Welcome to the Official Harry Lynn Music Website





At QPAC Jazz festival 2008

At QPAC Jazz festival 2008

Harry’s musical education started at 9 years of age with classical piano lessons from local teachers in his home town in the country. At the age of 15 a friend played him a recording of the Nat King Cole Trio and he was converted to a love of swinging jazz music from that point onwards. Further studies for 2 years with a local jazz pianist found him thirsting for further knowledge of jazz, so he commenced a fortnightly pilgrimage of 300 kilometers for the next 3 years to study with one of Australia’s most respected jazz piano teachers, “ Chuck “ Yates. For a more detailed look at his piano learning history click Here.


Moving from the country to commence his professional career he played in many varied jazz groups, all the while studying the works of the great jazz pianists like Oscar Peterson, Nat King Cole, George Shearing, Art Tatum, Red Garland, Bill Evans [ His favourite pianist ] and Keith Jarrett.


In 1969 he went to Singapore and worked at the Equatorial hotel where in addition to playing dinner and show music, he instigated Monday night Jam Sessions for all the local musicians. Many visiting American, English and French players who were in town for a show were invited to play. At this time of his career he started composing and has written a total of 105 songs in many different styles.


Mo Award Best Accompanying Band

On returning to Australia in 1970, he spent 2 years in nightclubs [ one was working 7 nights per week from 8.00 pm until 3.00 am ] and 2 years touring the East Coast of Australia as accompanist to singer Matt Flinders. While touring he was offered the position of accompanist to a vocal group based in Sydney. In addition to working with the Claire Poole Singers over the next 20 years, he also worked in the Hans Martin Trio, and then 11 years with the multi “Mo” Award winning group, the Dave Bridge Showband at some of the major Sydney Clubs and Hotels . Also played on recording sessions for singers, dancers and jingles for commercials.


He has been a resident of the Gold Coast area since 1990, and in addition to working as a jazz pianist has been recognized as being one of the most versatile players in Queensland. He is highly regarded as an accompanist for singers – he says it is one of his favourite musical pastimes – many singers comment on how comfortable it is to sing with him. Resident at prestigious Palm Meadows Golf Club for 7 years and Twin Towns Services Club since 1990. In 1991 Twin Towns Services Club asked him to do a three month trial as the 10.00 am to 12.00 midday Saturday morning singing pianist for ballroom dancing which included a large proportion of New Vogue dances, as well as Latin American. As of February 2012 the three month trial had grown to 21 years ! The regular dancers who attend almost every week are like a second family for Harry – some of them have been coming there for the whole 21 years !


The Quartet ” Hair We Go ! “

Harry, Peter McLaughlin and Warren Whittaker had played together since 1990 as a trio and when they started at ” Jazz in the Basement ” at the Arts Centre in June 2004 it was considered to be one of the most prestigious jobs on the Gold Coast. They recruited Malcolm Wood to join the trio after a short while. The engagement continued until the end of 2009, and with a change of management it was concluded. Five and a half years of great delight, wonderful relationships with their dedicated customers, and some great jazz ! One of many highlights was the quartet’s invitation to the QPAC Giants of Jazz festival in 2008. During the time at the Basement the band had a mentoring program for young players – click HERE for the Apprentices Story. Their philosophy was to be an entertaining band where they play their music seriously, but have lots of fun doing it. Harry is carrying on that philosophy and hopes you will enjoy the combination of good singing and playing with great entertainment.


In recent times Harry has joined up with singer and comedienne Beth Hamilton to form a duo of two voices with piano. They are available for all functions and can provide many musical genres with a full on “show business ” show to quiet background music more suited to restaurants. Trio and Quartet / Quintet engagements are very much a part of his musical life, regularly working with bassist Peter McLaughlin from the Basement days, drummers Owen Smith, Howard Carroll and Warren Whittaker, tenor saxophonist Bruce Johnston, alto saxophonist Willi Qua, and trumpeter Colin Jones.


As mentioned above, Harry has been recognized as being one of the most versatile players in Queensland. His musical genres include :-

1. Jazz – solo, duo, trio, quartet, quintet.

2. Dinner music – solo, duo with another singer, soft trio with bass and guitar.

3. As a multiple Mo Award winning accompanist for singers and instrumentalists

4. New Vogue & Ballroom Dance music – solo or duo with bass + electronic drums.

5. As a “roving” or “walkaround” keyboard player – see “LOTS MORE PHOTOGRAPHS”

6. Composing – over 100 songs composed.

7. Anything about pianos.





FOR BOOKINGS, PHONE 07 5533 9584 OR 0418 886 229



Our “Jazz Apprentices” Mentoring Program

After we had been at the Basement for about two years there was an event which was to have profound effect on us. A group of fifteen young people whom we found were members of the Gold Coast Youth Orchestra Big Band [ average age 15 ] had been playing a concert in a different part of the Arts Centre and decided to call in to listen to our quartet. We invited them in groups of three to partake of a noble tradition in jazz of sitting in with the band.There was a rapid exit from the majority of the GCYOBB members, but we ended up with three, Alex [ tenor saxophone ], James [ guitar ] and Cain [ trumpet ] on stage playing three songs. That was how the APPRENTICES came into being. These young men decided they wanted to do a lot more playing with us, listened to our suggestions and implemented them and not surprisingly, made great progress. These three went on to study at the Griffith University Conservatorium of Music and have since graduated with high distinctions.

In the following years we were blessed with having quite a few more apprentices with most of them going on to the Conservatorium, including, Cassie [alto saxophone ], Jesse [ alto saxophone ], Sam [ trombone and bass ], Tristan [ trumpet ], Julian [ alto and tenor saxophones ], James [ alto saxophone ]. The youngest ever on stage was an eight year old girl who played C Jam Blues. To the best of our knowledge, this was the only venue in Australia where very young musicians were invited to sit in with a professional band on a regular basis. It was good for the venue too, as each apprentice had parents, aunts, uncles and grandparents who patronised the Basement to hear their musical efforts.

Due to my enthusiasm for all these talented youngsters and having learned quite a lot about Social Media, my next move was to use Facebook and Twitter vigorously to promote our program. I was blown away when contacted by the head of the music program at the Idaho College in the USA, Mike Allen, offering a scholarship for two of the apprentices for the next ten day Music Camp ! Idaho was providing the ten day course and accommodation at no cost, with the attendee finding their air fare. What an opportunity it was ! The lecturers and teachers were the absolute top of their profession so our guys really had a huge kick along with their playing. Our Aussies were extremely popular in Idaho, with Mike Allen singing their praises, and inviting me to find more players for the following years. This opportunity has helped round out the playing and musicianship of all who attended for the last four years..Following YouTube is our goodnight song on one of our very successful Dixieland nights using extra players and being joined by the apprentices for Please Don’t Talk About Us When We’re Gone.



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My Instruments – Digital Keyboards

Start of the Digital Piano Age For Me

Starting with a Fender Rhodes ” Suitcase” model which was loaned to me on a regular basis by another Sydney musician in the late 1970’s I have always had a portable digital / electronic / electric keyboard in addition to the regular pianos mentioned in the previous article. The Rhodes had a large speaker system shaped like a box or suitcase which doubled as a stand for the keyboard part of the instrument and weighed what seemed like a ton !  I had to remove the passenger seat in my car to fit it all in. In changing times, the age of the well maintained pianos in various venues was in decline and a large part of we professional musicians made our earnings from jobs [ AKA “gigs” ] where we had to arrive with our own keyboard instrument. At least we knew what the instrument we were about to play, was like.

First Digital Piano

My first electric piano was a somewhat forgettable Roland model [ forgotten the model !] which was durable and heavy at 26 Kilograms, but it certainly earned its’ keep, even though it was never a great instrument to play compared to my home piano or the Yamaha C3 grand at the club where I worked. A side benefit of owning this one was the almost gymnasium style exercise I got by moving it. At this stage I owned an excellent Roland Jazz Chorus 80 amplifier and an even better and lighter Roland Keyboard Cube amplifier which has been a totally dependable quality instrument since the mid 1980’s to today [2012]  a run of over 25 years.  This Roland electric piano served me well until I heard about a newer and lighter Roland EP9E model  which had a good selection of sounds and at 15 Kilograms was a huge step up. Roland products are famous for their reliability and endurance, and I highly reccommend them for all levels of playing.

Korg M1 above Piano

As well as digital / electric pianos an important part of an instrument “arsenal” was to have a synthesiser for a variety of sounds. A family member in the music industry sold me an excellent quality and almost unused Korg M1 which I’ve had for about 25 years – it doesn’t get much use these days as my latest digital piano has a wide selection of sounds available, but when I use it, there is a bracket attached to the keyboard stand and the M1 sits above the piano as shown.

Roland EP 9e

I was about to replace the Roland EP9E  for our Jazz at the Basement gig as it was getting a little tired, when the Arts Centre asked me to test various models of electric / digital pianos for the Centre  to use for various areas there. Eventually I settled on a Yamaha P140 model which turned out to be a great choice for our jazz club room. The P140 has been superceded by the Yamaha P155 in recent times but is still rewarding to play. When the Arts Centre gig finished after 5 years, I continued with the Roland EP9E until quite recently, with some extra gigs in the book, it was time for a replacement.

My Latest Digital Piano

Roland RD 300 GX

Funny how decisions can be made from out of nowhere. I was booked to play an hour of solo piano at the Tweed Valley Jazz Club to be followed by a 10 piece blues band. The piano player  suggested I play his keyboard which was already set up for the band’s 2 sets to follow, rather than setup my own gear for one hour’s work. I willingly agreed and thus met what was to be my next instrument – I truly enjoyed Glenn’s Roland RD300 SX and was sorry to see my one hour disappear in what seemed like a few moments. I searched Ebay and other online markets for one, and settled on a Roland RD 300 GX the model after Glenn’s. It was part of a package deal with a 120 Watt amplifier and stand, and I’m delighted to say I’m having a passionate love affair with this model – a real quality instrument –  I love it.


My Instruments – Pianos

Family Piano

1896 Thurmer Upright

As a player who has been brought up on pianos from the age of 9, I have a preference for real pianos, especially grand pianos. Our first family piano was an 1896 German THURMER upright piano with an overdamper action. It was bought for my mother Helena, in the 1930’s and is still in our family’s possession residing in my sister’s home, and remarkably, it still plays quite well. Both my parents played a little, Mum strictly by ear, and Dad only by having music in front of him – he was also very good at playing the organ in our local church, and I have inherited both the ear playing and reading skills, plus a good memory for hundreds or possibly thousands of tunes.

Hello to my First Grand Piano

When I moved away from home in the country to live in Melbourne, Victoria, I shared a house with my teacher who owned an Australian made Werthiem Concert Grand Piano which measured over nine feet [ almost three metres ] in length with a majestic sound of awe inspiring power. I was able to buy it from my teacher who was heading overseas and do my practice on this monster of an instrument every day, and ever since there has been a total addiction on my part to have a grand in the family. Circumstances changed after 3 years and, very sadly I had to sell it – moving such an instrument from rented premises to rented premises is a logistical nightmare and very expensive, so an upright piano was the answer.

Hello to my First Upright

Staying with a quality Australian brand my next one was a Beale which had been a pianola, but had all the player mechanism removed thus making it a normal piano. Beales were revered for their durability, excellent actions and superb tone, and although it wasn’t the same quality of sound as the Werthiem it certainly was a great and more portable instrument.  It was sold when I moved interstate and after settling in to my new home, another Beale upright joined the family. After a year my gypsy spirit said I should return to the original home of Melbourne, and this Beale number two was sold. Next was a Lipp upright of German origin which I kept for several years and was sold when I moved to Singapore.

My C3 Love Affair Begins………. 

Yamaha C3 in Black / Ebony

Life was never the same after that as I was asked by the hotel management to go to the local Yamaha warehouse and choose any model of Grand Piano as long as it was white [ to suit the interior decorators taste ] The model I chose was a white Yamaha C3 which was a very nice instrument but not as  beautiful as a better playing black C3 next to it – the decorator won the argument but I started my lifelong love affair with black C3’s.  The letter “C” refers to the Conservatory Model which has a superior grade of materials and finish to the “G” models which play very well, but not to the “C” series excellent standard. The C3 is just over six feet in length and is about as big as most homes can comfortably accommodate. On my return to Australia, you guessed it, another Beale was bought, then sold as we had the chance to get an delightful August Forster upright which is still in the family.  Following this there was a bit more of the gypsy life when I went flying seaplanes and didn’t play for two years except for ” Happy Birthday ” occasionally on an electric piano, and a few months after settling on the Gold Coast and deciding to combine flying and piano playing, we found an auction advertisement which simply said Black Grand Piano – was it worth a look ?  Only rarely do general auctions have good pianos, but it was worth a look, perhaps ! You guessed it – a dusty black grand was up for auction.When I lifted the lid I was totally agog ! A Yamaha C3 ! It was a little older than the one in Singapore, but was just as good to play or even better, so we decided to bid for it. YES !!! We got it !  My love affair Black Yamaha C3 Grand has lived with us for eighteen glorious years and is still loved and played regularly.

Yamaha Concert Grand – the C3’s big brother.