Founded by trumpeter/composer Laura Kahle and pianist/arranger Steve Newcomb, the 10-piece West End Composers Collective began in 2003 as a monthly gathering of Brisbane’s creative improvising musicians, composers and arrangers to workshop original works at the Tongue and Groove café, West End. With the success of these monthly gatherings, the growth in repertoire and a grant from Arts Queensland, they launched their debut album “Downstream” in February 2004. This launch supported internationally acclaimed artists Ingrid Jensen (Trumpet) and Jon Wikan (Drums), on tour from the USA. Since the collective’s inception, it has appeared at Brisbane’s more established venues such The Zoo, Jazzworx Club, Rics Café and held a regular monthly performance at the Milk Bar in Paddington. In late 2004 they were guests at the Melbourne Women’s International Jazz Festival, a performance broadcast live on ABC Radio National. The group was featured in concerts of original music written by saxophonist Rafael Karlen at the Metro Arts theatre, The Brisbane Jazz Club and the Jazzworx club throughout 2006-7.

Peter Wockner: Six years down the track performing at Festivals and Brisbane venues and two albums later. What was the initial motivation for the collective and at what stage in its development did you collectively realise that there was some good music worth recording or presenting?

Steve Newcomb: At the time of the group starting out, there was a talented pool of improvisers around and a small restaurant in West End had a basement bar that seemed like a perfect place for informal music making to take place. We started meeting once a month and repertoire grew. Laura Kahle was one of the driving forces with the music for the band in the early stages and receiving an Arts Queensland grant to record her music as well as originals by Isaac Hurren and Kristin Berardi (who were in the band at this time) led to the ensemble becoming more ‘serious’.

PW: Has the group or the concept ever had a particular inspirational figure eg is it’s instrumentation based upon any particular band?

SN: When I was in New York around 1999-2000 I saw a small big band at a club called Smalls. Jason Linder was the pianist and this group progressed to becoming the Jason Linder big band, which somewhat inspired the idea to start a small big band ‘collective’ in the basement of a restaurant in West End, Brisbane. Mike Nock had been working on a similar project in Australia, and the Mingus Big Band is another inspiration for the open/workshop type vibe to the music creation, as well as the Brian Blade fellowship which is a wonderful band that explores a mix of genres and styles, with an instrumentation that uses guitar and keyboards in a non-typical traditional-jazz way.

PW: The new album ‘Driving Hat’ contains the compositions of saxophonist Rafael Karlen. What special compositional qualities does Rafael bring to the table and can you describe the difference in mood with the collective’s first album ‘Downstream’?

SN: I think there is a link in sound between the two albums, perhaps the instrumentation and soloing personalities achieves this, but at the same time, Rafael and Laura (primary composer for 1st CD) were able to put their stamp on the music for their respective albums. Rafael has explored varied colour in the band through instrumentation (flute, alto flute, and voice as instrument writing), and has played around with varied forms in a more composition ‘theme development’ kind of way. Laura has a way of really building on the improvisational strengths in the band and perhaps prefers an organic ‘group’ approach to the process.

PW: This Sydney concert becomes an important performance for the collective as it’s your first date here. Have you found the Sydney scene difficult to break into? What have been the main barriers?

SN: I don’t think it’s a case of the Sydney scene being difficult, more that getting the resources and motivation together to tour with a 10-piece one of the main obstacles. Most of the players in the band have played in Sydney in other groups or under their own name, but we are really excited to be playing there as a collective for the first time.

PW: You personally have a background as much involved in Classical music as jazz. Both genre’s borders are becoming increasingly blurred especially in Europe and Australia and possibly to a lesser extent in the US. Do audiences need to be more educated to appreciate the music today?

SN: I think audiences are more educated today than in any other generation, largely due to things such as You Tube and Myspace, which has put a great deal of music and art on an even keel as far as accessibility goes. The blurring of genres has probably enabled audiences to ‘join up’ so to speak, which I think is a great thing. I like to think that my music can be appreciated by anyone, and it is certainly an aim to make it reach people regardless of their knowledge about either tradition.

PW: WECC has been careful to include some fine vocalists on both albums to date. Does this inclusion necessarily assist in keeping your music more accessible?

SN: I don’t think the inclusion of vocals is a marketing choice of any kind. Personally, I like the sound of the voice within instrumental music where it blends with other instruments (music of Kenny Wheeler, Pat Metheny for example) so that has been one motivation to include it. However, it just so turns out that the vocalists we have been able to work with have also been keen composers and contributed largely to the repertoire, and in the case of Kristin Berardi and Hannah Macklin, the arranging duties as well. It is fair to say though, that the inclusion of lyrics adds a layer of accessibility for audiences who don’t necessarily listen to instrumental music all the time.

PW: What thoughts or emotions would you like Sydney audiences to go home with after WECC’s performance?

SN: I’d like Sydney audiences (and this would be the same for any audience) to walk away feeling uplifted from the inspiring solos they have witnessed, and the fresh original arrangements and compositions they’ve heard, created by our country’s own. I like to think that the band and our music embodies characteristics of the great things about Briz-vegas .. a quirky sense of style and a unique mish-mash of influence, balanced with an enthusiasm towards reinvention.
Back to Index

Mark Isaacs is one of Australia’s most distinguished musicians in jazz and classical music. He has toured the world and collaborated with some of the most famous names in international jazz. Following tours in Asia and around Australia in 2007/08 the 5-piece Resurgence Band is touring nationally in May to celebrate the release of their new CD Tell It Like It Is by the ABC. This exciting band features some of the very best talent in Australian jazz including award-winning guitarist James Muller and saxophonist Matt Keegan. The original tunes by Mark feature memorable melodies with blues, soul and gospel grooves and some classical threads. Not to be missed! Mark Isaacs – piano James Muller – guitar Matt Keegan – saxophones Brett Hirst – bass Tim Firth – drums. Peter Wockner: This must be the group’s third tour together? How has the group developed from being an accomplished gathering of recommended artists into a cohesive band greater than the sum of its parts?

PW: How difficult is it for you as a leader to be able to recognise when to ‘direct’ the sound of your band and when to allow the dynamics of the group, the freedom to take it to places that maybe you never intended it to go?
MI: I tend to direct in rehearsal more. In performance I don’t consciously direct, but inevitably what I play might direct the band in itself. But what they play directs me too. Some of it is verbal, some visual and some subliminal or just pure sound. I don’t think about it so much. Whatever it takes. If it needs more direction I’ll give it, if I need to pull back in order to let it breathe I’ll do that too. It’s rarely “difficult”, mostly a joy.

PW: You’re new album ‘Tell it Like it is” was captured live at the Sound Lounge in 2008. How do you think the night ‘played out’ in relation to the idea of ‘direction’ and/or ‘freedom’?
MI: It was a night that pretty much played itself. I can hardly remember it so it‘s great to have the CD! It happens so rarely that a truly inspired night is documented. And this truly was an inspired night for the band.

PW: What in particular about the pattern of instrumentation in this group that appeals to you? For example, how does the saxophone suit your compositions better than say a trumpet or trombone ?
MI: Saxophone has the right combination of lyricism and brawniness for my music, particularly mixing tenor and soprano. I haven’t heard the need for trumpet or trombone in my small group music to date, and there aren’t any brass players that have inspired me in terms of my own music apart from Kenny Wheeler who I have already toured and recorded with. But what appeals to me most about the instrumentation is the combination of sax and guitar as frontline, in particular the guitar of James Muller. This is the fourth CD with James in that instrumentation.

PW: You’ve always been committed to the idea of touring whether it be solo, trio or in a group. What do you take away as some of the special rewards from the ‘tour’ which for jazz is becoming either too difficult financially or for co-ordination reasons simply ‘out of reach’. At the same time what are some of the non-apparent difficulties.
MI: Well obviously the chance to play so many performances in quick succession is incredibly rewarding. It’s hard work to set the tours up, but that’s a labour of love so I really can’t cite any downsides.

PW: I guess a studio recording of this band would bring ‘Resurgence’ the full circle. Are there plans to do a studio recording?
MI: I’ve certainly thought about it as the obvious next thing to do as you say. But I’m not ready for “plans”. Firstly I need enough repertoire, but I’ve already started on that in the two new tunes we will play on this tour along with the songs on the CD. Once there’s the music, then how to finance a CD recording becomes the major problem. Wait and see is all we can do. Anyway right now the current one is only just out and we have a big tour to do. I love your enthusiasm in bringing up the next one but it’s just a wee bit on the backburner right now.
Back to Index

Frank Presley: You were a ‘late bloomer’ when it comes to music. What caused the initial spark for you and why jazz? Abel Cross: Music has always been a powerful force in my life, but it is true that I am a late bloomer in terms of my passion for Jazz. When I was very young I tried my hand at the piano, violin, and trumpet, which I enjoyed, but never developed a strong penchant for. It wasn’t until the age of 13 that I bought a bass guitar and music really took over my life. But Jazz was still a ways off. I suppose my interest in Jazz really grew out of an interest in the double bass, which I began playing at the ripe old age of 21. An older friend of mine had bought one and I immediately fell in love with the sound and feel. I began taking lessons with my first bass teacher Dave Ellis around this time. He never really pushed me towards Jazz more than classical or other musics, but I can certainly say that his passion for the instrument was infectious. As with most musicians I began to seek out recorded music that featured my instrument and this opened up a new world for me.

FP: Who in the history of Australian music do you admire the most and why?

AC: It is impossible for me to answer this question with a single name. What I can say is that it is the trailblazers of Australian music who I admire the most for their bravery and inspiration. It is much easier to walk down a path that has been laid by others but much more difficult to create and define one of your own. People like Rod Cooper, and Lucas Abela spring immediately to mind for this very reason, they are people who have created their own instruments, language, and practise. Truly self-made musicians.

FP: The group Trio Apoplectic has been together now for some six years having been formed while you were still at the Sydney Conservatorium of Music. At the time you must have been aware of the ‘mortgage’ that Bernie McGann had on the Australian pianoless trio sound but you pressed ahead regardless and now have forged quite a distinctive sound. How was the trio’s ensemble sound conceptualised?

AC: Trio Apoplectic began as most young bands begin; attempting to emulate the musicians/bands that we loved. During the early rehearsals we played a lot of music that we had transcribed or sourced from these people – Bernie McGann, Alister Spence, Lloyd Swanton, Andrew Robson, Chicago Underground Trio, but we were always bringing in original material to workshop as well. I think from early on we really did feel there was a responsibility to contribute to this tradition of Australian Jazz with our own music regardless of how fun it was to plunder the vaults of these great musicians repertoires.
I really feel that our sound was developed through shared experience. We did a lot of playing while at the Con, and while touring during the Con holidays. The experience of playing and performing as well as the day-to-day of being on the road, in each other’s pockets, and on a shoestring, really solidified the connection, which is expressed in how we play together.

FP: You’ve made a committed effort to tour the group often over the past three years. Is there something special about exposing your music to rural and regional areas? Potentially, some in the audience would not previously have heard music like yours. What special experiences has TA had?

AC: All three of us grew up in rural and regional Australia, Dave from Cowra, Alex from Bowral, and myself from Wollongong. I think this shared experience of moving from the regions to the city really strengthened our resolve to take our music back to the regions. You can take the boy out the country…
Contemporary Jazz gigs in regional Australia can be as differing as the places themselves. Or more! It is true that many of the places we have toured do not have regular Jazz performances, and some that haven’t had a Jazz group through in living memory, and this opens up all kinds of possibilities.
My personal favourite Trio Apoplectic gig was our first performance in Stuart Town (between Molong and Wellington, NSW). We had done a gig in Orange on our previous tour and met an artist, Tim Winters, who said that we would go over great at the Ironbark Creative Arts Centre in Stuart Town. We’d never even heard of the place but decided to take a punt on it. Now Stuart Town is basically just a Pub, Hall, and a couple of houses on the main street with the Arts Centre set up in the old Post Office. We really didn’t know what to expect. That night we played to a packed house! The local community really got behind the gig and came out in droves. We played purely acoustic, in a small wooden room, the sound was fantastic and the audience were wonderful. A real exchange between the band and the punters. Beautiful. There’s a song of Dave’s on the new album named after Stuart Town, ‘Iron Dusk’. There’s also one called ‘Holly and Bobby’ named after two horses we met in Armidale. But that’s another story.

FP: Has the group focussed on any specific points of difference with the new album or is simply a document of how the group has developed?

AC: ‘Sofia’ really is a document of how the group has developed. We went in to the studio with the specific intention of playing as close to how we do live. This included a lot of segues between tunes and really opening up the solo space. We recorded the album in ‘sets’ of around 8 pieces at a time. The takes that made the album are mostly taken from our sixth set of the day. Strangely, this is the one we recorded straight after a cheeky afternoon trip to the pub. Hmm.

FP: Barack Obama says he has Coltrane in his iPOD, what’s currently in your CD player or iPOD at the moment?

AC: Right now I’m listening to the album ‘Adobe’ by the NYC saxophonist Tony Malaby, featuring Drew Gress on the bass and the great Paul Motian on the drums. Another damned horn trio! This cd was given to me as a gift from my good friend Dave Goodman. I love the playing on this record. Each of the three has such great sounds and fluidity on their instruments. Highly recommended.

FP: What would you like to change about the jazz scene in Australia or especially in Sydney?

AC: I’d like there to be more of everything. More festivals, more gigs, more record labels, more musicians, more creativity, more action.
Back to Index

Nick was born into a family of classical musicians, and took up musical instruction at an early age. Starting with the piano at age six and the clarinet at ten, he studied and performed classical music until the age of 16 when he found himself drawn to the saxophone and jazz. Having little jazz in his musical background, Nick forged his own way, frequenting local jazz clubs and pestering local musicians for advice and lessons. He received invaluable assistance particularly from Australian jazz greats Jason Morphett and Bobby Gebert, and by 17 was performing regularly at local jam sessions. After studying at the Sydney Conservatorium of Music, Nick embarked on his professional music career. Based in Sydney for most of his twenties, Nick performed in a wide and varied array of musical settings from big bands to small groups to Rhythm 'n' Blues and Ska; most notably the Andrew Dickeson Quartet, the Brad Child Orchestra, the Dan Barnett Big Band, the Evan Lohning Big Band, John Morrison's Swing City, James Morrison, Dale Barlow, The Bobby Gebert Quartet, Backyskank, and The Allniters.

Frank Presley: Over the last decade it’s fair to say that, while maintaining its own identity, Australian contemporary jazz has found more things common with Europe than America. Like many Australians and indeed other internationals before you, you chose New York City. Why?
Nick Hempton: I have to say that while I was playing in Australia, I was never consciously involved in performing "Australian Jazz". I was certainly aware of it taking shape, because I think it has come into its own in the last ten or fifteen years, and I was constantly impressed with the music being made around me, but it was just not my thing. The records I was listening to, and the players I was following were from America, and specifically New York; and the idea was planted early on that this was the place to go. I should point out that energetic swinging modern jazz is of course being produced everywhere these days, and New York is not the Jazz Nirvana I was naively hoping for- it's not the hotbed of new musical ideas it seems to have been fifty years ago. But it has the history, and the intense energy that still pushes musicians toward a distinct New York sound. It also has the largest concentration of killing drummers anywhere. I also think that for those of us who come to New York from elsewhere, there's a desire to throw ourselves into arguably the biggest, most competitive jazz pool in the world, and see if we sink or swim. I'd like to think I'm currently dog-paddling up the shallow end...

FP: You’ve said your music is ‘swinging mainstream/modern jazz with a UN style twist. This style is still holds a strong following in NYC. Have you found jazz as factional in New York as it seems to be in Australia or does the fact that many such as yourself migrate into the scene ‘cut through’ any perceived prejudices?
NH: I'll stand by the 'swinging mainstream/modern jazz' bit, but lines like 'a UN style twist' , even though I won't deny I said it, shouldn't be uttered outside a press-release... Now, even though I'm probably not qualified to comment on this, my impression is that the Australian jazz scene is far less factional than it was, say, ten years ago. Back then, there were certain musicians who wouldn't talk to each other because they didn't like the music the other was producing. I certainly hope it's not like that now. As for New York, I've hardly noticed it here at all. It's got to have something to do with the sheer number of musicians here- something that still regularly boggles my mind. You have to learn pretty quickly not to worry about what everybody else is doing, otherwise you get nothing done yourself. Maybe it has something to do with Australia's relative isolation. Sorry to bring up that old chestnut, but in NY there's such a tangible connection to the rest of the jazz world, with so many musicians of so many styles passing through, that the idea of forming cliques seems pointless and unnecessary. It could also be because 'swinging mainstream/modern jazz' is by far the prevailing music style here. Perhaps if I was a Trad or Free Jazz player, my experience would be different.

FP: How do you balance the euphoria and the drudgery when it comes to life in New York City?
NH: I'm glad you asked- people often tend to think life in NY must be a constant high. I have to admit that I'm still thrilled just to be here- it is an amazing place, but the struggle can be as tedious here as anywhere. I don't know- would an answer of a steady intake of stimulants and depressants be socially irresponsible? Probably, so it's not that. Actually, I'm not sure I've worked out how to balance it yet.

FP: Have you found any fundamental differences in a typical jazz audience compared with say Sydney?
NH: If you'd asked me this four or five years ago, I would have had a great answer. NYC has a hundred year history of jazz as entertainment. New Yorkers like to go out for a night of listening to live jazz. It's everywhere- in bars, restaurants, train stations, street corners. They've grown up with it, and as a result are educated, and serious about picking quality from fakery. In Australia, aside from at a couple of specialist venues, I think Jazz is seen as an accompaniment to a good time, as opposed to a focus for attention. Australian punters might not be as picky, but they seem to enjoy themselves more.The thing is, lately the jazz club audience in NY (especially in Greenwich Village, where I spend most of my time) has gone through a noticeable change- it's all tourists now. I don't know where the New Yorkers are going on their nights off, but it's not to hear jazz. It's not necessarily a bad thing- clubs are now full of Japanese and Europeans, who love to listen- but it's an interesting shift.

FP: Do you think it’s harder to step out of your comfort zone musically in NYC than anywhere else?
NH: I think it's probably easier. Once again this comes down to the size of the jazz scene, and the constant in and outflow of musicians. I've been here for nearly six years, and I'm fairly sure the vast majority of players here have no idea who I am. If I want to go and try my hand at speed-metal, a) the opportunity is there, and b) it's not like it's going to damage any reputation I might have. Besides, stepping out of the comfort zone is one of the reasons we're here- I'm constantly meeting and playing with musicians from different backgrounds, with different influences and preferences. It's very rarely comfortable.

FP: Have you detected in New York City any tangible new found hope in the jazz world since the election of Barack Obama?
NH: I think it would take a pretty optimistic jazz musician to take hope from the election of a new politician. The US used to have a saxophone playing, pot smoking president, and now gigs, when you can get them, are still paying fifty bucks and two drinks. Does that sound jaded? I will say that there is a noticeable feeling, of relief more than hope, throughout the whole city. And America being viewed as something more than just a rather sad punchline has to be good for all of us here, musicians included. We're all hoping for the best...

FP: Do you plan on bringing the quartet to Australia?
NH: I can tell you the rest of the quartet plans on me bringing them to Australia- they've made that quite clear. Yes, absolutely- as soon as we can afford the plane tickets, we'll be there in a flash!
Back to Index

Peter Wockner: You played trumpet on the Gold Coast growing up. Not widely known for it’s live jazz scene, especially for youngsters; what sorts of music were you exposed to as a youngster? What did your father enjoy listening to? Carl Riseley: It's true, the Gold Coast isn't the most kickn' jazz town around, but if you want it - you'll find it! Most of my friends were older cause we played in the same bands, they introduced me to all the sites and places to see live music. My dad listened to a lot of bands that had horn sections, like - Blood,Sweat and Tears; Earth, Wind and Fire, Chicago and the list goes on!

PW Who are you influences on the trumpet and what have you learnt from them?

CR: My influences consist of a broad range of players such as:
Dizzy Gillespy, Maynard Ferguson, Louis Armstrong, Doc Sevrinson, Chet Baker.
Just listening to these kinds of players will give you everything you need to 'hear' about playing.

PW: Vince Jones became almost a household name in Australia proving that it’s possible to successfully sell jazz commercially in this country. Obviously he had his own sound and his own style. Can you define the Carl Riseley sound or style?

CR: Well, 'smooth popular jazz with a mix of folk' howz zat! Or you can grab a copy of my album and decide for yourself.

PW: Is Carl Riseley first and foremost a vocalist now rather than a trumpeter? Or what occupation do you put on your credit card application?

CR: Musicians applying for credit..........ha! .........goodluck!
I am a singer who can please the crowd with a beautiful trumpet solo, if he so wishes. No, I'm definitely still a trumpet player aswell, I still think like one, and always will.

PW: You played for Australian troops in Iraq during a stint in the Royal Australian Navy band. Emotionally that must have been very moving for you. Can you tell us what that was like and indeed without sounding overly patriotic, did you find yourself playing with a greater sense of pride and passion during these particular performances?

CR: The whole experience was an unbelievable opportunity for us and our troops.
The sole purpose of our visit was to entertain and provide morale support for our troops over a difficult period. It's hard being away from loved ones in any respect over Xmas and New Year, let alone fighting for your country and just trying to live through each day. We played till we could play no more, seeing the smiles on their faces was all the thanks we needed.

PW: When I saw the title of your second album ‘The Stillest Hour’, the first thing that sprang to mind was the tune ‘In the Wee Small Hours of the Morning”. Can you describe the direction you are aiming for with this release and what were the key ingredients you used for the mood you’ve achieved?

CR: Ahh, so your idea of "The Stillest Hour" is in the very early morning. That's what I love about the title, everyone has a different idea about when 'the hour' is.
I guess the biggest change from the first album was scaling down the sound. Once that happened it was pretty simple really, take 4 of the best rhythm section players in the country, record great songs, sing with soul and bake for 50 min!

Peter Wockner: The idea of having picked individual collaborators to join the quartet at each concert is more than just having a guest sit in. Can you elaborate on the rationale behind this idea for a tour? Andrea Keller: I’m really interested in the AKQ having its own sound and the journey that that has taken. I feel like it’s at a really strong point right now and so I wanted to see how it would be affected by adding a new layer. I also like the idea that the results are unpredictable because we will play the material with quite a few different people, they’re all very diverse and individualistic and we won’t have much time to rehearse with them – they’re basically being asked to respond to our music in the moment, on stage – so it will be quite exciting to see how it all unfolds. The other reason was simply because there are so many fantastic musicians in this country and I wanted to get a chance to play with some of them!

PW: Each of the improvisers is quite distinctive in style. Have you specifically written material for each of them individually or are you looking to see how each interpret a set of new works for the tour?
AK: That was something I found really difficult as I normally write all my music with the individuals in mind and for this project it wasn’t quite possible. I did end up writing some pieces for specific people but generally it will be about hearing the different interpretations and giving the guests freedom to contribute whatever they hear as appropriate.

PW: It's quite easy to be conditioned to the bass-less sound of your quartet. Can you elaborate on the motivation and where you are trying to take your music without the bass sound, and has it had an effect on how you play in this ensemble with your left hand?
AK: Well we began as a quintet with a bass player 10 years ago and had worked together in that format for a number of years before our bassist moved to the states. At the time it didn’t feel right to me to find a replacement because I saw the band heading in a strong direction as a result of the individuals in it so I thought we’d just carry on the 4 of us. It took a while to find its feet but now there’s no turning back. It’s given me lots of freedom in my playing, made me think about composition in a different way and altered my perception of how an ensemble can be structured. In the beginning I had to retrain my hearing from one of, “something is missing”. Now I hear that band as, “if there was anything else in here it would be too cluttered”.

PW: Your latest award was the Aria for 'Footprints' Best Jazz Album in 2008. Your awards are really starting to stack up. What do they mean to you and how much easier do they make it to sell yourself/your music in the industry?
AK: I feel really lucky to have received the awards that I have. I’m very honored and it’s a great feeling to be recognized for something you’ve created. But really I’m just trying to get better at my craft and contribute meaningful (albeit ‘tiny’) splashes of beauty to the world. This is what drives me and the awards are a (welcome) byproduct. They have definitely lifted my profile in Australia and had an effect on the types of gigs I get offered but this is still and always going to be, a minority music. Pushing contemporary improvised original instrumental music is always going to be a hard slog but the rewards when it works are worth all the rest.

PW: From memory you couldn't make the Aria awards ceremony due to your newborn last year. What are the challenges trying to juggle family life/motherhood with your career?
AK: Yes I have 2 kids now and I love every bit of motherhood. You have to be very organized and have clear goals – but that can be said of anyone who leads a busy life. For me music and motherhood are very well matched. I play at night, write very early in the morning and grab other opportunities as they arise. My need for silence sometimes gets a bit overwhelming though. I was just thinking last night that I don’t know how Bach did it with 20 kids!

PW: Having been a volunteer, at the Sydney Children's Hospital I know how important it is for kids to be comfortable and happy during their time in hospital. Tell us about your work with what is known as the Hush Collection.
AK: I was commissioned to write the music for Hush volume 8 and although the CD’s in the collection are quite diverse, the brief has been the same – to create music which is engaging, yet promotes a sense of safety and calm. The ensemble was formed from a selection of Freedman Fellowship winners, both ‘classical’ and ‘jazz’ and has been by far the most challenging yet rewarding compositional experience I’ve had. Normally when I write music, it’s simply about what I like - I hope that people like it but that’s not what motivates me. But this experience was about something entirely different – it was about creating music to ease an environment that kids and their families who are under enormous emotional stress are in. I felt a lot of pressure and found myself dissecting my music and analyzing it in ways I never had before. All of a sudden my focus was on how this music was going to be received. This is a difficult place to try and create from and I had a lot of battles overcoming it but I’m very proud of the end result and feel that the music that eventuated is from those few moments where I was able to let go.

PW: If you were not a piano player what pursuit/occupation do you think you would want to be?
AK: I feel so boring but I can’t think of anything - all I can ever remember wanting to be was a musician. I’m not very good at anything else, except being a mum and pottering in my garden.
‘Collaborations’ tour dates 2009:
Andrea Keller Quartet
Sunday 8th March Melbourne: Bennetts Lane Jazz Club 9.30pm 03 9663 2856
Tuesday 10th March Sydney: Excelsior Hotel Surry Hills 10pm www.jazzgroove.com
Thursday 12th March Wollongong: Conservatorium of Music Auditorium 6pm 02 4228 1122
Friday 13th March Canberra: Llewellyn Hall ANU 7.30pm 02 6125 5700
Sunday 5th April Brisbane: Brisbane Jazz Club 6pm 07 3391 2006
Monday 27th April Perth: Charles Hotel North Perth 5pm 08 9284 2578