Attending primary school at Harbord Public School, you had John Speight as a music teacher. John went on to establish the Manly Jazz Festival, and you went on to a stellar career as a Jazz musician and composer.

Were there key influences in your education, at primary or high school, that helped shape your musical trajectory?

Thanks to my mother I learned the piano quite early in my life. She gave me my love of music. 

Then I was very lucky at Harbord Public School that the great John Speight was one of our teachers. He taught  me the recorder and  introduced me to jazz. He was a fabulous jazz piano player and his jazz trio would play for our school musicals. I absolutely loved listening to them. We were also very lucky that John, along with Alan Weldrick (another teacher at the school), composed musicals especially for us to perform. So the idea of writing music was also something I was drawn to from an early age. 

I went to Manly Girls High School up to year 11. During that time an early version of the Young Northside Big Band was formed by Cary Bennett with the help of John Speight. I was  lucky to be part of that band before I got a scholarship to go Singapore to attend the United World College to finish my schooling. My time in Singapore was also very influential on my musical development. I had a brilliant high school music teacher by the name of Joe Young, and also had a very diverse listening and performance experience including jazz and classical, and exposure to Indian, Chinese, and Indonesian music that influenced me for life.

Your perhaps most well known as a saxophonist. What do you love about this instrument?

It’s a wonderfully expressive instrument that is very close to the human voice.
 

It can be tough to sustain a career in the music industry. You’ve consistently been part of several ensembles at the same time. We believe you’re currently performing with the Sandy Evans Trio, Evans/Robson Quartet, The catholics, Australian Art Orchestra, Mara!, and Ten Part Invention – along with a number of diverse collaborators on various projects.

What’s your advice for sustainable longevity in the music industry, both practically and in terms of fulfilling your own musical interests? Is this multi-faceted approach to collaborations part of the answer?

The term portfolio career comes to mind when answering this question. It definitely helps to have a wide variety of interests and projects to maintain a life-long career. 

In my area of the music industry, it would be very difficult to make a living from any one ensemble. So I'm fortunate that I really enjoy doing a diverse range of projects. From a practical point of view I try to do one thing at a time wherever possible,  but sometimes things crowd in on each other. Then I just try to do my best to stay on top of things and stay relaxed!

You collaborate with musicians from diverse musical practices and cultures. Your projects have explored connections between Jazz and South Indian, Japanese, Iranian, and Balinese music. Recently, an Indian Jazz project, Shakti Spirit, was described as "...a celebration of the human experience, filtered through the lens of a rich, cultural tapestry." (source: Indianlink).

What attracts you to these intercultural collaborations, and what do you think is the key to their success?

Most of the collaborations I have done have come from meeting great musicians from other musical traditions. I feel very fortunate to live at this time in history in such a great place as Sydney. There are so many musicians from different cultural and musical backgrounds here. 

The generosity of these musicians in sharing their friendship, knowledge, and culture with me is fundamental to the success of the collaborations I've been able to do. I find it's really important to take your time when working in an intercultural context. There is always a lot to learn and understand. It's really exciting that through these types of collaborations new ideas and sounds can emerge. At their best, intercultural collaborations can express our shared humanity, while respecting difference.

You’ve had several long-term collaborations, including The Catholics since 1992! When talking about the Sandy Evans Trio you once said, “after 21 years of playing together - and friendships even longer - Brett, Toby, and I continue to surprise each other with fresh ideas ... every concert is new, different and a lot of fun.”

What’s the secret to sustaining these working relationships while keeping the music and performances fresh?

One of the truly wonderful things about improvised music, and I think music generally, is that the relationships you build with other musicians get stronger and deeper over time. I’m lucky to have great musical colleagues who keep sustaining me!

Collaboration seems to be important to you. Is this central to jazz music, or is it your own approach to working?

Further, there doesn't seem to be much hierarchy in a jazz band when they’re performing. Is that the case, and if so, why is this important to the music or the musicians?

In a jazz ensemble we are creating music in real time. This is a very special experience and we learn to trust each other. 

Of course sometimes one of the musicians will come more to the fore and everyone else will be following them, but spontaneous improvised dialogue is at the heart of what we do and that involves listening and responding with an open heart.

You’re a prolific composer and virtuosic improvisor. How has your composition practice evolved - do you currently have a preferred composition method? And what role does improvisation play in your compositions?

I have many different approaches to improvisation depending on the piece that I'm writing and the group that I'm writing for. And yes, improvisation does play a big role in how I compose. 

Taking time to sit quietly and reflect on the sounds that come to my mind, from the depths of my soul, is very important as a starting and guiding point for composition. I also find walking in nature is a great way to both come up with ideas and also resolve problems that I might have in a composition that I'm working on. 

I try to walk every day. Sometimes at Narrabeen Lakes, sometimes at Long Reef, sometimes at the beach between Curl Curl and Freshwater. I often get ideas while I'm walking and sing them into my phone. The dog walkers I pass must think I'm crazy! Living on the Northern Beaches is such a privilege. The abundance of beautiful nature on our doorstep is very important to me as a creative musician.

We found a black and white photo of you with Ten Part Invention. You’re the only female surrounded by 9 men. The gender balance in your band photos has shifted over the years, like a recent photo of you with Spectra (a Youth Jazz Orchestra for Women and Gender Diverse Musicians in Sydney). You’ve played a significant role in shifting that gender balance.

What has that journey been like for you, and what are your hopes for the future? 

Yes, you're absolutely right that for most of my career I have been the only girl in the band. While I've been lucky to have great support from all my colleagues, family, and friends - I was also really keen to see this situation change. 

In 2002 with the support of the Sydney Improvised Music Association, and an extraordinary Northern Beaches local, Jane March, I helped to start a series of jazz workshops for young women. These workshops are still going today (at the Conservatorium). Through those worskhsops, I've met a lot of exceptional female and gender diverse musicians, and witnessed the development of a more gender balanced jazz and improvised music community. There is still much to be done in this area, but I’m very pleased that the culture is changing.

This is also the 20th year of the Jann Rutherford Memorial Award which supports an emerging female musician to develop their career. We will be announcing this year’s recipient in a few months. Very exciting!

Last year you performed at Manly Art Gallery & Museum as part of Sydney International Women’s Jazz Festival and our Music at MAG&M series. You also performed at Curl Curl Creative Space with the Evans/Robson Quartet.

Do you enjoy performing in non-traditional spaces, and if so, what do you like about them?

I love performing in art galleries and the Manly Art Gallery and Museum is one of my absolute favourites. It's fantastic to have the work of visual artists around while you're performing. It gives me an extra dimension of inspiration. Also the acoustics of art galleries are often very conducive to wind instruments. 

The concept of last year's performance at Curl Curl Creative Space was very special to me. I've lived most of my life in Freshwater, Curl Curl, and now Cromer. But I haven't performed very much in any of these suburbs. In fact the last time I could remember playing in Curl Curl was when I was about 14. I was a finalist in a concerto competition playing the Mozart Flute Concerto in G. The performance was in the hall at the North Curl Curl playing fields. So, to return to those same playing fields last year playing jazz to a really enthusiastic audience of locals was an absolute treat. I hope we can do many more concerts there!

Over the past year you’ve released new music and re-released twelve albums on streaming platforms. It’s wonderful to have access to such a rich catalogue of your music!

What inspired you to release your music at this time – had you resisted it earlier?

I want people to be able to hear the music I’ve made throughout my career and this seems to be the way to do it now!

2025 is shaping up to be a big year for you. This includes an incredible line up of musicians you’ve curated to perform Coltrane’s work at Ukaria in South Australia, and a project in development with long-term collaborator Satsuki Odamura.

Can you tell us a bit about the projects you’re excited about, and especially when Sydney audiences can see you play next?

I’m very fortunate to have a great year ahead. I’m playing with Magic Music and Koto player Satsuki Odamura at Phoenix Central Park on 27 March; with The Catholics at Foundry616 on 25 April; and with pianist Paul McNamara at Johnston Street Jazz on 13 March.  

I’m really looking forward to releasing the first album by the Evans Robson Quartet. It’s called Zenith and will be released in the middle of the year. Our first single is called For Archie and is dedicated to the great Archie Roach in memory of his extraordinary courage, compassion, creativity, and advocacy. We will be launching our CD at Johnston Street Jazz on 17 July, and are touring in July and August around New South Wales, then up to Brisbane to promote the album. Hopefully we will also be able to perform again at the Curl Curl Creative Space!

For people who’d like to find out more, I keep my website up to date and announce gigs on social media. I also have a newsletter people can sign up to on my website.