‘Orfic quartet came together organically – we all loved the same chordless music.’
Orfic is comprised of: Matt Stockham Brown (Drums), Chris Jones (Double Bass), Pete Judge (Flugel Horn), and myself on Tenor Sax. The band itself came together organically as we had played together in various different bands over the years. We all loved the same chordless music! The main thing about Orfic, is that everyone in the band has their individual sound and are great improvisers.
A lot of the music we play is music written by brilliant composers – mainly South African jazz double bassist, vocalist and pianist, Johnny Dyani. We’ve all written tracks though and I would say the main focus is finding the drum beat, a bassline, a melody line and a counter line or harmony that compliments the main melody. The best thing about it is we can harmonically decorate a line however we want! Well, almost!
Orfic was created before I started the string writing and is much freer that the string music I write – which is completely composed with little improvisation. Mostly what we play is in a more traditionally jazz form, having the main ‘head’ or melody then improvising, then a return to the head. This is more of a world I’m comfortable in. I love playing and listening to chordless music due to the harmonic and improvising freedom it gives you. It’s also a gives you the opportunity to really communicate with your fellow band members. Having no traditional harmony instruments means we have to be creative in how to produce different textures and interest, which is a fun challenge.
‘The main issue with writing for ensembles such as string quintets and orchestras is that it’s hard to put on performances.’
They are all done live, in the same space, over the course of a few days. This results in a live sound that is exactly what we are looking for – one that reflects the music itself.
Definitely ‘Blues for Moyake’ by Johnny Dyani. Its a brilliant swinger of a track, and the melody its such fun to play. I love playing the blues, and to play it in the unusual line up of Orfic is wonderful. I’m also looking forward to playing our piece, ‘Monks Trod’ which is our nod to the music we’ve been playing.
Lots of my other compositions over the years had been written from an improvisors mindset and had distinct sections which I moved between relatively quickly. I mainly wrote using the music notation software ‘Sibelius’ or my saxophone. With ‘Amber’ and my new EP release ‘Nova’, I was able to explore writing chord sequences on the piano first. I felt I was able to be more patient with this piece, using chords to reflect the meaning.
This year will see you complete a trilogy of EP releases based on sax and string quintet. Did you always know it would be a set of releases and how do you feel about this extended project ending?
No, I didn’t know it would be a set of releases, and to be honest, I wasn’t – and am still not – sure it is the end of my string writing forever. I really enjoy writing for them. The main issue with writing for ensembles such as string quintets and orchestras though, is that it’s hard to put on performances, so the pivot in line up is mainly so I can play my music out and about more.
So, was there anything you know about yourself now that you didn’t at the beginning of it?
Yes. That I am a composer who is able to write for instruments I don’t play.
Turning briefly away from playing and composing, you’re very open on social media about being an introvert and the wider demands of being a musician in 2026. What do you think can be done within the industry to help with both of those areas?
To be honest, I’m not sure what can be done as social media is such a huge part of everyone’s life, and it seems to be one of the primary ways that people’s success is currently judged. Preferably, we would move away from the model of number of likes or streams being of huge importance model, but that would require something new to come along. I think all we can do is be ourselves on social media – which for me is more of an introvert – and try not to put too much emphasis on what reaction it gets.
Aside from your own work, I understand you take on commissions as a composer and arranger. What is the most unexpected commission you have had?
I had the opportunity to compose a 5 piece orchestral suite for Bristol Met Orchestra in 2023. I never in a million years thought I would get that opportunity. It was an absolute joy as well as a huge challenge.
‘Lots of my compositions over the years have been written from an improvisors mindset.’
I think it gives me the ability to work outside of the rules without fear, as I never fully learnt what the rules are. I think this actually allows you a great sense of freedom. However, for things like orchestration and arranging, you do need to learn some of the rules so you can express the sound you want in the best way possible.
I hope it will showcase my music to more people and have a further reach. I’ve found my current ability to advertise my music quite limiting, especially as it’s reliant on social media and streaming platform playlists – which I cant really control – so having radio play is a brilliant way for new ears to hear my music.
I have 2 singles that have already been released and a new EP for Sax and Strings coming out on July 17th – the same date as I will be playing Steamin Jazz Club. It will be available on all streaming platforms that day, but you can pre-order via BandCamp now. There will also be a few exciting bits happening after that – which I cant say about now – so keep an eye on my Instagram page!
Image 1 Credit: Charlie Romijn Barr
Image 2 Credit: Joe Pickles
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