‘I’m lucky to be working with such extraordinary musicians who have the ability to respond so creatively.’
I went to study music at university in 2011, and I think that was the point when I realised it was something I was going to dedicate a lot of my time and energy to. I’ve always been into music in some way, and I grew up in a household where music was always playing and being talked about. But going to study music felt like a pivotal moment — I had a clear realisation of how much work and dedication it would take.
What initially drew you to becoming a guitarist?
Blues and rock music were my first inspirations when I was around nine or ten. My first guitar heroes were people like Stevie Ray Vaughan, John Frusciante and John Mayer.
Reflecting on the musicians you’ve worked with across your releases, how did those involved impact the sonic direction of each one?
I’ve been lucky to perform and record with many wonderful musicians, and some of my best education — and toughest lessons — have been on the bandstand. The role of the guitar, and my place in an ensemble, changes depending on who I’m working with. For example, working with piano on Where in the World compared to saxophone on my previous album Open House was a big shift. Sharing harmonic responsibilities with a piano means the guitar takes on a different emphasis within the ensemble.
With your albums being released in quick succession, how do you ensure the musical material keeps listeners engaged?
I just work as hard as I can to present a collection of songs that I’m satisfied with. I hope that if it’s done well, it will be engaging for people to listen to.
‘Some of my best education – and toughest lessons – have been when playing among others.’
The sound quality of your most recent album, Where in the World, is gorgeously polished while still feeling very real. What can you tell us about how it was produced?
All of my albums have been made with engineer Alex Killpartrick, who also handles the mixing and mastering. He’s incredibly skilled at bringing my vision for how I want the album to sound to life, and he’s someone I trust immensely. I often ask his advice about records he likes the sound of, which helps shape the overall soundscape of my records.
Throughout the album — and some of your other tracks — there are distant vocal elements. What led you to include these in the final mix?
It’s sometimes a bit painful hearing that back, but I felt it was the most honest representation of what my music actually sounds like. Because of that, I decided to keep those sounds as part of the album’s soundscape.
While the whole album is stunning, my favourite — for its rhythmic complexity — has to be “Meaningless Mirror”. How did the process of recording this compare to the tracks either side of it?
Thank you! That’s quite a hard song, and it was relatively new when we recorded it, so there was a real sense of the unknown about how it would turn out. Many elements of how it ended up on the album weren’t really planned. I’m lucky to be working with such extraordinary musicians who have the ability to respond creatively like that, especially in the studio.
If you could only listen to one album for the rest of your life, what would it be and why?
An impossible question — but one thing that immediately came to mind was Mahler’s Third Symphony. There’s so much variety in sound and emotion, and at around 100 minutes long, it never feels exhausted. Even though I’ve heard it live and on record many times, there always seems to be something new to discover.
Turning to performing, how does your approach differ when playing your own compositions compared to music by other artists?
There’s a different kind of pressure when playing someone else’s music. Playing your own material is very personal, and you really have to set the tone for how you want the piece to sound, whether live or in the studio. With other people’s music, it’s about finding the balance between bringing your own voice to it while still respecting and serving the composer’s intentions.
You’re heading to Steamin’ Jazz Club later this month. What do you consider when playing a venue you haven’t performed in before?
The main consideration for me is how the room sounds. Different spaces present different challenges and advantages, and they often require different approaches to how I play. You can get your tickets here.
Finally, what does it take to be a jazz musician in 2026?
Enthusiasm and passion.
Thanks Tom Ollendorff for chatting with Listen to Discover.