Interview - April 1995 - by Kenny Mathieson

"Yes, Culloden Moor was just something I wrote. Most composers will do that anyway, but it is nice to have something definite to write for, and a piece like this is something of a challenge.

" The problem for me is to write music that would be illustrative in terms of the commission, but at the same to provide something that is harmonically structured for the jazz players to get their teeth into, and which makes the most of their own particular qualities.

" SYJO will function as a kind of harmonic backcloth to the soloists. It is written as five separate pieces rather than a single through composed work. Fluid improvisation is all about playing regularly. There is an abundance of talent in this country, but they lack places to play, and I also think it's important that places be affordable for jazz fans.

" I have a nice sextet with Spike Robinson and John Barnes. I'd like to see a lot more interaction with people from other areas of the arts. We have both the spirit and the talent here to do good things.

" I believe utterly in the importance of artistic order. in terms of writing, I still have a lot to learn, and I'm looking forward to gaining more skills in that area, but there is always something new to learn. That's one of the great things about being involved in music. I had ten years of addiction that was dragging me down - I put an end to that, and now I may not always do things exactly as I would want in my life, but I know that I'll never let myself fall that low again."

(c) Kenny Mathieson