Sound Contest: Hallo Ramona, thank you for agree our interview for Sound Contest readers. There is something new – a new fresh air – in this your last CD, One Of Us… a palpable maturation in your compositions…

Ramona Borthwick: Thank you. It was so much fun writing this music, I couldn’t wait to hear the results with the band in the studio. Speaking of maturity – and I’m hoping that’s a good thing (laughs) – I guess getting older has relaxed me into accepting jazz as an approach rather than as a specific genre or style. It’s about permitting one license to infuse ideas from outside jazz’s boundaries, the possibilities of which can be limitless. The new CD has music that was written for a quintet, but it demands more than the number of instruments present to play it, hence the use of voice, and overlaying of multi-parts by horn & guitar which sometimes makes the quintet sound like a ‘little big band’ so to speak.

S.C.: Always, in your bands, is present some  particularly talented young artist, like Esperanza Spalding in A New Leaf, and now, in One Of Us, the young Canadian trumpeter Ingrid Jense… what are the peculiarity you prefer when you select your collaborators?

R.B.: I think there is certainly an amount deliberation involved when choosing musicians for a recording project as opposed to choosing musicians to play with live. In my case, although I would love to record with a working band – one that plays and performs a lot together, it hasn’t been an option for me on account of various logistics involved in trying to maintain a steady group. I guess, this allowed me to consider working with some stellar musicians from outside of my geographical area – for example, Johannes, Adam & Ingrid were based in New York, so we chose to travel and record there. It makes a difference when the musicians one records with possess openness to diversity within music and that the process of creation is without ego. Harvesting the best in their musical personalities goes a long way in shaping the dynamics in the music and uniqueness of the project. In that sense, Ingrid & Noel’s contribution was exemplary. Having musicians of this caliber play my music is a treat – I did write the music, but it is the band that is creating all the excitement through their interpretation of it.

S.C.: … but one of them is apparently foregone, I’m talking about Noel… What, and how important is his contribution in your projects?

R.B.: So far, invaluable! Besides the fact that we’ve been playing together for years, he is my sounding board for new ideas, audio-tech advisor and producer. He also was the mix engineer for ‘One Of Us’. If one is as deeply involved in music as we are, honesty goes a long way, and his supportive input has been invaluable. I think it is safe to say that I really make use of his services. (laughs)

S.C.: Another important component, frequently occurring in your compositions is the vocal and choral …

R.B.: It seems to be that way, doesn’t it? It isn’t intentional since the vocal parts are imagined to be played with wind or brass in mind. When I run out of instruments to work with I usually resort to using my voice. To be honest, I never did take singing or vocalese seriously –I have no formal training in this area, but when I listen back to the recordings, adding voice wasn’t such a bad idea. And it has suddenly made me a singer, which is okay, as long as people don’t miss my other contributions to the music. (laughs).

S.C.: What elements, facts or events inspire or influence your composition? How are your compositions conceived?

R.B.: I confess that a lot of my inspiration comes from trying to capture or reference forces bigger than myself – such as nature. For example the beauty of dawn is so timeless, I’m sure I will continue to write several tunes inspired by this but under different names (laughs). It’s no surprise that this is a hallmark feature of one my strongest influences –ECM music. And of course, program music through the ages past that referenced an idea or story. I studied classical music through my childhood into my early twenties, and growing up in the Christian church, hymns and choral harmony were a staple diet. In contrast was the music that my father wrote for films, which was a mix of folk and Indian classical music mixed with rambunctious, street-wise Bollywood scoring.

Writing music is something I really cherish– sometimes it’s what I have more fun doing than actually playing it! I have no estimate of how long or far the idea will take me, but as the notes get penciled in, something new always suggests itself, so it’s a bit like a tourist taking a walk in a new town, enjoying the thrill of not knowing exactly what is around the corner or what the walk will reveal. I’m always at the piano, that way I can sing something and harmonize at the same time. And yes, pencil and paper initially- the old fashioned way. An aesthetic balance between filling out the sound and eliminating unnecessary noise is a constant process during the editing process. This is of particular relevance in the event that the tune is recorded since it should bear repeated listening. There should be some gravity in the writing that gives the listener something new every time he comes back to listen to it.

There's definitely a spiritual quest somewhere in the writing, the urge to do good or create some sort of healing in the music. And I do like to have fun, so if I'm writing and something happens that's interesting or humorous, that makes me laugh and feel good, I think I'll write that in and maybe it will make other people smile.

S.C.: Lastly, what are your projects for near future?

R.B.: I’m not thinking too far down the road at the moment. ‘One Of Us’ continues to get radio play and reviews so I will continue promoting the CD for a while. One of the most important things for me this year is to make more time than usual for my own musical development, play as much as I can live, and definitely write more music which I trust will be released sooner than later!

S.C.: Thanks, Ramona, and best wishes for your future projects.

R.B.: Thank you Maurizio.

Links:
Review of One Of Us at Sound Contest