‘I’m fortunate to play with incredible musicians who can sense when something needs to happen in the music.’

Ahead of him bringing his quartet to Steamin’ Jazz Club this month (Wednesday 17th June), I caught up with musician, composer, and band leader James Owston to find out what drew him to double bass, how Young Jazz Musician of the Year has influenced his musical development, and what’s involved when you lead an ensemble from the back.

Hi James, thanks for taking the time to chat, Let’s jump straight in. When did you first realise music would be such a main part of your life? 
I think it must have been sometime during my later years at secondary school. In Year 10 I was playing electric bass in a band with some friends and we spent many weekends together writing music and rehearsing. We were already starting to do some gigs too. However, it was during sixth form that I started to realise jazz music was something I felt strongly about – so much so that I decided to apply to conservatoires and dedicate a lot of time into studying this music!

So, what initially drew you to being a double bassist rather than any other string instruments? 
When I was involved with the Gloucestershire Youth Jazz Orchestra, I hired a double bass to start teaching myself. I think it was at this point where I was becoming more exposed to jazz that the sound of the double bass in this music really resonated with me. Once I had a double bass, I knew that this was the instrument I wanted to play, and I have been fascinated by it ever since. 

Turning to your quartet, how does being a bassist affect the writing of compositions for your ensemble? 
In some ways I don’t think it does. I mostly write on the piano or sing ideas into a voice recorder and transcribe them. My general understanding of harmony, melody, and rhythm – along with the inspiration from the music I listen to – is more impactful to my writing. However, there are certain elements that playing bass helps in my writing. For example, the bass line in my song ‘Scarecrow’ was written on the bass and utilises certain intervals and notes that really pop out on the instrument. I think being a rhythm section player also helps me write using rhythm and form in an interesting way.

‘Improvised music is a never-ending journey – I always try to appreciate how I sound on any given day and learn from it.’

Which other bassists do you admire within the music scene and why? 
It’s a hard question because I admire so many bass players and I don’t just want to list of lots of names. However, in general, I admire any bass player who strikes a good balance between understanding the role of the bass in an ensemble whilst creating a unique voice on their instrument and in the music!

In the 8 years since you were a YJMotY finalist, how has your musicianship developed? 
It’s funny listening back to the performance from 2018 because it’s obviously me but feels like listening to someone else in some ways! The 8 years of experience since then – where I’ve played with incredible musicians and mentors – has helped me to develop a sound and personality that I see as my own now. But improvised music is a never-ending journey and I’m sure I will look back in 8 years and feel the same way then. I try to appreciate how I sound on any given day and continue to learn and develop on my instrument!

And on this topic, some players may still see things like Young Musician as an elitist area of the industry. What would you say to encourage them to put themselves forward? 
I very nearly didn’t audition for this competition! I generally don’t get on well with competitions, but a friend encouraged me to go for it a few days before the deadline. Best case scenario I got to the final and got the opportunity to play with Gwilym Simcock and Asaf Sirkis. This actually ended up becoming a reality. It was an incredible experience, and for the most part this was my whole motivation for entering. It never hurts to just audition and see what happens. I don’t personally see myself in an elitist way. I didn’t start playing upright bass until I was 17 but just loved music and practiced a lot during my studies. I think anyone who wants to enter should have a good idea of their motivation and just go for it!

How does your experience with larger ensembles such as ‘Down for the Count’ influence your own? 
Something that is very prominent with a large ensemble such as ‘Down for the Count’ or ‘Birmingham Jazz Orchestra’ is the roll of the bass in the larger structure. The voicings in the horns and rhythmic material is a lot more prescribed, so as a bass player I have to make sure these things are accounted for whilst also retaining some level of personality and creativity. In my band, I retain this idea of my place in the ensemble, but my music tends to be a lot more open both rhythmically and harmonically, giving me lots more room to express myself and converse with the other musicians.

Turning to live music, when performing the leader of an ensemble will be near the front. What are the challenges when working out player placement on stage? 
To be honest, I don’t make any adjustments to how I would normally set up with any band. If I can hear and see everyone, I’m usually happy. In term of leading from the back, it could face its challenges, but I’m fortunate to be playing with incredible musicians who all have learnt my music and don’t need such specific cues or leadership. We can usually sense or hear when something needs to happen so the need to be looking at me is not that necessary for the most part.

‘I admire any bass player who strikes the balance between understanding the role of the instrument and creating a unique voice’

How did your gig at Steamin’ Jazz Club come about? 
I played at the Steamin’ Jazz Club last year with Alex Clarke and had a great time. The crowd were very attentive to the music and the venue set a great atmosphere. I think I was just talking to Fenner after the gig about bringing my band down some time and followed it up. With a decent amount of experience trying to get gigs for my band, I can say it is rarely ever that easy so I’m very grateful to Fenner for having my band to come and play in Cheltenham!

So what are the key ingredients for a great night of live jazz? 
For me a great night of any live music is mostly elevated when there is an audience who is open minded and willing to really listen to the music being presented to them. With jazz especially there can be a certain pre-expectation as to what to expect, but it is such a wide and encompassing word that enclosed many different musical approaches and concepts, and if you come with no prior expectations, I think you are likely to enjoy the music much more! 

And finally, which of your performances to date that stays in your mind? 
I was recently fortunate enough to do a short run of gigs in Ireland with the great saxophonist Vincent Herring. Playing with someone who had played with many of my musical influences was a truly special event and I thoroughly enjoyed the whole time I spent with him! Aside from that, I’ve had a few experiences that I will always remember. Playing a double quartet band with Paul Dunmall at Café OTO, my first tour as a band leader (with my trio), my first performance at Cadogan Hall with Down for the Count, the Young Jazz Musician of the Year final, and the time I played a blues with the Christian McBride Big Band at Cheltenham Jazz Festival to name a few.

Thanks James Owston for chatting with Listen to Discover
Photo Credit Image 1: Chris Neophytou