There’s a common understanding that the way most music gets made is a three-stage procedure. 1) A composer composes a piece 2) Some musicians rehearse it in order to be able to accurately play what the composer wrote 3) The piece is performed.


There has been quite a lot written to dispute this model across musical genres, and at the very least most jazz musicians will attest to the fact that, while rehearsals normally precede performance, the purpose that they serve is more nuanced. I am currently mid-way through a series of preparatory rehearsals for a large ensemble project called Picasso(s):Interactions that will have its debut performance next weekend (27thApril 2019).


The first thing to say is that being in a position to say this at all is quite unusual, and I should once again acknowledge the support of Arts Council England for making it possible to dedicate four long sessions to working on my new music with a 12-piece ensemble!


To continue, if we return to my opening remarks we could speculate that the reason for my having chosen to spend so much time rehearsing is that the music that I have written is extremely complex and difficult to play. However, while there are some sections that have needed a bit of work, all in all what I have written is relatively simple, at least in terms of the number of notes.


So why the need for so much rehearsal time?


Consider the following description of Duke Ellington’s composition process:


Ellington is a new type of composer in that he has written…for a particular group of human beings…The more respect shown for the identities of the individuals who comprise it, the better it will be…. This is why there must be a two-way relationship between the composer and the players.’


I won’t go into too much analytical detail regarding this statement beyond drawing attention to the last line, and to the ‘two-way’ relationship between composer and musicians. Because jazz relies heavily on improvisation it is inevitable that individual musicians will make unique contributions to the music.

This effect becomes more pronounced the more improvisation is used.


When I compose music for MFJO I try and follow Ellington’s model. I prepare fragments of music to stimulate the collective imagination of the group, and then we spend as much time engaged in musical dialogue as is necessary to establish a way of performing the material that represents the group aesthetic.


The Picasso(s):Interactionsrehearsals has reinforce to me the importance of allowing time for a group of jazz musicians to develop a relationship with one another via the music they perform.  I’m very much looking forward to continuing this process and finding out where my initial ideas end up.







It might be possible to detect a slightly academic note to the way I think about music. This is because my ‘day job’ is as a researcher and philosophiser of music. Not too surprising then….


Last weekend I was fortunate enough to spend several days among likeminded colleagues at the Rhythm Changes jazz studies conference in Graz. As I have been writing about the importance of dedicating time to exploring and developing musical ideas, I should point out that the same is true of research. As well as being given time to share my ideas with a group of other musician/researchers, I was also lucky enough to hear a number of presentations from a diverse range of people on an equally wide variety of topics.


I’m feeling particularly well nourished in music and ideas these days!

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Sometimes you don’t know what you’re looking for until you’ve found it. In fact, there are times when you don’t even realise that there was anything to be looked for in the first place. That is, until you suddenly notice that the hue of your subconscious has changed a little, that a new feeling, or depth of understanding, is shaping the way you go about your business. At which point it becomes almost unthinkable that you hadn’t noticed long before now.


I’m writing on the eve of the first rehearsal of a new musical project that I have embarked on. This is ostensibly a new suite of music that I’m in the process of writing for the 12-piece ensemble that I convene from time to time, but actually it represents more than that. To be sure, it is a new suite of music (or at least it will be soon). Nevertheless, I have recently come to realise that it also represents an important development in my relationship with music in more general terms.


Since I began a PhD in composition at Royal Birmingham Conservatoire in 2014, I have been dedicating an increasingly large percentage of my intellectual and creative efforts to critiquing and questioning not only the way I engage with music, but also the fact that the wider worlds of art and philosophy come to bear on my role as a twenty-first century European jazz musician (not to mention a doctor of such matters to boot), and furthermore that recognising this fact can be richly rewarding.


Perhaps the most notable result of this change of perspective has been a shift in the balance between the way I prepare and perform music. As things now stand, the process by which I engage with the former has become both more deliberate and more painstaking. By this I mean that I have come to invest more thought in the way that I conceive of music – be it practicing, composing, performing, listening, or one of the many variants thereof. While the minutiae of this process may only be of interest to the most hardened of theorists, the results can be more readily witnessed. An example of this will bring me round to the new music that I’ll be rehearsing for the first time tomorrow.


My most recent album was a self-released solo saxophone record that I entitled Picasso(s). This music was the outcome of my doctoral research, and in the simplest of terms represents my attempt to find an original way to perform jazz, via Picasso’s Las Meninas and Coleman Hawkins’ Picasso. The details of this process are best saved for another forum (a brief outline is available in a previous post) but the effect it has had on me as musician has been profound. So much so that I have decided to build on the solo project with the aforementioned large ensemble suite.


Which brings me back to my starting point. I suspect that as a result of this process I have developed a conception of music that, at least for the moment, allows me to reconcile, on one hand, my longstanding commitment to the varied historical traditions of jazz (memories of bunking off school to go and buy Charlie Parker records), and on the other, my complex, at times insecure, and by no means always positively-motivated, expectation that I should be a ground-breaking experimentalist. To put it more simply, I’m excited to play it!


Of course, much of this might be of little or no interest to many of my listeners. However, I have decided to undertake to make details of my process available should anyone be interested. Sharing these insights will take a number of forms. Of course, I will be updating this site much more frequently, and I will be doing my best to encourage people to feed back. I will also be offering pre- and post-concert talks to allow audience members not only to find out more about how the music comes about, but also to engage in discourse with the performers.


And, of course, we’ll be performing the music too! A date for the diary is the 27thApril at the Midland Arts Centre in Birmingham, where we’ll be premiering the new suite as part of Sid Peacock’s Surge In Spring festival.


My plan is to post updates here as the project progresses, and I’d be very happy to hear from anyone who would like to know more.


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The last time I posted on here – an embarrassingly large number of years ago – I made reference to the fact that I was in the early stages of my PhD research. Jumping forward to the present I’m now pleased – not to mention relieved – to say that it’s very nearly finished. Much of what I have been working on has been fairly complex theorisation of my work as a musician and so is unlikely to be of interest to everyone. Nevertheless, the main focus of the project is music, and the centrepiece of my research is a piece for solo saxophone that I have called Picasso(s). While an hour of solo saxophone music might not be to everyone’s taste, I am proud of the results and would love for people to hear it. Consequently, the main purpose of this post it to draw attention to the link below. By following it you can hear a studio recording of the piece, and if you really like it you can also order a physical copy (!):


However, while it is perfectly possible to listen to the music without any further contextualisation, I am also keen to draw attention to the fact that there is a conceptual basis to the project too. With this in mind, I am also including a short introduction to the theoretical aspect of the project. Once again this won’t be of interest to everyone, but I hope that contextualising the music might add an addition layer of interest to the listening experience. Additionally, I have included a link to the Hawkins recording that I used as the musical basis for my piece.

The following is a brief outline of my Picasso(s) project:


‘Suppose (I) were to make a copy of Las Meninas… Almost certainly I would be tempted to modify the light or arrange it differently…. Gradually I would create a painting…(that)…would not be Velazquez’s picture; it would be my Las Meninas.’ Pablo Picasso

In the second half of 1957, Pablo Picasso began a 6-month creative examination of a Velazquez masterpiece, which resulted in the series of 58 paintings that comprise his own Las Meninas. This collection is a seminal exploration of artistic originality, what Ortega called ‘the clash of the individual sensibility and already existing art.’

Picasso(s) uses the ‘clash’ concept to explore the thresholds between originality/imitation and composition/improvisation within my own creative practice. It combines elements of Picasso’s Las Meninas and Coleman Hawkins’ 1948 solo recording Picasso to form a pieces for solo saxophone that allows the performer to explore their own originality.


Hakwins’ Picasso:


Finally, as the music forms part of a PhD research project, there is inevitably a lot more that I have written about the development of Picasso(s) as well as the theory and history of originality in art and music. Consequently, I would encourage anyone who’d like to know more about it to get in touch directly with me and I’d be happy to expand in moe detail!



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Some questions

1 – Would you describe yourself as a jazz musician? If yes, please qualify. If no, how would you describe your relationship with jazz?

2 – What motivated you to become involved with jazz?

3 – Are you involved in forms of musical activity that you consider as ‘non-jazz’? And, if so, how does this impact on your involvement with jazz?

4 – Does your involvement with jazz engender any feelings of responsibility?

5 – To what extent do you consider your involvement with jazz to be a choice?

6 – Are there non-musical factors that influence the way you are involved with jazz?

7 – Other thoughts/comments

Please reply to

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Forgive me WordPress, for I have sinned…..

When I first signed up as a fledgling blogger, I had high hopes of making regular contributions to the every growing wealth of knowledge and opinion on the internet. However, the evident lack of posts reveals that this hasn’t quite been the case, which is something that has preyed on my mind to a certain extent. Although I am under no illusions that my current status as a lapsed blogger is depriving the world of valuable wisdom, I do feel that by neglecting this blog I am revealing my inherent tendency to laziness and procrastination. While I might once have argued that my failure to update this site is of little consequence, I am now starting to realise this might be a bit of a naive perspective.

As a musician, I have something of a public profile – although, as I am primarily active in the fields of jazz and improvised music, this profile is, at best, quite ‘niche’. Nevertheless, by virtue of my musical activity, I have been the subject of a certain number of interviews over the course of the last six months or so. In addition to doing wonders for my ego, having journalists taking an interest in me and my work has the inevitable consequence of being subjected to the ubiquitous Google search. Consequently, on more than one occasion recently, I have been presented with quotes drawn from comments I made on extremely remote parts of the internet. Therefore, I have decided to give any future interviewers a bit more fodder, which will hopefully draw attention away from some of my more unguarded comments.

Now, I realise that one could argue that this fact too is of little consequence – and I admit there is a part of me that would be inclined to agree – but, despite this, I have now decided to take a more responsible, motivated attitude to my online presence. Of course, this is, at least in part, a cynical ploy to accumulate ‘likes’, ‘followers’ and all the other virtual trappings of a successful career as a 21st century ‘artist’. However, I am also beginning to see the value of the internet beyond a cheap and simple marketing tool.

In recent times, I have augmented my performance activity with my first forays into the world of academia. In September of last year I began my PhD studies in composition in Birmingham, and am currently working on a chapter that will constitute my first published work when it is included in a forthcoming collection of academic articles about jazz. As a result of this I am spending a fair amount of time reading and writing, some of which is beginning to bear some quite interesting fruit. Therefore, in addition to sporadic uploads of Youtube vids and gig reviews, I am now planning to use this blog as a type of public sounding-board/forum for some more philosophical ideas about music, art and creativity.

I have spent a good month or two thinking of how to get the blog-ball rolling again, so hopefully this visit to the virtual confessional will leave my conscience clear to produce some posts of more substance. I do hope so…..

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I’m pleased to introduce my new trio album Vuelta on Stoney Lane Records. This is an enterprise set up by the tireless Sam Slater and aims to promote new music in Birmingham, and I have the not inconsiderable honour of being the first official release.


Peter Bacon has outlined what you can expect to hear here, and below is a track for nothing.

You can get hold of the album via any one of the myriad retail outlets virtual and physical.

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Tour diary 1

The best way to keep the cold out is to keep moving. So, very much keeping in this spirit, there has been plenty going on this winter!

The ECHO tour is picking up momentum and we now have 3 concerts under our belts. Back in November we got the ball rolling at the Milton Court Hall, part of the Barbican complex in London. Fortune saw to it that the gig fell right in the middle of the London Jazz Festival, although this might have been something of a mixed blessing. We three are all fairly regular contributors to the capital’s jazz scene so we don’t provide much in the way of a novelty factor and there were several other gigs that night. That said, an audience of 80+  definitely set the tone for the gigs to come.

The following week we were in Baden-Baden. What this little town lacks in watering holes it certainly makes up for in jazz enthusiasts! The gig was in the Festspielhaus, a converted railway station that now functions as a concert venue and educational facility. The ‘music dungeon’ here was filled with odd instruments and interactive musical games. It took some considerable effort to drag ourselves away in time for the gig!

The 'bass-tronome' in Baden-Baden

The ‘bass-tronome’ in Baden-Baden

This performance was the first that featured a pre-concert interview/talk. This is something that is common in classical concerts but that doesn’t often occur in a jazz setting. I am a big fan of this setup and think the chance to verbally introduce myself and my music is a great way of creating more of an engagement with the audience. Certainly the feedback was very positive so I’ll be trying to do this style of talk whenever possible.

We then had to negotiate Christmas before the first gig of the year, a non-ECHO date in the Con Cellar Bar in Camden, London. This must be one of the very best venues in the UK to play, a typical downstairs jazz club with one of the friendliest, most knowledgeable audiences going. I’d highly recommend getting down to one of the monthly sessions if at all possible.

Then was Hamburg. I had never been but had been told many positive things so was particularly looking forward to it. We arrived a day before the concert to do a workshop with some local student bands. All of the students were great, but special mention must go to the 11-year old trumpet and piano duo. I have to admit to being completely knocked out by the feeling these two had!

The concert itself took place in the Laeiszhalle, one of the best acoustics I’ve ever played in. We were lucky enough to have some friends in for this one so the atmosphere was very special. As promised, I have been composing pieces inspired by all of the cities we visit. Below is a video of ‘London’ as performed in Hamburg.

The last January gig was a double-header with Jeff’s own band at the CBSO Centre in Birmingham and, it being my hometown there was many a friendly face. Of course the support this gives is always great, but I also think that an audience that is familiar with your work is a good barometer too. People who have heard me play regularly will know when I’m up to scratch and making good music. This certainly helps to keep me focussed as a musician, both in terms of giving a good performance on the night and of long-term creative development. Two such audience members are also writers, and you can read their thoughts here and here.

Next up is a mini-tour of Andalucía before the ECHO Barcelona gig. Watch this space…..


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