UK Jazz News: What is the best advice you received about balancing/juggling parenthood and career?

Gillian Margot: The best advice that I received was from my sound engineer, tour manager and dear friend Terry, who picked up the phone and called me during my first few months as a new mom. I was in Los Angeles with our baby and Geoffrey was on tour. Terry called me from Toronto to see how I was doing and said flat out, “There is no balance, momma. You have to go with the flow.” If I’m honest, that may have been the only parenting advice that ended up making sense. Trying to impose too much structure can be totally counterproductive. I’m a natural improviser, and so it worked for me.

Geoffrey Keezer: For me, it wasn’t spoken advice as much as just observing musicians I was with on the road who had kids at home. Seeing how they would take time to call their families every day. Some guys would fly home to New York from Europe in the middle of a tour to attend their kid’s birthday party, then take a redeye flight back to Europe and make the gig the next night.

UKJN: What information or advice do you wish you’d received but didn’t (and had to learn through trial and error or on the go)?

GM: (laughs) Everything else!

UKJN: Your top tip(s) for other parents in jazz:

GK: My tip would be to find any and every way you can to earn income without having to tour constantly. Find and create sources of passive income, royalties, teaching, or whatever you have to do to be around your kids more. They grow up SO fast – it’s a cliché because it’s true. Another reality is that with kids, getting anything done like practicing, writing arrangements, booking gigs/travel etc takes a LOT longer, due to the constant distractions and your focus being pulled in multiple directions all the time. Children need and deserve their parents’ time and attention, and they always take top priority no matter what else is going on. But sometimes I’m like “Dude, you’re gonna have to figure out this Lego thing on your own, I gotta finish a big band chart!”.

GM: Everyone, whether you know them or not, offers advice on how to parent your child. And while having a lot of options to consider is never a bad thing, and I’m the kind of person who likes to gather a lot of information and do research, your best bet is to stay open to the reality that there’s going to be a lot of trial and error. I didn’t have my parents around to assist me because they both died before our child was born. So I knew that I’d have to figure out a lot of things on my own. If you’re lucky enough to have parents, mentors, or someone with experience closeby who is willing to be there for you, then don’t take it for granted. Other than that, with all the stress that comes with parenting, my top tip would be to always lead with love.

UKJN: Best general travel/gigging/tour-with-child advice:

GK: If your spouse is a member of the band and you’re bringing your child with you on the road, get two hotel rooms! Then you and your partner can alternate who gets to sleep with the kid, while the other gets the night off (and potential for real sleep). Two artists = two hotel rooms in the contract. As tour budgets rarely allow for bringing a full-time nanny along, we mostly rely on local babysitters in each town, which we often find by researching childcare services online. But we have sometimes gotten results simply by asking local friends, musicians, or the promoter if they happen to know of anyone who babysits. Quite often somebody on the staff of the venue/festival/etc knows somebody who knows somebody. It really does take a village.

GM: Nurture the relationships and connections that you make while touring. Those presenters, venue owners, and other industry people that you meet are, more often than not, very understanding of parenthood if you let them see you as a parent. These are the people that are going to continue to help you find childcare, activities for your child, and make sure your child has a good time while you’re on the road.

UKJN: What is one way that figures or structures in the jazz industry could better support parents who are working jazz musicians?

GM: The more visible we allow ourselves to be as working musicians who have children, the better it is for our community, our audiences and the industry at large, to get used to seeing our many dimensions.

GK: For the most part, venues where we perform and schools where we teach are very understanding and supportive.

GM: Yes, it doesn’t seem to throw anybody off when they find out that we have whole lives outside of our performing personas.

UKJN: What has surprised you about becoming a parent and remaining engaged with your professional activities and ambitions?

GM: There were two big surprises for me. One is how much greater perspective I have on everything that I do professionally as well as personally. Our child is witness to what our lifestyle is like as musicians, and I’m hyper aware of how anything that we might do, say, create, record, or decide will be perceived and interpreted by him. Maybe it’s my way of considering younger audiences and future generations. But when I was younger, I never would have guessed that I would pay so much attention to that. The second thing that surprised me is how much more driven and committed I am. I think I initially fell prey to the stereotypes about women and half-expected that I might take more of a step back from my career after becoming a mom, but I had no desire to slow down. If anything, I have dug into things way deeper and become a better musician. I have no desire to hide or downplay the fact that I’m also a mother.

UKJN: What boundaries have you set for yourself as a parent in jazz (could be related to travel/touring, riders, personal parameters, child care decisions, etc.)?

GK: Gillian and I try as much as possible to only tour together (as a duo, or as co-bandleaders) during times when our child’s school is on break. When he was a baby or toddler, it was a little easier to just pick up and go on tour as a family any time. But once they’re in school, it’s important for them to have a routine and good attendance. There’s so much that a child can learn about the world by traveling, but I never wanted to be the kind of itinerant musician that dragged his kids around everywhere. Some of our musician friends with kids can leave them with family for a short time when they go on tour, but unfortunately we don’t have that luxury.

GM: Well, I’m going to refer back to the separate hotel rooms. I should qualify this by explaining that we’ve always done this – continued to uphold our professional relationship even after we became a couple. Many people assume we would have one room as a family, but we are two individual artists requiring our respective individual spaces to prepare for performance, which is really important. 

Gillian and Geoffrey’s new album of duets, simply titled Gillian Margot & Geoffrey Keezer will be released on their label MarKeez Records on May 23, 2025.

(*) Parents in Jazz was started (first as ‘Mothers In Jazz’) by vocalist Nicky Schrire in August 2022. The initiative aims to create an online resource for working jazz musicians with children, those contemplating parenthood, and jazz industry figures who work with and hire musicians who are parents. The insight of the musicians interviewed for this series provides valuable emotional, philosophical and logistical information and support that is easily accessible to all. “Parents In Jazz” shines a light on the very specific role of being both a parent and a performing jazz musician.

The post Parents In Jazz: Geoffrey Keezer and Gillian Margot first appeared on UK Jazz News.

UK Jazz News: What is the best advice you received about balancing/juggling parenthood and career?

Dann Zinn: Years before having kids, a good friend and fellow musician warned that having kids is the best thing ever, but your life will never be the same- not even close! So armed with this advice and ready for anything, we embarked and loved it. However, late nights became early mornings, and being home became much more important than being away. I was advised by friends that perhaps the stability found in teaching was more conducive to a steady and happy home life.

UKJN: What information or advice do you wish you’d received but didn’t (and had to learn through trial and error or on the go)?

DZ: Balance. How to balance maintaining a steady practicing schedule with teaching and gigging, and being the best parent I could. Luckily most musician work is in the evening or at night, so I had my girls during the daytimes. Also, my kids had heard the sax from in the womb, so they barely reacted to my practicing, and I could play at nap time! I learned to make good use of every possible minute of every day, and I needed to just to get my work done.

UKJN: Your top tip(s) for other parents in jazz:

DZ: Stating the obvious, but in our family, kids come first. As long as that priority is clear, everything else will fall into place. It is difficult. Musicians are night owls, and kids are morning people. I have become both! I love the late nights and love to get up early and practice. It makes afternoons rough, but nap when your kids do. Be present as much as possible. The days seem so long but the years fly by. Enjoy small moments. Your kids, even when grown, still need you, so though parenting never ends, it really is a gift that keeps on giving!

UKJN: Travel/gigging/tour-with-child advice. This can be gear or gadget-related, or pertain to approach/what to do/what not to do:

DZ: I decided early on that I would be around as much as possible. Though I have maintained a steady gigging presence, I moved into teaching as my primary source of income. I felt I needed a lot more stability in my income and being home than my previous gig based life could provide. It was a tough call for sure. Luckily many teaching opportunities did present themselves. Many of my friends that chose otherwise had a hard time balancing, and were constantly trying to find the right compromise. I talked to Mike Brecker about this, and he was trying to travel from Thursday to Monday and be home in the middle of the week. Each family has to find their own solution, but kids first!

UKJN: What is one way that figures or structures in the jazz industry could better support parents who are working jazz musicians?


DZ: A very heavy question! I know there are certain countries in Europe and Scandinavia, where the government supports artists with subsidies and a living work income, enabling creativity to flourish and giving the artist a mental and physical space to create. When an artist becomes a parent, issues of time and finances explode exponentially. Daycare costs, medical costs, food, schooling, saving for college; all these issues are in the forefront.

If there was an organized jazz industry, either government subsidized or funded by other means, this would be a tremendous help to all of us. However, in this day and age, outside of the most famous players, we are all on our own to make it the best we can. In America, arts funding, and jazz in particular, could really step up.

It’s never been easy to be a musician, but with so many income streams ending in the last ten years, these are particularly tough times.

UKJN: What has surprised you about becoming a parent and remaining engaged with your professional activities and ambitions?

DZ: How doable it is! Perhaps my dreams of a life on the road never fully developed as I’d imagined, but being home and watching my kids grow has been more than enough reward. And, though I never set out to be an educator, I have had 30 years of the most amazing students and friendships one could ever ask for. Our family only enhances our life-it never takes away from it. I still practice every day, gig often, record, tour, and teach. My kids are not musicians, but deeply appreciate art and music, and thrive in their own fields.

UKJN: What boundaries have you set for yourself as a parent in jazz (could be related to travel/touring, riders, personal parameters, child care decisions, etc.)?

DZ: I have always been clear about practice time and we built a soundproof practice room in the house so that I could always have a space to go to. The family knows that Daddy needs to practice at some point during the day, so we all work together to allow that to happen. I even bring my horn with me on family vacations, so no matter where we are, I create time for it and my wife and kids have always supported that!

Dann’s latest recording, “Two Roads”, represents a bold new musical direction for the saxophonist, embodying his dedication to continued artistic exploration. Over the past two decades, he has crafted a unique body of original work, influenced by Jan Garbarek’s Nordic folk-inflected compositions and his own roots in American Jazz and East Bay Funk. The album features esteemed collaborators Rachel Z and Omar Hakim.

(*) Parents in Jazz was started (first as ‘Mothers In Jazz’) by vocalist Nicky Schrire in August 2022. The initiative aims to create an online resource for jazz industry professionals with children, those contemplating parenthood, and jazz industry figures who work with and hire musicians who are parents. The insight of the musicians and administrators interviewed for this series provides valuable emotional, philosophical and logistical information and support that is easily accessible to all. “Parents In Jazz” shines a light on the very specific role of being both a parent and a performing jazz musician or jazz arts professional.

The post Parents In Jazz: Dann Zinn first appeared on UK Jazz News.

There are no rules! You can make your own rules, so that your career in music can suit you and your family! Your life in music is your own to discover  and to live, no-one else’s. You need to define what success looks like to you,  giving yourself realistic goals along your journey, while being open to what  God/fate/the universe has planned for you as well. 

I have learnt that you will have to set your own boundaries. For example,  what is your ideal fee and what is your minimum fee? How far are you willing to travel? How many gigs do you want to do per month? How late at night are  you willing to work? 

If you need to do other work, as well as music, to sustain you financially then  that’s absolutely fine and doesn’t make you any ‘less’ of a musician! 99% of  musicians don’t make money solely through playing music! And other types of  work can be very enriching and a nice contrast, giving life variety. For me  personally, in addition to my work with the band, I run two children’s choirs, a  choir for people with dementia, and a singing group for mums and babies. I  also run a playgroup and youth club for teenagers. And I love this work and it  gives me a fixed monthly income alongside the money I make from gigging  which is essential.  

Support from loved ones is extremely important when you have a career in  music. I am very lucky that I have a wonderfully supportive husband, who is also a professional musician. So we both understand what it’s like and we support each other, gigging on different nights of the week so the other one can be with our son, as well as making sure that we still make time for each  other. It’s also great to be able to talk with him about music, share ideas, experiences and advice. We always encourage each other and build each other up, which is vital!  


UKJN: Your top tip(s) for other mothers in jazz:

ED: Everyone’s needs will be so different but I would say that building community is really important and having people that support and encourage you in what you are doing, particularly other women in music and other mothers in music who understand what it’s like. I started to truly experience the power of this when I co-founded a group for women in music in Birmingham. There are around seventy of us in the group, many are mothers, and the idea is that we all encourage each other’s endeavours. This has been a great way to share  work opportunities, support each other on social media, as well as promoting  and attending each other’s gigs. There are a range of people in the group – musicians, sound engineers, songwriters, promoters, music charities,  community musicians etc. So that has been a great resource! I have found that music has great power to connect us to one another, and women love to  support each other! 

UKJN Baby/child gear tips for travel/touring/gigging:  

ED: I don’t tend to take my son to gigs now that he is a bit older, and I didn’t gig  when he was a baby because crippling postnatal depression, sleep  deprivation and breastfeeding didn’t work so well with gigging (I could barely  get dressed and string a sentence together never mind play a gig) and then there was the pandemic, so there were no gigs to play! So I took a couple of years off. However, fellow mothers in my band have taken their toddlers  along to our gigs before and absolutely smashed it! Although it can look and even sound a bit different to other gigs (e.g. drumming with a toddler on your knee) there is such beauty in it, the audience love to see the children involved  and it helps the audience to connect to us as people.


UKJN: Best general travel/gigging/tour-with-child advice:  

ED: You will definitely need someone with you, a partner, family member or friend, to look after your baby/child while you are sound-checking, performing, and  networking/selling merch after your gig. Generally, I don’t bring my son to gigs  as they are mostly in the evening, but sometimes it will be a daytime gig, for  example at a jazz club or a festival, in which case my husband might come  with me to look after my son when I’m unavailable. However, we have found  that this isn’t ideal as funnily enough when Mummy is busy that’s the moment  that my son wants all my attention! So it’s better if my husband just takes him  out for the day somewhere that he enjoys, like soft play or the playground,  and I can focus on the gig and my son won’t get upset at me being too busy  for him.

UKJN: What has surprised you about becoming a parent and remaining  engaged with your professional activities and ambitions?  

ED: I think that the success of the band, how busy we are and how much we are getting booked has surprised me, considering that we only gig in the  Midlands. Also, we don’t do a gig if it finishes after 10pm, as I like to be home and in bed by 11pm, because I have to be able to get up at 7am everyday to  get my son ready for school! You would have thought that these boundaries  would mean that we would get less work but actually we have gotten more!  People understand and they want to support us, and if not, we won’t work  with them so it’s their loss!  

I have actually been surprised by how important my professional activities and ambitions are to me after having a child. I think that there is a myth that when you have children you suddenly won’t care about anything else and everything will be about your child, which isn’t really true. Yes, they are the most important thing in your life and, yes, you would sacrifice anything for them, but you are still you! You still have all your passions and gifts and  ctually you need those things even more as they give you energy, strength, identity, creative outlet, therapeutic benefit, community and connection. These things become even more important as a mum – as mums, we give  and give and give. And so we need to replenish our reserves, and that is what art and community are for, both of which come together so beautifully in  music. 

I have actually also been surprised by how age just isn’t a barrier! When I was young I thought that a career in performing music was something you  could only have in your twenties or thirties if you were conventionally  beautiful, but here I am, nearly forty with laughter lines and a ‘mum-bod’  feeling like I’m only just getting started and incredibly excited for my future in  music, which I plan on doing for the rest of my life! I love to see older women  killing it at a gig, it’s awesome and super inspiring!  

UKJN: What boundaries have you set for yourself as a mother in jazz (could  be related to travel/touring, riders, personal parameters, child care decisions,  etc.)?  

ED: I made the decision to never take a gig further than one hour drive from Birmingham, where I live. I have done touring up and down the country and  internationally before and I just knew that that wasn’t what I wanted to do this  time. Many musicians do tour with their families but I knew it wasn’t for me.  However, instead of limiting the amount of gigs, I have actually found the opposite effect – we are getting so many gigs I can’t keep up with the  bookings! And obviously we’re not having to spend much of our fee on travel  and nothing on accommodation! And I get to sleep in my own bed every night!  It’s been a great opportunity to really seek out local venues, promoters,  agencies, jazz clubs and local people putting on live music events. We are  lucky in Birmingham, because of how central it is we can get to  Worcestershire, Warwickshire, Staffordshire, Derbyshire, as well as the wider  Birmingham, Sandwell and Black Country area, all within an hour, and we  have discovered some absolutely amazing venues and great people putting  on live music. The types of gigs we do are very diverse – theatres, jazz clubs,  bars, pubs, rural touring in village halls, as well as for private functions. So  limiting ourselves to one location has actually really helped us to think  creatively, and use our limitations to our advantage!

(*) Parents in Jazz was started (first as ‘Mothers In Jazz’) by vocalist Nicky Schrire in August 2022. The initiative aims to create an online resource for jazz industry professionals with children, those contemplating parenthood, and jazz industry figures who work with and hire musicians who are parents. The insight of the musicians and administrators interviewed for this series provides valuable emotional, philosophical and logistical information and support that is easily accessible to all. “Parents In Jazz” shines a light on the very specific role of being both a parent and a performing jazz musician or jazz arts professional.

The post Parents In Jazz: Ellie Dattani first appeared on UK Jazz News.

His innovative works blend modern improvisation with production-based technology. He has toured with D’Angelo for the ‘Black Messiah’ tour and joined Clean Bandit’s ‘Rather Be’ tour alongside pop artist Meg Mac. Collaborations such as his piano trio, “Pascal’s Triangle” with bassist Linda May Han Oh and drummer Justin Brown show his versatility. His compositions have garnered support from major organizations, and he has received multiple accolades, including Grammy nominations and a Guggenheim Fellowship. Currently, he teaches Music and Technology at Vanderbilt University and is pursuing a Ph.D. in Music Composition at Princeton. Pascal and his partner, composer Molly Herron, have two children, aged three and one.

UK Jazz News: What is the best advice you received about balancing/juggling parenthood and career?

Pascal Le Boeuf: “Make the most of your time: when you spend time with your child, be fully present with them; when you have time to yourself, be efficient. Even 15 minutes is enough time to compose a few bars of music.” (Coming from a combination of Terence Blanchard and Steve Mackey advice). 

It takes a village to raise a child. You can ask for help. If you are fortunate enough to have friends or family members willing to come to you to assist with childcare, it may be necessary to ask them for help in order for you or your partner to engage in professional work. If my partner or I want to go on tour, premiere an orchestra piece, or make a record out of town, we rely on our parents to help out by either accompanying us with the kids or visiting one of us at home to assist while the other is away. 

Before saying “yes” to professional opportunities, I first have to make sure my partner and our support network are on board. Sometimes it doesn’t work and that’s ok—saying “no” to an opportunity just means you are a supportive parent/partner and people (who matter) will understand and respect your choices. 

UKJN: What information or advice do you wish you’d received but didn’t (and had to learn through trial and error or on the go)?

PLB: First, I want to mention that I am fortunate to have a wonderful and supportive partner (Molly Herron) who is also a musician and understands the many challenges of balancing parenting and career. In the initial whirlwind of breastfeeding and poopy diapers I thought I was being an equal partner by constantly asking Molly “what can I do to help?” I was afraid of doing something wrong and wanted her to be happy, so I would ask to be sure I was “doing it right” or “doing the right thing”. I think a lot of men do this because it is what is modeled for us in society. The problem with this was it put Molly in the role of being in charge of parenting decisions, which is not equitable. Eventually something clicked and I realized I could be more supportive by taking initiative regarding decisions, even if Molly and I sometimes disagree on how something should be done. So—Dads especially—be sure you are doing your part and don’t wait to be asked to take initiative as a co-parent. Educate yourself about breastfeeding, bottles, co-sleeping, sleep training, solid foods, developmental stages, so you can initiate conversations about these with your partner. 

On a related note, beware the influence of outdated gender stereotypes at every turn. Children’s songs, kids books, Thomas the Tank, and media of all kinds are ready to normalize Daddy working late while Mommy stays at home and does the cooking/bedtime/laundry etc. This can be frustrating. Even if you are a progressive parent, it takes vigilance and critical thinking to recognize the powerful social influences in the world around you, how they affect your family, and how you are going to respond to them. 

Helpful Books:

• “Equal Partners: Improving Gender Equality at Home” by Kate Mangino
• “Expecting Better” by Emily Oster (for soon-to-be parents)

UKJN: Your top tip(s) for other parents in jazz:

PLB: If you want to be a parent someday, try to plan far ahead. Imagine the lifestyle you want for yourself and your family, then try to lay the foundation so you can embody it. If you have a partner, be sure to look for the center of a venn diagram that includes both of your priorities.

UKJN: Best general travel/gigging/tour-with-child advice:

PLB: You don’t have to go on tour to be a musician. If you want to be a parent but don’t want to be on tour all year, try to invest in creative processes that aren’t dependent on traveling. For me, it made sense to invest in academia, composition, recording, production and other creative outlets that would allow me to stay at home with my family without feeling creatively or professionally restricted. I can still tour (and I do, especially for album releases) but touring isn’t something I have to do in order to be professionally active or artistically fulfilled. Many of my artistic/parent role models (Geri Allen, Dee Dee Bridgewater, Brad Mehldau) took their kids on the road or spent long periods away from home. I always imagined doing this until I really thought about the challenges (health insurance, stable income, kids going to school, developing consistent routines at home). There are certainly ways to make touring work but it is not a requirement for a thriving career. You are in charge of your own path. 

When you do travel/gig with your child(ren), be on the lookout for libraries, museums, parks, kid-friendly restaurants, and other activities so they can play and explore in child-centered settings. Bring a grandparent or a friend on the road to help with childcare if you can. This can make touring feel more like an adventure or an excuse to see a friend/family member that lives far away.

UKJN: What is one way that figures or structures in the jazz industry could better support parents who are working jazz musicians?

PLB: Hire them. Don’t assume they are too busy taking care of the kids to make music. Being a parent can have a profound effect on creativity and should be viewed as an asset. 

UKJN: What has surprised you about becoming a parent and remaining engaged with your professional activities and ambitions?

PLB: Composing is easier and improvising feels more purposeful. I was worried I would be unable to maintain my creative work as a parent. This is not the case at all. I have had to change the way I work to be more efficient, which has been a positive development. Now I say “yes” to the first idea rather than cycling through many ideas and losing time.

UKJN: What boundaries have you set for yourself as a parent in jazz (could be related to travel/touring, riders, personal parameters, child care decisions, etc.)?

PLB: I am not taking local gigs until after dinnertime, bathtime, and bedtime. This wasn’t an issue until Molly and I had our second child. It’s a marathon for one parent to manage bedtime for two kids. I have never regretted saying “no” to an opportunity in order to prioritize my family. People will always understand and respect your decision to be a parent first. 

Pascal’s latest release was created simultaneously with the arrival of his two children. It is an album-length composition called Are We Dreaming The Same Dream? that examines what Ralph Ellison calls “the unity of American experience” by recognizing musical ancestors — Geri Allen, Dave Brubeck, Charles Mingus, Bill T. Jones, and Leonard Bernstein. The composition asks: Are we really dreaming the same American dream, or is our consumer culture overshadowing our own sense of belonging?

(*) Parents in Jazz was started (first as ‘Mothers In Jazz’) by vocalist Nicky Schrire in August 2022. The initiative aims to create an online resource for jazz industry professionals with children, those contemplating parenthood, and jazz industry figures who work with and hire musicians who are parents. The insight of the musicians and administrators interviewed for this series provides valuable emotional, philosophical and logistical information and support that is easily accessible to all. “Parents In Jazz” shines a light on the very specific role of being both a parent and a performing jazz musician or jazz arts professional.

The post Parents In Jazz: Pascal Le Boeuf first appeared on UK Jazz News.

UK Jazz News: What is the best advice you received about balancing/juggling parenthood and career?

Nel Begley: My best piece of advice was to completely delve into the first 6 months of motherhood and give myself a break from being a musician. My main problem was shutting off the thought process surrounding what I needed and wanted to do, but when I did, finding presence and self-empathy was so much easier. I had so many ideas of all of the things I could achieve during my maternity leave haha, well they soon had to be reviewed with my new reality.

UKJN: What information or advice do you wish you’d received but didn’t (and had to learn through trial and error or on the go)?

NB: Take your time getting back into social situations and gigs. I don’t think I was quite prepared for how long it would take me to feel ‘normal’ again after birth and I threw myself into performing and seeing people. I honestly felt like a deer in the headlights. There is no need to push on, but no-one can really explain how different you’ll feel once you become a mother. 

UKJN: Your top tip(s) for other parents in jazz:

NB:  I think this might seem obvious but, asking for help!

At the moment I have an hour or so in the daytime and possibly a few more at night (energy dependent) to do work. I just can’t do everything I want to now and I need to ask family and friends to help. It’s amazing when you know other people are rooting for you and your creative projects.

UKJN: Travel/gigging/tour-with-child advice. This can be gear or gadget-related, or pertain to approach/what to do/what not to do:

NB: Get your children to your gigs! Since he was born Arthur and I have been to see his dad – Luke Fowler perform a lot. Seeing Arthur enjoy the music so much gives me so much drive to get out there more myself and solidifies why I should be gigging – for the love of it and maybe Arthur will see me perform soon too!

I was used to just getting up and walking out the door for gigs but now I need to prepare a few days in advance (and would recommend doing it as it can take so long to get out the house now) I thank myself when I’ve already pumped and choosen out the outfit.

UKJN: What is one way that figures or structures in the jazz industry could better support parents who are working jazz musicians?

NB: I would love some accommodation with childcare, the option for a room to feed in/ for a carer to be situated- there was a lot of work I couldn’t take because of a lack of flexibility from employers even though I’d figured a way to make it possible at my end. In the early stage I’m in now I feel he’s too young to go to a nursery but still want to engage with as much work and music as I can!

UKJN: What has surprised you about becoming a parent and remaining engaged with your professional activities and ambitions?

NB: I am pretty new to it all but at the beginning I went through a few phases of not knowing whether the two things – being a mother and being a musician – would be possible and whether being a musician was a selfish life choice. I am so glad that I kept my toe in the scene from early on (even if it was hard) because it gave me such reassurance and validation that everything is possible!

UKJN: What boundaries have you set for yourself as a parent in jazz (could be related to travel/touring, riders, personal parameters, child care decisions, etc.)?

NB: At the moment I am not doing consecutive gigs as I know it’s quite disruptive for Arthur (and also difficult with childcare). Luke and I are in the luckiest position that we can organise childcare amongst ourselves and some close family and we are aiming to keep it that way for as long as possible.

Nel’s newest album, ‘Small Flame’, came out on 24 January 2025.

(*) Parents in Jazz was started (first as ‘Mothers In Jazz’) by vocalist Nicky Schrire in August 2022. The initiative aims to create an online resource for jazz industry professionals with children, those contemplating parenthood, and jazz industry figures who work with and hire musicians who are parents. The insight of the musicians and administrators interviewed for this series provides valuable emotional, philosophical and logistical information and support that is easily accessible to all. “Parents In Jazz” shines a light on the very specific role of being both a parent and a performing jazz musician or jazz arts professional.

The post Parents In Jazz: Nel Begley first appeared on UK Jazz News.

UKJazz News: What is the best advice you received about balancing/juggling parenthood and career?

Ben Wittman: I learned a lot by observing other artists over the years with their own children. I still regularly get fresh insights and ideas. Also, my parents were performing artists and even though they didn’t tour I grew up in a household that was centered around a career in the arts. My childhood experience has prepared me somewhat for being a parent in the midst of a very fluid and dynamic lifestyle. I do think it’s important to stay flexible, stay in the moment and not get attached to preconceptions about how a daily schedule should be followed. In general I’ve noticed children of artists are remarkably flexible and just need to know they are being included in mom and dad’s world. They usually love the ride!

UKJN: What information or advice do you wish you’d received but didn’t (and had to learn through trial and error or on the go)?

BW: We were fortunate to raise our son in Brooklyn, NY for his first five years. It was a community filled with artists and creatives so we didn’t feel lacking for advice, support and camaraderie.

UKJN: Your top tip(s) for other parents in jazz:

BW: Expect the unexpected, don’t try to rigidly adhere to a given plan. Always pack plenty of snacks and spare diapers and underwear. Don’t expect your child to be a musician or follow in your footsteps. And if they do show interest, don’t pressure them. They need to find their own path, their own voice.

UKJN: Best general travel/gigging/tour-with-child advice:

BW: Per the above: Always travel with plenty of snacks and spare diapers/underwear. Also, leave extra time for rest stops, pee breaks, checking in for flights, time between connecting flights etc. If possible, find someone to watch your child during soundcheck. We usually think about organizing care for the performance, but soundcheck is a critical time for mom and dad to get focused and make sure they are properly prepared for the show.

UKJN: What is one way that figures or structures in the jazz industry could better support parents who are working jazz musicians?

BW: My son Josh would tell you to make sure there is Wifi at every club. More seriously, issues of male chauvinism and sexism are still predominant in the industry. As awareness and equality for women develop alongside more women in leadership and managerial roles sensitivity will also improve. For parents, so much is about a supportive environment at a given venue. Management and tech crews being sensitive and supportive to artists as they arrive with their children goes a long way. The small stuff really helps- spare diapers, a change table, playpen, not to mention the wifi. On a bigger scale, childcare options and a list of local qualified babysitters could help immensely.
UKJN: What has surprised you about becoming a parent and remaining engaged with your professional activities and ambitions?

BW: How much fun and how inspiring it is! I was initially concerned that being a parent would reduce the energy, time and passion available to be the musician I wanted to be. But the experience of being a father has only brought more richness and inspiration. Sure, there are times when I don’t get the sleep I used to or when my child’s needs supersede my own musical plans, but overall being a father has brought immeasurable depth and meaning to my career. The other takeaway is the humbling realization that any unfulfilled goals are solely about my own issues. Being a parent has absolutely zero to do with not getting one’s musical goals accomplished.

UKJN: What boundaries have you set for yourself as a parent in jazz (could be related to travel/touring, riders, personal parameters, child care decisions, etc.)?

BW: My wife and I tour together, but we also tour separately. We have a hard rule: Never spend more than two weeks away from one another. It’s advice we received from another touring couple many years ago and it really holds true. Longer than two weeks changes the dynamic of our marriage. We always get back into our rhythm, but keeping it under two weeks ensures a much quicker return to normal. If I’m going out as a listener I don’t stay late post-performance. I prioritize health and sleep as much as possible. We’re always happy to have a local person watch our child for a few hours at the venue during soundcheck, but we would not trust someone whom we did not know to do an extended evening or overnight. Did I mention good wifi at the venue?

(*) Parents in Jazz was started (first as ‘Mothers In Jazz’) by vocalist Nicky Schrire in August 2022. The initiative aims to create an online resource for jazz industry professionals with children, those contemplating parenthood, and jazz industry figures who work with and hire musicians who are parents. The insight of the musicians and administrators interviewed for this series provides valuable emotional, philosophical and logistical information and support that is easily accessible to all. “Parents In Jazz” shines a light on the very specific role of being both a parent and a performing jazz musician or jazz arts professional.

The post Parents In Jazz: Ben Wittman first appeared on UK Jazz News.

UK Jazz News: What is the best advice you received about balancing/juggling parenthood and career?

Katie Thiroux: Even though you may have less time on your instrument, it doesn’t take away your musical abilities. All that time spent practicing and performing is cumulative. 

UKJN: What information or advice do you wish you’d received but didn’t (and had to learn through trial and error or on the go)?

KT: Trust your gut and not the doctors. I spent months observing my daughter and telling the pediatrician and physio that something wasn’t right and they said “she’s just growing, wait.” I finally listened to my gut and went for second options. It turns out my daughter has low muscle tone and global delays.

UKJN: Your top tip(s) for other parents in jazz:

KT: You can get A LOT done in 20 min. In the beginning, I had maybe 2 hours of the day to myself on my instrument spread out and I would divide that into technique practice and just playing for me.

UKJN: Travel/gigging/tour-with-child advice. This can be gear or gadget-related, or pertain to approach/what to do/what not to do:

KT: I keep a basket of toys and books in the front seat of my car and hand them to my daughter on a long car ride. You will find the books, songs and toys that your child aligns with. In the beginning the only that would calm my daughter down was loud reggae music!

UKJN: What is one way that figures or structures in the jazz industry could better support parents who are working jazz musicians?

KT: For one thing, don’t discriminate. I lost out on a full time teaching position because I was unable to fly to the final interview due to my pregnancy. Also, some people/venues/promoters assume you won’t play anymore so they won’t even ask you. Consider paying an extra fee for travel days as those are typically unpaid days that I still have to pay a nanny for at home to take care of my child. 

UKJN: What has surprised you about becoming a parent and remaining engaged with your professional activities and ambitions?

KT: What has surprised me is when I’m working on the road I am so busy that I don’t even have time to think about my family at home. Especially when I’m in a different time zone and it is a weird feeling to almost feel like you don’t have a family. 

UKJN: What boundaries have you set for yourself as a parent in jazz (could be related to travel/touring, riders, personal parameters, child care decisions, etc.)?

KT: For me, I travel once a month and that fills me up right now. Too much and I would feel disconnected from home. Too little, and I would feel disconnected from The Music. My daughter is not able to travel with me yet and it would be an extra cost to bring my nanny. Most people don’t understand that if I bring my daughter on tour I would also need to hire a nanny.

Katie’s latest recording is a duo record (with Katie on bass and voice. It’s 11 short songs punctuated by 3 John Lennon vignettes of “Look at Me.” Katie says, “It’s my reflection on before pregnancy, during and after. It’s called “Always, but never, Alone.” I had a collection of songs I was working on and the idea solidified one day when everyone needed me and I was in the bathroom. My daughter was screaming, my husband was asking for help and then…the cat started scratching on the door!”

(*) Parents in Jazz was started (first as ‘Mothers In Jazz’) by vocalist Nicky Schrire in August 2022. The initiative aims to create an online resource for jazz industry professionals with children, those contemplating parenthood, and jazz industry figures who work with and hire musicians who are parents. The insight of the musicians and administrators interviewed for this series provides valuable emotional, philosophical and logistical information and support that is easily accessible to all. “Parents In Jazz” shines a light on the very specific role of being both a parent and a performing jazz musician or jazz arts professional.

The post Parents In Jazz: Katie Thiroux first appeared on UK Jazz News.

UK Jazz News: What is the best advice you received about balancing/juggling parenthood and career?

Will Vinson: I remember vividly Matt Penman telling me that, to paraphrase, every single hitherto existing part of your life will become immeasurably worse, but that you’ll also have a child. So, on balance, your life is slightly better than it was before. I think that’s about right. There are aspects of my old life I miss and know I won’t get back until it’s probably too late to enjoy them properly. But I took full advantage when I had the chance, and now the experience of seeing my kids every day is unbeatable.

UKJN: What information or advice do you wish you’d received but didn’t (and had to learn through trial and error or on the go)?

WV: Honestly I was totally unaware of the impact having kids in a situation where both parents have non-traditional work lives. I have plenty of friends who are musicians, but they mostly have partners with 9-5 jobs, meaning the requirement of regular childcare was there from the beginning. Our flexibility meant that we had the opportunity to have so much more contact with our kids than most people. However, it also made things very difficult when we both had to work. Arranging ad-hoc childcare can be a nightmare! I guess a good piece of advice would have been to make sure that we have some kind of regular childcare in place, in order to make sure we had time to decompress a bit.

UKJN: Your top tip(s) for other parents in jazz:

WV: I would suggest making a plan with your partner that allows you both time to focus on things outside of parenthood that are important to you. The division of labor is so important, and it doesn’t happen by itself. Take care of yourselves and each other as well as your child!

UKJN: Travel/gigging/tour-with-child advice. This can be gear or gadget-related, or pertain to approach/what to do/what not to do:

WV: We have mostly avoided touring with kids. I am in total awe of friends of mine such as Ingrid Jensen and Jon Wikan and Linda May Han Oh and Fabian Almazan who somehow manage to make this work! Although I will just drop it in here that they both have one kid, which might (might!) make it seem more doable.

UKJN: What is one way that figures or structures in the jazz industry could better support parents who are working jazz musicians?

WV: Oh my.

UKJN: What has surprised you about becoming a parent and remaining engaged with your professional activities and ambitions?

WV: Honestly, with the sheer labor of raising kids (obviously there’s the labor of actual childbirth, which I can’t even imagine), the thing that surprises me is that I’m still able to play music at all! I guess that’s what all those years of practice were for – to get me to a point where the music is still there once I’ve done the real work, which is taking care of the rest of my life.

UKJN: What boundaries have you set for yourself as a parent in jazz (could be related to travel/touring, riders, personal parameters, child care decisions, etc.)?

WV: Ah, boundaries! They’re meant to be broken, aren’t they? One of the reasons I wanted to move to Europe after a 4-year sojourn in Australia was to be closer (than New York, and obviously than Australia!) to the places where most of my work happens. This is to enable me to travel for a few days at a time, rather than a few weeks. I did a long tour, right before Covid, leaving a toddler and a pregnant partner at home and it was an experience I think we’d all like not to repeat. So now my limit is like 10 days, but to get anywhere close to that, it has to be a project I’m personally committed to. Even that length of time is hard on everyone – except the kids, who I’m glad to say take it all in their stride. In fact I think the thing that makes both us parents most proud is that we’ve raised two kids who are secure and grounded enough (despite the ground constantly moving around them) that, when one of us leaves for x amount of time, they barely flinch!Extra: If you’d like to include information about an upcoming release or tour or performance, please add it in here and it will be included along with your website url at the end of the piece.

(*) Parents in Jazz was started (first as ‘Mothers In Jazz’) by vocalist Nicky Schrire in August 2022. The initiative aims to create an online resource for jazz industry professionals with children, those contemplating parenthood, and jazz industry figures who work with and hire musicians who are parents. The insight of the musicians and administrators interviewed for this series provides valuable emotional, philosophical and logistical information and support that is easily accessible to all. “Parents In Jazz” shines a light on the very specific role of being both a parent and a performing jazz musician or jazz arts professional.

The post Parents In Jazz: Will Vinson first appeared on UK Jazz News.

UKJN: What information or advice do you wish you’d received but didn’t (and had to learn through trial and error or on the go)?

CT: Mothering and taking care of the household is a full time job. To continue your career, you need to offload some of that work whether it be sharing the extra load between a partner (this will still feel like a lot), childcare, hiring a cleaner, or help from family. You can only practice your instrument “when the baby sleeps” for so long before it feels like you’re not getting your needs met. You might feel emotional if you choose the childcare route; you will miss your baby. That is normal. Practicing your artistic craft will ground you and help you remember who you are apart from being a (great) Mom. 

If you’re gigging in the evenings, you’ll be tired. If you love performing, it will fill your cup and you will march on. Say yes to things that fill your cup!

Some weeks will be hard. Breathe and make lists. Enjoy your accomplishments. Some weeks will be pure joy.  

UKJN: Your top tip(s) for other mothers in jazz:

CT: If possible, have a plan for childcare before the baby is born. It can always be adjusted. For example, “I will take X months off work and then have childcare X hours a week”. As a mostly self-employed musician, I struggled over what balance to strike. I worried about spending money and missing my baby. I tried squeezing in practice time in short spaces whenever I had a moment, but that took an emotional toll on me. It also affected my ability to rest, rejuvenate and sleep at night. Additionally, if the sitter arrives and you don’t practice, it’s ok. Think of the big picture. Once the sitter arrived and we just chatted and she taught me to french braid hair. Follow your joy.

UKJN: Travel/gigging/tour-with-child advice. This can be gear or gadget-related, or pertain to approach/what to do/what not to do:

CT: I’ve only brought my child(ren) along on work trips to places where I already knew people who could babysit them. I’ve found, in general, I can prepare for performances much better when I am without my children. Whenever possible I plan a trip in advance and have a grandparent come stay while I am away. For those traveling with kids who are 3+, it may be helpful to know about the RideSafer travel vest that can substitute for a car seat and fits in a backpack.

UKJN: What is one way that figures or structures in the jazz industry could better support parents who are working jazz musicians?

CT: Venues and recording studios should be enthusiastically willing to help find an appropriate area for a breastfeeding/pumping parent. Ideally they are prepared for the question. 

UKJN: What has surprised you about becoming a parent and remaining engaged with your professional activities and ambitions?

CT: I was surprised when a friend of mine started inviting me to jam sessions at his house and he invited my toddler to join (she was not in full time daycare). She was of course a little difficult to manage. Sometimes I’d be playing and she would be crawling on my lap. But he kept asking us to come and all the musicians were very sweet with her. One wrote a song for her. We all formed a little bond. She would play with toys under our music. I don’t often mix my mom and pianist roles and I found it so special and I am grateful to my friend. 

UKJN: What boundaries have you set for yourself as a mother in jazz (could be related to travel/touring, riders, personal parameters, child care decisions, etc.)?

CT: Boundaries are still a work in progress. Every work situation is unique so blanket boundaries don’t exactly work for me. I am working on knowing my limits. For example: If you are handed a composition to learn in X amount of time, make sure you actually have the time to learn it. Everything takes twice as long when you’re a parent of young kids. Sometimes you have to pull all nighters to get the work done you agreed to do but as I said before, say yes to things that fill your cup And don’t be shy to say no.


(*) Parents in Jazz was started (first as ‘Mothers In Jazz’) by vocalist Nicky Schrire in August 2022. The initiative aims to create an online resource for jazz industry professionals with children, those contemplating parenthood, and jazz industry figures who work with and hire musicians who are parents. The insight of the musicians and administrators interviewed for this series provides valuable emotional, philosophical and logistical information and support that is easily accessible to all. “Parents In Jazz” shines a light on the very specific role of being both a parent and a performing jazz musician or jazz arts professional.

The post Parents In Jazz: Cat Toren first appeared on UK Jazz News.

UKJazz News: What is the best advice you received about balancing/juggling parenthood and career?

Harry Mitchell: I didn’t receive much advice, being a jazz musician is such an obscure career choice to most people. You just work it out along the way.

UKJN: What information or advice do you wish you’d received but didn’t (and had to learn through trial and error or on the go)?

HM: To check my vitamin and general health levels before having kids and to sort out my immune system. Getting home late from gigs and waking up early is super rough unless your immune system is in good shape.

UKJN: Your top tip(s) for other parents in jazz:

HM: 

1. Find a way to practice your instrument quietly. 
2. Keep a practice journal so when you inevitably have multiple days in a row when you can’t practice, it doesn’t take long to get back on track with your musical goals. 
3. Don’t introduce your kids to songs you don’t want to hear 100000 times. 

UKJN: Travel/gigging/tour-with-child advice. This can be gear or gadget-related, or pertain to approach/what to do/what not to do:

HM: I’m yet to tour or take my children to a gig, I’ve taken them on a plane once and it was difficult. I deeply respect any musician/s taking their children on tour.

UKJN: What is one way that figures or structures in the jazz industry could better support parents who are working jazz musicians?

HM: This question really stumped me. Where I live, there aren’t any relevant bodies or unions that could offer anything at all in this regard. Maybe Europeans in countries with stronger social support systems would answer this one better. I’ve heard that France pays a minimum yearly wage to musicians who meet a certain criteria. That would be cool.  

UKJN: What has surprised you about becoming a parent and remaining engaged with your professional activities and ambitions?

HM: Having children has made me realise how much time I wasted before I had them. I’m surprised at how productive having children makes you, because you can’t waste a single minute of your spare time. You get really good at being efficient in your spare time. 

UKJN: What boundaries have you set for yourself as a parent in jazz (could be related to travel/touring, riders, personal parameters, child care decisions, etc.)?

HM: I reduced my drinking to roughly a couple of drinks a year. I couldn’t wake up in the morning and be a patient parent, even if I only had one drink at a gig the night before. I also teach more and really have to rely on that income. Solely relying on gig income is too unpredictable and stressful with kids. The plus side of that is I mostly get to take the gigs that I want to.

Harry’s most recent release is “Noon”, which features alto saxophonist Flora Carbo and drummer Ben Vanderwal.

(*) Parents in Jazz was started (first as ‘Mothers In Jazz’) by vocalist Nicky Schrire in August 2022. The initiative aims to create an online resource for jazz industry professionals with children, those contemplating parenthood, and jazz industry figures who work with and hire musicians who are parents. The insight of the musicians and administrators interviewed for this series provides valuable emotional, philosophical and logistical information and support that is easily accessible to all. “Parents In Jazz” shines a light on the very specific role of being both a parent and a performing jazz musician or jazz arts professional.

The post Parents In Jazz: Harry Mitchell first appeared on UK Jazz News.