‘I don’t compose with a particular sax in mind, but once a piece is finished, it becomes clear which one would suit it better.’

Following the release of Duality Pt:2, and ahead of his gig at Steamin’ Jazz Club in October, I chatted with Cheltenham saxophonist Dom Franks to discover more about his performance style, his focus on writing original compositions, and how he chooses who to work with.

Who is involved in the StrayHorn project?
I started the band in 2010 as a vehicle for my own compositions. I’d been a session saxophonist in London for 10+ years, and felt ready to put together my own project to play music inspired by my influences. These cover the whole jazz canon (e.g. Art Pepper, Dexter Gordon, Joshua Redman, Joe Lovano, Herbie Hancock, Weather Report), as well as Brazilian and West African music, and classical music, especially chamber and choral.

What makes working with this group of musicians different to your work with others?
The UK jazz scene can be very promiscuous, musically speaking! We all end up on different pick up gigs in different combinations. I’ve always hand picked musicians I love working with according to the project I’ve been working on. For this album (our 5th) I wanted to explore the contemporary jazz, African and funk inspired sounds on my previous albums, but with a twist by adding a classical string section. The Carducci Quartet are one of Europe’s leading string quartets and I was honoured that they agreed to work on the project. Luiz Morais, who worked with me on the string arrangements is from Northern Brazil and is steeped in the Brazilian MPB meets classical sound that I was after. The other guys in the band are some of my favourite musicians to play with.

Alex on keyboards has played on most of my albums and is an old friend. Jules on bass is one of the leading UK Jazz educators at the Guildhall Conservatoire, as well as being an incredible multi-instrumentalist and producer. He plays electric and acoustic bass equally well – a sound I was after for this project. Aidan Pope is an incredible young guitarist who studied in Birmingham at the Conservatoire. He’s melodic, imaginative, and always plays with great taste and originality. Finally, Andy on drums is a leading UK session drummer who is equally strong in any style but, due to touring commitments isn’t as well known as he should be as a jazz player. I hope to rectify that!

‘Recording with such brilliant musicians is a treat and an honour. I love hearing how different people react and respond when the red light goes on in the studio.’

I’ve read that you started out as a clarinettist. What was the main driver in focusing on saxophone?
My best friend at school was a pianist who took up rock guitar. We formed a band together aged 12 but my clarinet couldn’t be heard in the band, so I switched to a louder instrument! More seriously, I got obsessed with Blue Lou Marini from the Blues Brothers, as well as Art Pepper when I was 7 or 8 years old and I wanted to make sounds like that so as soon as I could afford a sax, I bought one.

With the two parts of Duality showcasing contrasting styles, how did you decide which to release first?
Practicality – the first part was a quartet, and logistically easier to put together. Arranging, recording and mixing the quintet, and then the strings took time and money, hence coming second.

And linked with this, how do you feel the two parts combine together as a whole listening experience?
I hope that my compositions, while having enough harmonic and improvisational interest to keep the hardcore jazzers happy, also have strong hooks accessible to non-jazz nerds. So, they are both honest documents of the sounds I have been influenced by and hear in my head. I write music I would like to hear and play. Melody is the through-thread – I always write with melody in mind.

When it comes to the sound of Duality: Pt. 2, the string harmonies bring a real warmth. How did the collaboration with Carducci String Quartet come about and why did you utilise strings as opposed to piano/keys?
I have been fortunate to work with and teach with the Carducci Quartet over the past few years via my work in education, teaching A-Level Music and running a department. They are one of the top string quartets in the country, and incredibly versatile and open minded musically so they were the obvious choice for the string parts. We do have keys on the album, but Fender Rhodes, rather than piano. I was inspired in part by Chris Cheek’s 2000 album ‘Vine’ which featured electric guitar and Rhodes. I loved the of warmth and edge in that combination.

Being a soprano, alto, and tenor player, how do the different tonal qualities of these instruments impact the way you compose for them?
Great question… I used to focus mainly on alto, but in the last 10 or so years have played much more tenor and soprano. They have such contrasting timbres that they work well as a pair. I don’t write with a particular horn in mind but rather, once the piece is finished, it becomes clear which horn would suit it better. I can’t really explain how I decide, it’s more an emotional decision based on the music.

Which do you prefer: composing or performing and why?
Well, I started composing late. When I was in my 20s I focused exclusively on performing, while composing privately but when I reached my 30s, I finally felt as if I had something to say musically and it seemed like the right time to start playing out my own compositions. Now I love playing gigs of all-original music. I still play ‘standards’ gigs all the time, but for my own recordings would rather try to say something new, or at least personal. After all, most of the standards have been played brilliantly by Stan Getz, Brecker, etc. How could I top that!

So how does this affect the connection between you and the audience?
I really enjoy the new challenge of trying to structure a set of originals so there is enough melodic accessibility to bring in new audiences, while still keeping an open-ended jazz spirit where the music could, and sometimes will, go to unexpected places.

‘I’ve always hand picked musicians I love working with according to the project I’ve been working on.’

And also on performing, how does the atmosphere of a playing live and playing in a studio impact the development of your music?
Another great question! I’ve always loved playing live. I’ve done a lot of session work over the years, but this was mainly in the pop / dance / latin / world session field where the parameters are tighter. I found listening back to my improvisation very tough at first, but over the years I’ve let go of my hang-ups and try to just tell a story and let the music speak for itself. Also, recording with such brilliant musicians is a treat and an honour. I love hearing how different people react and respond when the red light goes on in the studio. Also, recently I’ve started revisiting older compositions (e.g. Paris Trance off Duality 1) to see if I can say anything new with them, now that I have a bit more life experience. I notice that a lot of the jazz composers I revere, e.g. Pat Metheny also do this, revisiting their old work in a different light

Looking back, to what extent has your work with larger ensembles influenced the various elements of your musical career?
I played with NYJO back in my teens and have loved big band playing ever since. I’ve also done a lot of classical choral singing over the years and the sound of stacked harmonies is addictive and quite special. Big bands seem to be making something of a come-back at the moment, but they’re economically tough to sustain.

Who else in the jazz world do you think more people should be listening to?
Super hard to answer as there are so many different strands to the jazz scene at the moment, and it’s international. So, here are just a few examples of what I’ve been enjoying recently: Vince Mendoza’s recent albums with the WDR big band. The Brazilian folk music / jazz collaboration between LA saxist Sam Gendel and Fabiano Do Nascimento. Tommy Scott (UK expat pianist), Baptiste Trotignon, Eric Legnini from the Parisian jazz scene. The Italian scene is really firing too via sax players Ricardo Toscano and Max Ionata. Back here in the UK, recent albums by Gwilym Simcock and Emma Rawicz, John Law, and The Jazz Defenders. Collaborator Aidan Pope has an octet album out that is just incredible too as well as great younger singers such as Samara Joy, Veronica Swift, and  Cecile McClorin Salvant.

And lastly, where will you be playing in the rest of 2025?
The Bebop Club, Bristol on Thursday 9th October. Launching the new album at the Steamin’ jazz Club in Cheltenham on 15th October – which you can get tickets for here – as well as a tour being planned for Spring 2026. There are plenty of other smaller dates in the diary, such as playing at the Fishmarket in Bristol with organist John-Paul Gard. 

Thanks Dom Franks for chatting with Listen to Discover