‘I’m a firm believer that there’s no single correct way to play – if it sounds good and feels comfortable, it’s valid.’
Ahead of her performance at Steamin’ Jazz Club, 18th June at The Steam & Whistle Cheltenham, I caught up with YJMotY* 2020 finalist Alex Clarke to discuss what makes her musically tick, what the impact of touring has, and how her experience of playing in multiple ensembles influences each other.
Hi Alex, please briefly introduce yourself to those who don’t know you yet.
Hi, I’m Alex Clarke – I’m a saxophonist (and part time flautist & clarinetist!) based in Warwick, Midlands. Whilst I’m predominantly a jazz musician, I also dabble in different genres, and I’m very fortunate to spend most of my time performing, composing, arranging and teaching.
As a multi-wind player, what led to you focusing on saxophone?
I initially picked up the saxophone because I wanted to join the school big band. At first, it was just about being part of the ensemble – but I quickly found that I really connected with the instrument. I think most sax players would agree that it’s pretty straightforward to get going on, especially compared to some of the other woodwind instruments, so the initial progress felt really motivating. Then I started listening – just checking out compilation CDs and discovered players like Cannonball Adderley & Charlie Parker. The something just clicked. I began transcribing solos and trying to emulate what I heard, and gradually built a deeper connection with the instrument.
So, when improvising and composing, how does your choice of saxophone type influence the musical direction you head in?
Although I’d say my playing is overall rooted in the bebop tradition, I definitely do have a different approach on alto vs tenor. I have a slightly more old-school sound on tenor, whereas on alto I probably lean more towards a slightly modern, contemporary vibe. I’ve invested many more hours on the alto, and consequently feel I’ve developed a much clearer voice on it. I do enjoy playing both horns but I’d definitely say I consider myself an alto player.
‘The dynamic off stage is such a big part of performing. A positive, friendly atmosphere always leads to better music-making.’
Reflecting on being a finalist in YJMotY, 2020, how did this help your development as a performer and what do you think competitions such these are doing for the prominence of saxophone in the music world as a whole?
It was a really important milestone for me – not just in terms of the exposure, but also for my motivation and development. During lockdown in 2020, there wasn’t much else to focus on, so having a goal like that gave me a reason to keep practising. Although I fundamentally believe music shouldn’t be a competition, the atmosphere was so positive and didn’t actually feel particularly competitive – the other finalists were all brilliant players and genuinely lovely people. Competitions like this provide a great platform for young musicians to gain experience, build confidence, and make connections. I’ve definitely benefited from opportunities that came as a result of being a finalist.
While it has always had a place in mainstream music, it seems more new artists are utilising saxophone at the moment. As a jazz musician, what are your opinions on this?
The saxophone has always had a presence in pop, rock and soul, and so many jazz musicians – past and present – have also crossed over into these genres. Just take Phil Woods’ solo on Billy Joel’s ‘Just the Way You Are’, for example. The instrument is incredibly versatile, and I have a lot of respect for those players who can sound totally authentic across all styles.
Turning to ensemble playing, how does your experience of larger ensembles inform the smaller ones you have created?
Playing in big bands or larger ensembles teaches you a huge amount about discipline, listening, and accuracy. When you’re part of a section, you have to open your ears in order to blend, phrase, and lock in rhythmically with others. Sitting next to experienced players has really shaped my understanding of time placement, articulation and general stylistic awareness. This all helps my technique – being more accurate and efficient in that setting means that when I’m improvising in a small group, I can focus on creativity rather than mechanics.
So, what are the 3 most important qualities you look for in fellow musicians when putting an ensemble together?
For me, it comes down to three things: melody, groove, and being nice to hang out with! Whilst the musicianship is obviously incredibly important, the dynamic off stage is such a big part of things, too. A positive, friendly atmosphere always leads to better music-making.
‘Competitions like YJMotY provide a great platform for young musicians to gain experience, build confidence, and make connections.’
You’re currently in the middle of a huge run of gigs – including Steamin’ Jazz Club, 18th June which peple can get tickets for here. Are there any particular challenges you face when touring?
To be honest, endurance isn’t usually a big concern on the sax, certainly not compared to a brass player! What I do find challenging is finding the time and motivation to practise. When I’m busy with gigs, sometimes the last thing I feel like doing is more playing when I’m back at home… It’s a fine balance between wanting to constantly improve, but also making sure I take enough time to properly rest, both mentally and physically.
So, what would be your advice to other wind players for keeping their embouchure in good condition when performing so regularly?
I find that just playing consistently – whether practising or gigging – is enough to keep things in shape. I’ve also recently switched to a slightly softer reed strength, which has helped make my life a little easier.
Penultimate question: If someone was watching you record or perform, what do you think they would be most surprised by?
Probably my technique – it’s a bit unorthodox! I don’t look especially consistent… I sometimes puff out my cheeks, my embouchure isn’t particularly symmetrical, and I took the thumb hook off my sax several years ago! I do sometimes feel a bit hypocritical when I’m teaching, but I’m a firm believer that there’s no single correct way to play – if it sounds good and feels comfortable, then it’s valid.
And finally, what has been your biggest learning curve to date?
I don’t think there’s been one pivotal moment in particular, but I think one of the the biggest challenges is learning how to balance all the different aspects of being a musician – not just the playing, but the organising, the admin, the travel, and the mental side. And learning to just stay on my own path and trust my own voice, rather than constantly comparing myself to others. That’s something all musicians go through, and it’s always a work in progress.
Thanks Alex Clarke for chatting with Listen to Discover.
Photo credit: credit: Gareth Howell Videography
Photo credit: credit: Gareth Howell Videography
*For ease of reading, Young Jazz Musician of the Year has been abbreviated to YJMotY throughout this article.
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