Peter Wockner's Q&A with pianist/arranger Steve Newcomb 1 July 2009

Historical article recovered from a Wayback capture dated 2018-02-24.

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.

They performed at the 2006 Valley Jazz Festival, the 2007 Palmer Street Jazz Festival in Townsville with special guests Kristin Berardi (voice) and Dave Theak (saxophone) and at the 2008 Brisbane Jazz Festival. Mace Francis from Perth was featured in 2008 as a guest composer with the ensemble. In 2008, the group recorded their second album, “Driving Hat”, featuring original compositions for the ensemble by Rafael Karlen. This project was funded with financial assistance from the Australia Council for the Arts and the Foundation for Young Australians and was released in August, 2008 through Pinnacles music. Two tracks from this CD were nominated for the finals of the Jazz category in the 2008 Qsong Songwriting competition and the title track “Driving Hat” was a finalist in the Bell AwarFounded by trumpeter/composer Laura Kahle and pianist/arranger Steve Newcomb, Steve Newcomb - musical director, piano Winner of a 1999 Brisbane Lord Mayors performing arts fellowship, studied in New York from 1999 - 2001, has completed 2 highly acclaimed recordings and 3 European tours with international quartet VNMG, Freedman Jazz Fellowship nominee, written arrangements for Katie Noonan and TQO, Jim Pugh, West Australian Symphony, Ben Folds, Augie March and Tim Rodgers. Currently a Lecturer in jazz at the Qld Conservatorium of Music.

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.