his Diploma of Arts (music) Victorian College of the Arts. His awarded post graduate studies were on “Artificial Intelligence and Technology in Improvised Music Performance”.
Vincs has performed in the US, Europe, Asia and Australia in a variety of performance contexts specializing in music for contemporary dance. In 2002 Vincs was awarded his PhD and continues to combine his research and his musical performance toward finding ‘freedom’ in the music.
Vincs’ performance career started early as a member of Separate Tables / Girl Overboard between 1983 and ‘86. It was during this time that he became a major exponent of the Fairlight CMI (computer music instrument) leading to his sounds being used by Thomas Dolby and Kate Bush. One of the highlights of those early years was as part of Girl Overboard, playing as support for John Farnham’s ‘Whispering Jack’ tour of 1986.
More recent highlights include: Melbourne International Jazz Festival, (Ensemble Max), Seoul International Crossover Improvisation Dance Festival, in 2005 and was a guest artist in the same year Seoul Contemporary Dance Company, Melbourne International Arts Festival, 2005, (Ensemble Max), ‘Ausmusic Forum.’ Victorian Arts Center, 2005, invited participant, world record attempt, playing 98 hours of non-stop jazz, Melbourne Concert Hall, Melbourne Fringe Festival, Disasterware, winner ‘Best Band’ Battery Wallace, San Francisco, solo saxophone performance, 2000 Luna Studio, San Francisco, saxophone duet with poet Ed Aust (best beat poet, San Francisco,1997), Wangaratta Jazz Festival, Quasimodo Club, Berlin 1991, Bim Huis, Amsterdam, 1991
Vincs continues to perform regularly as a freelance musician in jazz and popular music and has performed with groups such as: Age 1+2, Bokosa, Casual Sax, Disasterware, Soul Jesters, Wild Dog Ensemble, Mistaken Identity, Ten Apples on Top, Jam Jah, Chris Coe Band, Running Bears, Jodi Stor Quintet, The Trio among others.
As a studio engineer Vincs has experienced an exceptionally diverse array of situations and ensembles. This includes recording the VCA Symphony Orchestra, Germiniani Chamber Orchestras, improvisation and jazz groups, string quartets, experimental ensembles, world music groups, brass choirs and opera. Vincs has also recorded Mornington Island indigenous sacred songs and stories and was assistant engineer for Melbourne’s successful Olympic bid presentation direct via satellite to Tokyo from GTV Channel 9.
Vincs has composed for dance, theatre and film. Highlighted compositions and sound designs for dance include: 1+X= Mid-range Projection (Seoul Contemporary Dance Company), Torque: an occasion, Kim’s Style Guide for the Kinesthetic Boffin, Dances From Hell, Fresh Start (Winning Best Dance Program award -Melbourne Fringe Festival), Dances From Hell (one of five pieces selected nationally to be performed at the launching of the Australian Choreographic Center), Festival for a Quiet Life, Unfunded Liabilities, Dislocations*, Sometimes, I can see forever…*, Boulevard Bay*, Earth* (*Co written with Sue Johnson and Serge DeLeucio). Theatre and film pieces include The Man from Muckinupin, Concepts Incorporated, Nancy Wake, The Facts of Life Down Under, The Apprentice Time Traveler, Nan’s in a Box, Fair Treatment and Ambiguous Genitalia.
Robert Vincs Devic Kingdom (Extreme)
Zeno’s Wig Eyes and Instinct (Newmarket 3017.2)*
Zeno’s Wig Bare (Newmarket 3057.2)
Disasterware Riot Slacks (DW001)
Robert Vincs Qi’alla (Glos 0201)
Robert Vincs Ceremonial (Glos 0301)
*ARIA nominated for ‘Best Jazz Album 1997’