The evening opened with the Gwilym Simcock Trio on stellar form, with Simcock, Conor Chaplin on bass and James Maddren on drums all bringing effortless virtuosity as they wove intricate melodies and rhythms that captivated the audience from the start. Introducing all new material,  there was a fresh energy on stage that still remained rooted in an unwaveringly tight dynamic between the three musicians.

With titles such as Old Husband’s Tale and Mates Rates, each piece was full of character and evocation, giving us a taste of the storytelling masterpieces to come in the second half. A notable piece was co-written by Simcock and Chaplin. Simcock remarked how inspiring it can be to write with someone else, moving you away from default settings to find new, fresh sounds. 

Although the title wasn’t mentioned, or else was missed, the piece left a lasting impression with Chaplin’s sensitive double bass opening the track in a delicate, melodic exploration. As the trio joined in, the sound expanded into a spacious, contemplative atmosphere that drew in the audience and kept them hooked.

After the interval, the programme transitioned into larger orchestral works. During her introduction, Joanna MacGregor, Music Director and Principal Conductor of the Brighton Philharmonic, called out the upcoming thrill of getting to hear Duke Ellington’s Harlem, where “the brass – well, everyone – play out of their skins”. And it really was a standout moment that showcased the brilliance of this timeless piece and the musicians bringing it to life. 

From those distinctive opening trumpet notes, the audience was swept up in the neighbourhood’s rich history and cultural vibrancy. Ellington’s introspective solos – special shout out to Ben Woodgate on clarinet for a truly soulful performance – were given real attention, while the vibrant whirlwind of multi-faceted Harlem was picked up in joyous bursts of energy. In short, it was a celebratory, complex interpretation worthy of the piece.

Conductor Clark Rundell’s love and admiration for Wayne Shorter – whom he’d known well and worked with extensively – came through brightly in both his words and the music. Sensitively and respectfully arranged takes on Shorter’s Causeways and Prometheus Unbound brought the pieces vividly to life, highlighting their blend of virtuosity and spirituality. 

Rundell’s orchestration of Causeways certainly delivered on the condition given in Shorter’s blessing to ‘do it, just make it even more mysterious’. The sensitive arrangement delivered a heightened sense of mystery and depth, beautifully capturing the unison melodies and rhythmic intricacies that define the piece, with new subtle layers to evoke the enigmatic charm at its heart. The Brighton Philharmonic Orchestra’s performance mirrored the piece’s journey from lyrical simplicity to intricate layers across a shifting soundscape, moving from moments of quiet reflection to surging crescendos that hinted at Shorter’s playful yet profound spirit, boldness and innovation. 
Closing with two of Simcock’s own pieces for trio and orchestra, Columns and Industrial (for Alan), brought the concert back round nicely to Simcock’s soundworld, here widened out to find an interplay between trio and orchestra, a balance between notated music and abstract solos.

Elington asked for “sadness, gladness, and dazzling satin dolls”. This exciting and successful concert gave us all of that – plus a remarkable range of talent and creativity.

The post ‘Blue Notes’. Ellington, Wayne Shorter, Gwilym Simcock first appeared on UK Jazz News.

Opening with an acoustic number not from the album, ‘Mechanism’, the first impression was one of the raw, classic elegance of Whitehead’s vocals. The likes of Joni Mitchell (of course) and Nick Drake are stated as influences, and can be heard clearly throughout. But it was actually Karen Carpenter that came to mind: Whitehead certainly had that rare quality of a voice somehow embodying both a sweet lightness and rich depth that really pierces through defences.

The album deals with complex human experiences, from the grief of losing a parent, to mental health struggles, to the disappointment in the current political landscape and lack of human empathy. But the songwriting is also very forward-looking, infused with hope and joy. And it was these that really came across during the live gig in a way that pleasantly surprised. From songs such as the gentle ‘Distance’ to the soul-searching ‘Alive’ and the more upbeat ‘Valentine’, the many co-existing emotions and experiences of life came through in this gentle storytelling.

Whitehead has a very relaxed, amenable stage presence and the love for the music and for performing shone through and really elevated the listening experience. The band (Alex Haines – guitar, Rupert Cox – keyboard, Loz Garratt – bass, and Peter Adam Hill – drums) was also great, with an impressively balanced sound. Each note and harmony felt purposeful and no one gave into the temptation to fill in the magical spaciousness of the music. Afterwards, Whitehead revealed that not only had the band line-up never performed together before, they’d only had one 4-hour rehearsal prior to the gig. Testament to their excellent musicianship, but also the quality of the music.

The closing encore, second of the night, was written for Whitehead’s youngest brother: ‘Last to Come Along’. It was the song that inspired the title of the album ‘Bloom’. The song summed up the sentiment of the album, weaving lyrics about accepting and recognising your past while looking to forge ahead and figure out who you are and what your future may look like: “What’s over the ground is a life that is new / But without the branches, the roots – there’s no bloom.”

Whitehead was supported by local singer-songwriter Ochre, who stepped in at the very last minute and did an impressive job with haunting, deceptively soft vocals weaving stories of yearning and loss. 

The post Hattie Whitehead – debut album ‘Bloom’ launch first appeared on UK Jazz News.

UKJazz News: How do you work together, maintaining creativity and connectivity, as a transatlantic group?

Terry Seabrook: We have a common vision and complementary styles, which was evident from our first musical meeting in 2016. Even when we’re not in the same place or getting the chance to play together, we compose and arrange pieces always with the band firmly in mind.

Peter Fraize: The Atlantic connects us but also separates us for a year or more at a time. Initially we each brought in our own material we thought would work well in this configuration, then adapted and refined it as the band’s sound took shape. Now, although we still tend to work on new compositions and arrangements in our own spaces, I have the band and its individual players specifically in mind. Even when selecting and adapting older material, it’s always stuff I can clearly imagine and can’t wait to hear Terry, Jack and Milo play!

UKJN: How do you find time to record albums together with only short periods in the same country?

TS: We actually recorded both albums in a single day each at the end of touring. We find it works really well to capture all the vibe, excitement and groove of the group’s live performances after a period of playing extensively together.

PF: We’ll do the same again at the end of this tour and record the Oceanic suite, plus some other new material to hopefully release as an audio/video package next year.

UKJN: Tell us about the Oceanic suite.

TS: As a member of Greenpeace, I’ve become interested in the important roles the oceans play in our planet. UNESCO has made 2021-2030 The United Nations Decade of Ocean Science for Sustainable Development. This inspired me to conceive of a suite of music with video accompaniment portraying the Oceans and their wildlife, beauty, natural diversity, human impact and sustainability. It’s a 5-part suite with video as a backdrop featuring jazz based composition and improvisation. Hopefully, it will inspire our listeners to join in the quest to respect, protect and sustain the earth’s five Oceans. 

I wrote Parts 1,2 and 5 (Oceans/Diversity/Finale). Each part is original, although there is also an adaptation of the song “How Deep is The Ocean” at the end of Part 5. There are also slight references to “Dolphin Dance” and “Cantaloupe Island” by Hancock and Green Dolphin Street. The visual sequence of the suite opens and closes with the image of Brighton (West) Pier – which is the cover of our first album Blue Haven – so I also adapted Peter’s theme in Blue Haven into a more balladic melody which crops up in parts 1 and 5.

PF: Part 3 (Choices) is a contemplation of the choices of responsible use of the ocean as a resource and the dire consequences of misuse.

Part 4 (Impact) is a rumination on the state of the world we are leaving to our children and future generations. 

UKJN: Is Upstream a continuation of the material you released on debut album Blue Haven or is it a new concept?

TS: It’s definitely a continuation and refinement of our sound as a band. This is our fourth tour together and we know and trust each other well by now, so that influences the type of material we introduce and how we compose/arrange for the group.

UKJN: Sum up Upstream in one sentence to a new listener.

TS: Upstream is an all-original programme of tunes bringing the Hammond organ traditions to a modern sensibility with a wide range of grooves.

UKJN: The organ is clearly a distinctive driving force behind the band’s sound. Who are your main inspirations, Terry? 

TS: There are so many. Larry Goldings, Larry Young and Joey DeFrancesco, Jimmy Smith, Ross Stanley, Alberto Marsico and Tony Monaco. But also as a pianist I’ve spent much time listening to Bud Powell, Bill Evans, Chick Corea, Herbie Hancock, Keith Jarrett and Lyle Mays.

UKJN: The title track “Upstream” opens the album – what message is it trying to convey?

TS: I wanted to create a sense of pushing against the current so it has a sort of edginess. This is suggested in the funky rhythm as well as the use of the diminished scale throughout the A section of the head, while the B section gives a relief from that with more suspended harmony and rhythm.

UKJN: Another track that catches the eye is “The Mentalist” – what’s the story behind this title?

PF: Once I began composing, the vibe of the tune just brought to mind a noir/crime psychological thriller (huge fan of that genre!). Something with Robert Mitchum in 1940s Cuba that invariably culminates in a chase across the roof of a train, perhaps…

UKJN: Tell us a bit more about a few of the other tracks from the album…

TS: With “Underway” I wanted to suggest a joyful sense of setting out on a journey (by sea) and so I used a choro type rhythm, a Brazilian groove with continuous offbeat chord, thus intimating forward motion.  

PF: “Triple Decker” is a literal description of the tune itself: three distinct blues riffs in three different keys played simultaneously. The solo form cycles through the three keys across the instruments. Like an imaginary triple decker bus, it’s always in danger of tipping over!

The final track on the album, “Rhythm Schtick”, incorporates the Go-Go groove of my hometown Washington DC, and is a “rhythm changes” tune (based on the chord structure of Gershwin’s “I Got Rhythm”). Young kids perform in the streets on improvised drum kits of plastic buckets, traffic cones, etc. and it reverberates off the white marble walls of downtown. The droning dissonance of the reworked harmony and the colliding horn lines evoke the sound of other street musicians and the bustle of downtown all mashing together. 

UKJN: What is your usual creative process for writing?

PF: I think of my creative process as “whole-body” – for the feet and butt, head, hands, and heart (dance/groove, intellect/concept, technique/challenge, and feeling/soul). Often the writing begins with and tilts towards one or more of the concepts, but never feels complete unless it incorporates all to some degree. I have a “shut up and write” mentality and the subject matter usually reveals itself somewhere in the process. Most of my tunes end up being reflections on people and events in my life.

TS: Once I’ve decided what needs to be written, I’ll get to the piano or organ and try out chord progressions alone or with melody. I start with manuscript, pencil, sharpener and eraser and scribble away making multiple revisions before scoring into Logic. I often carry a small Moleskine manuscript notebook around so I can jot down ideas on the fly when inspiration strikes out of the blue. 

I guess about 25% of what I write ends up getting used. And even then things can get altered or discarded in rehearsal. It’s one long editing process. And I’m always worried that something might have been subconsciously borrowed from someone else or even from my own previous stuff. I remember Carla Bley saying that we all have one song to write but create it in multiple variations. Maybe there is some sense in which that is true.

UKJN: What can live audiences expect from your tour and what’s one thing you’d like them to take away? 

TS: Well a guy said to us after a gig this week – it’s great to hear something different. So I hope we can lift people and impart some energy and spirit. And of course we hope that our ‘Oceanic’ suite resonates with people’s concern for the future of Planet Earth as well as communicating our own sense of our vital connections to the Oceans. They will be invited to drum and sing along with the band. Also, glow-in-the-dark T-shirts..!

UKJN: Any highlights from the tour so far?

TS: We’ve actually done a few primary school visits in the Sussex area as a kind of unofficial part of the tour, which have been good fun. We play sections of the Oceanic suite to the children and then do a workshop on jazz improvisation. It’s gone down really well! We had a wonderful definition of improvisation from one of the children, who said: “It’s when you forget how the song goes but try to make it sound OK.” That made us laugh.

UKJN: Where do you see Atlanticus going next?

TS: We’re planning a reverse trip across the Atlantic, possibly this autumn, to do some gig dates in the Washington DC area where Peter lives. Also some further future tours of the UK and possibly some in Europe, as well as more recorded material being released.

Atlanticus are on tour with support from Arts Council England.

The post Atlanticus – new album ‘Upstream’ first appeared on UK Jazz News.

Having played regularly in Southbank venues as part of talent-nurturing organisation Tomorrow’s Warriors (given a deserved shout out), this is a special place for them. Apparently, they’d been worried about ticket sales and whether they’d manage in such a big venue. They needn’t have. Playing to a sold out crowd, they were showered in applause and enthusiasm throughout.

Mostly dedicated to material from their 2022 debut album Could We Be More (which followed their earlier eponymous 2019 EP), their infectious blend of afrobeat rhythms, ethereal guitar, and punchy brass was present from the very opening notes of Ewà Inú, taking us through to Dide O and Something’s Going On.

One of the amazing things about this band is the ease with which they move between danceable rhythms and mellow fluidity and that was more than evident at this gig. Whether bopping along to Baba Ayoola or closing your eyes to absorb the dulcet vocal harmonies of Carry Me Home, the transitions feel completely natural and take you along for the ride. There were moments where Anoushka Nanguy’s trombone and Sheila Maurice-Grey’s trumpet/flugelhorn played in such understated yet sumptuous unison that it felt really quite special.

They also gave a sneak peak of some of the aforementioned new material; sometimes this makes unwilling guinea pigs of the audience but here it was a real pleasure to get an insight into what’s yet to come. Indeed the catchy rhythms and lyrics of the very last tune they played, Never Lost, had all the makings of a firm favourite-to-be. And any first-time-performance hesitations during Time and Time were outweighed by some fantastic playing, especially the grand piano solo treat from keys player Yohan Kebede.

Notably absent from the line-up was Cassie Kinoshi, who left the group earlier this year. It was hard not to feel that lack of energy, texture and richness the alto sax player/composer brought to the band’s sound.

Still, as they neared the end of the gig and rewarded an enthusiastic audience with the piece that “brought them this career and is very special [to them]” – none other than Abusey Junction – it was clear the magic of their music was able to transcend any missing parts. Having heard them play this song live in various different settings, it never fails to bring a room of any size to a standstill.

The post KOKOROKO at Royal Festival Hall, Meltdown Festival first appeared on UK Jazz News.

In the official promo video [watch below] for the two-disc album [reviewed by UKJN], Guadeloupean saxophonist Jacques Schwarz Bart says: “What we have seen from Black history is the ability to find beauty even in the darkest hour. And art is all about rising above.”

It’s a sentiment clearly shared by Stefany Calembert, the instigator and executive producer of the Black Lives – from Generation to Generation project. It was a project borne out of the restrictions and misery of lockdown and the brutal death of George Floyd at that time in the States.

“We were in the middle of the pandemic, and it felt like the end of the world,” says Calembert. “I was also in pain to see all the horrible events in the United States with the police brutality. I wanted to try and create something positive that could help us all. As a White person, I wanted to do something to open a dialogue about this worldwide mess. All too often the Black community is left to battle on its own, but all of us must become aware of the daily reality of racism and the injustice and pain it inflicts.”

Calembert reached out to a range of artists, with the aim of uniting voices from as many different generations, countries and cultures as possible from across the States, Caribbean and Africa. 

Asked to write a song “against racism in the world”, each composer brought their own experiences and influences, offering a listening journey that is both beautifully diverse yet centred around the same desire to speak out against injustice and unite people.

The music spans many different instruments and genres. We hear languorous jazz rhythms in E.J. Strickland’s Language Of The Unheard, powerful spoken word in Oliver Lake’s Pre-Existing Conditions, smooth saxophone tones against atmospheric guitar soundscapes on Immanuel Wilkins’ Dancing, and the understated yet anguished vocals of Tutu Poane’s From The Outside In. And this is just scratching the surface. 

“The first thing was to choose composers who touch me musically and are beautiful human beings,” says Calembert. “I wanted to have different testimonies from different places and generations. All these composers are also engaged in fighting for social justice and equal rights. They deserve a lot more recognition worldwide for their work.”

Another draw was that these were all musicians who can play across different genres, which proves useful for the upcoming tour in Europe. Starting in Brussels on 10 November and finishing up at Clapham Grand in London on 19 November, the tour will feature 13 to 15 of the composers involved in the album. Furthering the spirit of unity, each musician will play both as leader on their own songs and sidemen in the other pieces. 

“This tour is so exciting, because live music is simply one of the most important things. The album was recorded at distance so this is the first chance for some of the people involved to come and play live together,” enthuses Calembert. “It’s a historic line-up with music that is smart and powerful. It speaks right at you.” 

If that’s not reason enough to make sure you’re there, London will be the last show of the European tour and Calembert implied there may be a surprise or two in store. Also, all profits from this project, including the live concerts, will go to the composers involved.

More than anything though, Calembert hopes people will enjoy the music and come away thinking about how we can connect and unite together, lifting people and giving strength to those who are confronting systemic racism.

“We can do a lot together,” she says, “Communication and dialogue are essential nowadays. Music is one of the most powerful and universal tools we have to talk to one another and amplify our voices. It gives us a way to scream our pain, our love, our hope to this world. Music expresses things better than human beings.”

Line-up for London gig on 19 November:

Marcus Strickland – saxophone
Jacques Schwarz Bart – saxophone
DJ Grazzhoppa – turntables
Christie Dashiell – vocals
Tutu Puoane – vocals
Sharrif Simmons – spoken word
Jean-Paul Bourelly – guitar
David Gilmore – guitar
Adam Falcon – guitar
Federico Gonzalez Pena – piano & keyboards
Reggie Washington – acoustic & electric basses
Marque Gilmore – drums, sampling & drum programming
Gene Lake – drums

The post Stefany Calembert (Black Lives – from Generation to Generation album and European tour) first appeared on UK Jazz News.

Jazz South sets out its aims as: supporting and developing talent, creating connections, looking at sustainable practice, and nurturing the next generation (meaning artists, audiences, promoters, producers, and more). Reaching from Cornwall and Bristol up to Oxfordshire and across Hampshire into the Sussexes, this is no mean feat. “It was a big exercise in identifying jazz in the south to begin with,” Jazz South Manager Tamsin Mendelsohn explains. “And we found some really wide and varied pockets. There are of course vibrant scenes in urban areas, like Bristol and Brighton, but also quite a lot of rural pockets and just generally great things happening all over.”

Setting out to help artists, promoters and funding opportunities connect, the focus shifted slightly over the pandemic to respond to the needs of artists who were struggling through the development of a commissioning programme. Jazz South Radar Commissions and Breakthrough Commissions offered composers from the region the chance to develop their work and provided a platform for highlighting the amount and diversity of talent across the area.

“There’s so much talent outside of London,” says Mendelsohn. “But do people know they’re there? Do you know that Randolph Matthews lives in Folkestone, Josephine Davies in Saint Leonards or Hannah Jacobs in Oxford, for example? We wanted to help local promoters become aware of who’s in their region.”

The Jazz South Online Festival provides an opportunity to see a selection of the exciting talent and projects that have been supported, with a diverse programme that represents the many elements of their work and also the range of artists, venues and initiatives across the south.

Workshops created in partnership with local arts venues and education hubs will see the first three days of the festival engaging young people from the Hastings and Poole areas with jazz, spoken word and the music industry, with artists including Soweto Kinch, Shunaji, Greg Foat and more.

Following on the 25 and 26 April are two of the Radar Commission artists. First, an interview with John K Miles by broadcaster and journalist Kevin Le Gendre as part of the Jazz South Spotlight podcast series.

Next up it’s a performance of bassist (and LJN contributor) Olie Brice’s ‘Fire Hills’ commission alongside Jason Yarde on alto sax and Nick Malcolm on trumpet. Olie will also chat to Le Gendre about writing the piece, and how he sets about composing within a free improvisation setting.

In two double bills, the Breakthrough Commissions are from artists and composers early in their careers who were given free rein on approach, inspiration and line-up. The result is “four exciting, utterly different young composers,” Tamsin enthuses, adding, “I was amazed by how creative they all are, not only with their music but with every aspect of the performance and recording, each bringing their own visual concept and adding new dimensions to their pieces. These are going to be truly unique and exciting performances to watch.”

Pieces by pianist Roella Oloro and vocalist Lucinda Fosker will be broadcast on 27 April. Roella, a Berklee student and busy composer and performer, has used the concept of perfumery to bring different musical styles and elements together within a classic keys, bass and drum trio. “Expect excellent improvisation within a groove structure, and a whole immersive experience with lighting and a considered set bringing the perfumier concept to life.” A sneak preview of the recording does indeed reveal a catchy contemporary piece with a tight, yet lilting groove and a memorable, motif-style melodic line set against a colourful, atmospheric floral background.

Lucinda has created a contemporary vocal suite for a six-piece in homage to a stretch of the River Thames, which will be accompanied by some time-lapse photography of the river throughout different times of day. Upon initial listening, it is both Lucinda’s melodious vocals and the way the piece develops, both musically and structurally – meandering then taking sharp and unexpected turns at times, that make it so striking and bring to life the river with its beautiful yet wild and changing nature.

On 28 April, performances from saxophonist Asha Parkinson and modular synthesist/drummer Tim Davies will be broadcast. Asha’s cross-cultural collaboration involves an 11-piece of saxophone, qanun, Arabic percussion, voice, string quartet and rhythm section bringing together members of Asha’s Kalpadruma collective with performers in the Orchestra of Syrian Musicians. Exploring the female experience of repression in patriarchal cultures, it’s a suite of five movements that also includes a setting of Syrian poet Maram Al Masri’s work.

“The piece is just beautiful,” Tamsin says. “Asha is a phenomenal talent. She really knows how to orchestrate, and she worked closely with all these musicians to find out how it worked best for them and how to set the Arabic text – most of it done on Zoom and with backing tracks as well!”

Tim Davies, an astrophysics graduate, is a modular synthesist and drummer. Underpinned by the “vibrant, pulsing electronic sound” from the synthesiser he built and programmed, he’s created an exciting piece for drums, Rhodes, piano, guitar, bass and saxophone. Innovative and creative, a listen to this piece reveals something that is both ‘sit up and take notice’ unique while also softly soothing with a modern electronic sound working in perfect symbiosis with more traditional jazz soundscapes and grooves.

The importance of these commissions is made clear by Tim, who shared how the experience has helped him to develop during a difficult time: “Being a part of Jazz South’s Breakthrough Commission scheme has been a fantastic experience for me. It has given me a real sense of focus for my creative energy, and the motivation and support to push my writing further than ever before. 

“Combining modular synthesis with acoustic instruments in a live setting was not something that I had done before this project, and developing the ideas and techniques needed to accomplish this, whilst working entirely in isolation, was quite a challenge. Having the platform to both discuss the music with a mentor, and eventually bring it in front of a band was hugely rewarding for me.”

There will also be a short Q&A with each Breakthrough composer, which will offer viewers some insights into the young artists’ different processes, inspirations and musical thoughts.

The festival concludes on International Jazz Day (Friday 30 April) with a double-bill of British jazz talent presenting Denys Baptiste’s Late Trane and a Rebecca Nash piano solo, hosted by journalist and broadcaster Kevin Le Gendre.

(*) Jazz South results from Ambition for Excellence funding awarded to Turner Sims Southampton by Arts Council England

The Breakthrough Sessions will be streamed on Jazz South’s YouTube channel and on the Jazz South website on 27 & 28 April, 8pm.

The post Jazz South Online Festival first appeared on UK Jazz News.

Jazz has always been a part of Fiona Ross’s life, growing up listening to legendary singers like Ella Fitzgerald and watching golden-era Hollywood movies with her parents. However, she only established herself as a jazz artist five years ago. Up until then, she was more than just a little busy. Trained in musical theatre, she was treading the boards in London’s West End by the age of eight – and it’s been non-stop ever since.

From musicals and session singing to composing for film and songwriting, very few people have been so fully immersed in the many different strands of the music and theatre industry. That’s not forgetting an eight-year stint as Head of the British Academy of New Music where she taught such notable students as Ed Sheeran and Rita Ora.

It was following the decision to leave this post that the idea to pursue her own music finally solidified. “I’m very much a ‘go with the flow’ person,” Fiona smiles. “Don’t get me wrong, I’m very disciplined, but I don’t really plan. I take each day as it comes. So when I decided to leave BANM, I really didn’t have a clue what my next move would be. It wasn’t until a friend casually said to me, ‘I suppose you’re going to pursue your own music now?’ that I realised, yes, that was precisely what I was going to do.”

Having already put an album together in between other commitments, the initial thought was to “put that out there and see what happened”. And what happened was that her individual style blending contemporary sounds and jazz influences immediately took off. “I was featured in an article in one of the big papers, and everything just kind of exploded from there. Suddenly, it was like ‘OK, I guess I’m definitely doing this now!’”

So why jazz? “For me, jazz means having the freedom to explore and to improvise,” she says. “If I want to do something that has an old-school bassline then throw in some latin or hip-hop, jazz is where I can do that.”

Since then, three further albums have followed, as have more fans, accolades and several awards, including, most recently, International Female Songwriter of the Year 2020 from the International Singer Songwriters Association. Still, Fiona is full of modesty for her achievements.

“I know it seems overly productive, or people think I’m crazy creative or something,” she says, waving her hand as if to dispel this idea. “But I think it’s just I spent so long writing for other people, playing other people’s music, performing other people’s material, that when I actually started on my own stuff, there were years and years of it just waiting to come out.”

In addition to making her mark on the music scene, Fiona has also forged an impressive path as a jazz journalist over the past few years, regularly contributing to several jazz publications and sites. She remarks on the opportunities this has given her to connect to others within the industry, citing interviews with the likes of Steve Gadd and “absolute goddess” Dee Dee Bridgwater as highlights, and to find inspiration in sometimes unexpected places.

“A real turning point for me as a writer was when I travelled to Paris to interview Maxine Gordon,” she recounts. “She’s known as Dexter Gordon’s wife, of course, but she’s so much more than that. She’s been at the heart of the jazz scene for years and the work she’s done is just incredible. She’s my daily inspiration and every article I write, or every thing I do, I now think to myself: what would Maxine think? Within that, I mean: am I helping someone? Am I being respectful to the jazz industry? Is this supporting those groups that aren’t being represented?”

For me a driving force is definitely helping people

And it’s clear how much lifting up her fellow musicians and having a positive impact on the industry mean to Fiona. As the world closed down over the pandemic, the woman who “never stops” found a way to keep going and to find a way to support those in need.

“I know so many people who’ve struggled in one way or another over this period; I consider myself to have been very fortunate,” she says. “Over this time, we’ve all been reflecting on who we are and what makes us happy, and for me a driving force is definitely helping people. So I just wanted to do what I could.”

Having allocated the time to writing for her new album, Fiona made the deliberate decision to step back from that and throw herself into journalism instead, trying to promote music and create connections where they were suddenly severely lacking.

Towards the end of last year, she also founded a new network, Women in Jazz Media. What initially began as “simply a Facebook page to provide a platform for a community of women in the industry” swiftly turned into something much bigger.

“Almost overnight, I was inundated with messages from people from across the globe,” she remarks, the disbelief still lingering. “And it was immediately clear that there was a real need for something like this and that its potential was going to be so much more than I’d imagined.”

Over the past few months, this blossoming community has created a safe, healthy space to support and promote women who work in the jazz industry. An international team are bringing passion projects to life: podcasts interviewing writers and musicians from under-represented areas; a mentoring scheme addressing gender and diversity balance in jazz publications; and workshops introducing young women to the possibility of a career in jazz media. The future is set to be significant.

“One of the writers from our mentoring scheme has just been published and she’s the first Black, and the youngest, writer this publication has ever had,” Fiona states. “We’ve helped another publication to double the number of female writers on their roster. Achievements like this have made us realise that what we’re establishing here has the possibility to really change things. And we’re excited for it.”

As a performer who grew up in the industry, Fiona is in no doubt that things do need to change. Remembering her time in the theatre world, she remarks on “the many amazing things about it but also, ultimately, how unhealthy an environment it is, especially for women,” adding that “the most saddening realisation for me was how for so long it was just accepted as ‘the normal’. But it shouldn’t be normal and that’s why it’s great to see people of both genders standing up to challenge this now. We need the ingrained mindset to change, and that will take time.”

And in scenes such as jazz that have for so long been dominated by older, white men, Fiona is clear on how important it is to see men also getting involved in redressing the balance. For International Women’s Day, she did a social media shout-out asking men to submit videos talking about the women who have inspired them and was “so happy to see the amazing response.”

And so what part does International Women’s Day have to play in this work?

“I used to feel really annoyed by these types of awareness days as I felt these were issues we should be addressing all the time,” she admits. “But now I recognise they provide a perfect opportunity to promote and to raise awareness, because actually so many people still don’t know why there is a need for such a day. People need to understand why we have these issues but also what we can all do to help.”

But more than that, Fiona sees it as reminder even for herself to reflect on all the incredible women who have had an impact on her and inspire her to do what she can and believe in her own power to achieve and affect change.

The goal is that at some point we won’t need a day like this anymore

“The goal is that at some point we won’t need a day like this anymore. Until then, it’s a great opportunity to highlight the problems that exist and reflect on the battles that have been fought, the trailblazers who’ve brought us to this point, and those who are fighting to take us to the next one.”

I, for one, am glad we have Fiona Ross on the case, someone who it is clear will never stop striving for change or pushing the conversation forwards.

The post IWD2021 – vocalist, composer and journalist Fiona Ross first appeared on UK Jazz News.

This weekend marks exactly a decade since we first published a special series for International Women’s Day and this year we’re excited to present our largest collection yet with a range of features and interviews that profile, champion and support women from all aspects of the jazz industry:

Melissa Acchiardi, percussionist (*)

Seonaid Aitken, violinist/composer

Regina Carter, violinist

Elaine Delmar, vocalist, pt.2 (read the first part of the profile HERE)

Clara Haberkamp, pianist (*)

Jiaowei Hu, writer

Lydia Liebman, publicist

Leila Martial, vocalist

Lou Paley, co-founder Women in Jazz

Yannick Peeters, bassist (*)

Fiona Ross, vocalist/journalist

Ingrid Steinkopf, pianist (*)

Shirley Tetteh, guitarist (*)

Ghalia Volt, singer/songwriter (*)

Annie Yanbekian, journalist

Round-up of female-led jazz organisations by Lauren Bush

Since 2011, we have published almost a hundred pieces placing a spotlight on women in jazz for this series. If you can’t wait for these new pieces, then check out our back catalogue from previous years:

IWD series 2020

IWD series 2011-2019

(*) We are also proud to have co-published six of these articles as part of an IWD collaboration to highlight young jazz and blues female musicians across Europe with: Citizen Jazz (Fr), Jazzaround (Be), Jazz’halo (Be), Jazznytt (No)

#Womentothefore #IWD2021

The post Introducing our International Women’s Day series (sixteen features) for #IWD2021 first appeared on UK Jazz News.