Interview with Jabra Latham
COMPOSER & SAXOPHONIST
Critics have described Jabra's playing as astonishing, virtuosic and energetic, and even “the most remarkable saxophone playing I’ve ever heard!” (The Mercury). Jabra has performed broadly as soloist, orchestral and chamber musician and recitalist, working with the Tasmanian Symphony Orchestra, Malaysia Philharmonic Orchestra, Hobart Chamber Orchestra, Gilmour Ensemble etc. He has frequently championed the music of various Australian composers: including Russell Gilmour; Karlin Love; Don Kay; Maria Grenfell; Simon Reade and Timothy Coghill, recording seven albums of new Australian music and having five concertos written for him. Accolades include a Churchill Fellowship and Banff Centre Residency. Reviews of Jabra's own compositions include: "thrilling writing" (The Mercury); "a gorgeous meditation" (Classic FM); "arresting and vibrant" (Stage Whispers) and "catchy tunes... exceptional musicianship" (CutCommon). Jabra’s compositions been performed by the Tasmanian Symphony Orchestra, Southern Cross Soloists, Virtuosi Tasmania, Andrew Seymour, Emily Sheppard, Niels Bijl, Xyris Quartet, Opus House and others, including broadcasts on ABC Classic FM and Local and recording for ABC Classic. www.jabralathammusic.com for more.
Hi Jabra, and welcome to the Notus Winds Interview Series. It's great to have you join us. You compose and you regularly perform on saxophone, how long have you been doing both respectively?
Hi Camilla, thanks for getting in touch. I first picked up the saxophone about 35 years ago. I started performing professionally towards the end of my first year of conservatorium study, in 1996. I've composed all the way along, but it was more of a side interest for a long time. Around 2010 I started taking composing more seriously, and people responded really well, so it's been growing since then.
As a composer and performer, do you find your time is evenly split between the two or does it fluctuate regularly?
Depends what's going on. I approach it as 'me the musician' rather than two separate roles. The processes and outcomes for each are usually quite different, and often complimentary. Composing takes more time, whereas performance has a more acute kind of pressure to it. Today, for example: I've just finished a piece and sent it off to the performer in preparation for a recording next week; I'm getting some admin done (this included); will meet with a colleague to choose edits on a recording; and get a couple of hours practice in.
What guided you to start composing?
From the start I was pretty fascinated with different instruments, types of music, and performers. I'd hear something and want to replicate, explore, develop or perform it. I remember coming across a recording of the Beethoven and Mozart quintets for piano and winds when I was about 15. After listening repeatedly and thoroughly one of my responses was to starting writing something for the same instrumentation, and in the same style. It was a pretty instinctive, intuitive thing. I certainly didn't have any composition training at that point. In a more contemporary sense, I compose because I have music to write, it's just what happens. I find music exciting and moving, and I think/believe that needs to be shared. There's a role/responsibility component to it. I also just really enjoy it - everything from the creativity to the score formatting.
Do you find it more challenging to write for instruments you don't perform yourself?
This makes me laugh, because the piece I probably revised/adjusted the most after workshopping it with the performers was my saxophone quartet, Three Days of Rain. I guess the lesson I learned there is that I'm probably a bit more careful with other instruments, and I almost know too much about what the saxophone can do to keep it comfortable. I really enjoy making my parts suitable for all instruments technically, visually and idiomatically. Sometimes finding a compromise results in new ideas and expanded creations. I think it's really important for composers to make sure their music and parts are satisfying for performers, manageable according to the context, and rewarding (all couched in being great for the audience).
You currently reside in Hobart, working with the Tasmanian Conservatorium of Music. Have you always lived in Tassie? What work do you do with the Conservatorium?
Yep, I live in Hobart and, apart from a couple of years in New Zealand as a kid, have always done so. It's great. I taught classical saxophone and chamber music at The Conservatorium for a long time, finishing up a few years ago. Most of the work I've done outside of performing & composing had been managing re-engagement programs for at-risk youth for the Education Department. Currently I'm composing full time.
And one last question, which is always my favourite. What made you choose the saxophone as your instrument when you first started out?
I guess there were two points of choice. Firstly, when I was nine the music teacher pretty much stuck it in my hands. Secondly, when it came to auditioning for The Conservatorium, I considered oboe and flute, which I'd been playing a lot (saxophone was still the main thing), ultimately choosing the saxophone because I felt (and still do feel) that it's pallete is broader.
See below for a list of Jabra’s music written for clarinet & saxophone. To see a full list of his works, visit www.jabralathammusic.com.
Antarctic Triptcych for clarinet & string orchestra / or clarinet & string quartet / or clarinet & piano. https://open.spotify.com/album/2aWbOCDQtg4tMo84ThdYsJ?si=TSu6Q7shT0ehtElcC0YiYA
Three Days of Rain for saxophone quartet / or saxophone quartet & string orchestra / or saxophone quartet & choir / or saxophone quartet & piano. https://open.spotify.com/album/0XUzFsFLXiUjAoPq9jXFen?si=OzbcxxJtQ0KQrDNXzmsuOQ https://www.youtube.com/watch?v=0RqlE32dUv0
Over the Fence for saxophone quartet / or clarinet quartet / or flute quartet. https://www.youtube.com/watch?v=XzVSBZXx2I8
Fire Music for clarinet & orchestra.
Solo for unaccompanied clarinet. https://www.youtube.com/watch?v=6Nibd3H-rpI&t=6s
A Short Walk in the Cold for unaccompanied clarinet / or solo piano. https://www.youtube.com/watch?v=0F8N9670eU8
Better Things for clarinet & piano.
Beyond for soprano saxophone, viola, cello, double bass piano & celeste / or soloist & string orchestra / or solo piano.https://www.youtube.com/watch?v=-VfeMnzJnG0
Rejuvenator Blues (or An American in Hobart) for tenor saxophone & string orchestra / or soprano saxophone, viola, piano, bass guitar & drums. https://open.spotify.com/track/6svfnVG7qqI0Ae27EAhagt?si=cd2048ca71314fe5
Like It Knows Something for soprano saxophone & string orchestra / or soprano saxophone, viola, piano, bass guitar & drums.https://open.spotify.com/track/6JQVVx6oyRPeM3macgNjvz?si=683fb1da2af847e1
The Labyrinth for soprano voice (or soprano saxophone), viola, cello, double bass piano & celeste. https://www.youtube.com/watch?v=G76zq1KNLBE
The Way Home for soprano voice (or soprano saxophone), viola, cello, double bass piano & celeste. https://www.youtube.com/watch?v=Ar6ZZ_pxqIs
Understory for soprano saxophone, viola, piano, bass guitar & drums / or unaccompanied saxophone / or unaccompanied clarinet / or solo piano. https://www.youtube.com/watch?v=nfEkO53Fjy8