Future Classic Women Awards LIVE – Jo Quail

Hello and welcome to Future Classic Women Awards with me, Stefania Passamonte, on Women's Radio Station, the program where we search for the most amazing new female artists on the classical panorama. Today we have a our very first live show with Jo Quayle, an amazing cellist and composer from London. Hello, Jo. Good morning. Hello. Hello, Jo. From London, I mean, it's quite a rare thing. Were you born here? Yes, yes, I was born here. I've always lived here. I studied in Leeds, but otherwise I've always lived in London. Amazing. So, Jo, you are described as an acclaimed international composer of unbounded contemporary instrumental music. What does it mean, unbounded? I think it's just referring to the fact that I have, I suppose, many influences on what I write, and I don't view the cello as limited in any shape or form. And in fact, I do a lot of percussive stuff, a lot of extended techniques in the music I write. Also, I'm a soloist, generally speaking. So with the electric cello particularly, I can make huge soundscapes. And it takes the instrument, or so some people say, takes it into a very different world than what it's traditionally perceived in. So you were born as a classical musician? Yes, I mean, I studied classical, if you like, in inverted commas, although I think that's very broad these days. But yes, I mean, I have a music degree and I've played in orchestras and, you know. So you played like Dvořák Concerto, this type of, you know, Elgar Concerto, this type of repertoire as well? Yeah, I mean, I'm not really a sort of a concerto girl. I mean, I think it was quite interesting interesting because when I was at university, I've always loved playing the cello, but I knew I was never good enough. I was not going to be Jacqueline Dupré or somebody, but equally I had such great passions for other sorts of music as well. So I love Bach, I love playing Beethoven, Debussy. I also love hair metal, black metal, any old rock, you know, I mean, good. So I have quite a broad taste. That's amazing. How did you manage? How did you think you could combine the two? Well, I didn't at first, which is why I stopped playing for so long. So basically I stopped playing after my degree. I stopped playing my cello for about 7 years. And I felt very, very distant from classical music, from all forms of music. And then I began to play with a band, just very gentle kind of session playing, and then the ball started to roll. And now, of course, what I do is basically combining all of these influences into music that I want to write. And I really couldn't care less about what perceived boundaries are in music. It doesn't interest me at all. What interests me is if the music, I feel, has integrity and compositional integrity, you know. That is, if you like, the classical structure. Yes, structure. Precisely. Yes, totally. And so what would you think about classical music today then? Well, I mean, that's quite a broad question. I think it's extremely important. It's even more valid, if you like, in society than it ever has been before because it's very important that people can feel inspired By listening and by being exposed, particularly because we have such a broad amount of music coming to us from the internet, coming all over the place. Lots of pop music, great pop, great rap, great trap, great everything else, but classical music has its place very firmly as a reflection, I think, of certain movements of society. And it's not just the esoteric kind of high-end level of things. It speaks of everybody. And if you look at new composers as well, modern composers, it reflects our society today, and it's very important. That people have access to this music. I'm not talking necessarily about going to gigs or what I do, but about actual concert hall music. And there's a lot of movements of people bringing this music into different— like, you know, the Peckham Car Park Orchestra, these types of things, people bringing the music out into the public and giving people the opportunity to listen. You don't have to like it. You just need the opportunity to listen and not when it costs £100 a ticket. Absolutely. Absolutely. There is one thing that I think is universal is that classical music gives you the opportunity to feel. Yes, I agree. To feel something independently from the words or from the look of whoever is performing, isn't it? I couldn't agree more. Yeah, this is— but it requires therefore, if you like, a certain participation. Absolutely. You cannot just sit there and be spoon-fed. So maybe I think this is something which is interesting, especially for younger kids. When I go into my daughter's school and I play and I say to them, you know, what pictures do you get in your mind? You know, I might just play, say, you know, the Prelude from the G Major Suite. Absolutely. And they tell me all sorts of images, and sometimes it's SpongeBob SquarePants, and other times it's, you know, I see a field, and it doesn't matter, but it's getting used to activating the imagination without being fed the lyric, if you like. Absolutely. So do you think there is a difference between the audience when you perform in front— for example, you told me about performing for rock audience or like classical. Like, I read on your CV, on your biography, that you had this amazing collaboration with this Polish group, Klassika. Yeah, yeah, yeah, Kapella Gdańskis. I mean, no, in general terms, I mean, the audiences are exactly the same because they are all human beings. But beyond that, probably the biggest difference is whether they're seated or standing. The approach of these audiences and the appreciation is exactly the same. In a gig situation, they tend to kind of roar and go crazy at the end of a piece, whereas obviously in a classical setting, they're usually you know, a little— well, not contained, but anyway, I don't know. But I find it very interesting when I move the two together. For example, with Cappella Gadenensis, I play my music accompanied by an orchestra and choir, and the audience, of course, is this classical audience mixed with people from the post-rock, goth metal world, ambient music fans, the whole lot. They all sit side by side, they all have a very, very nice time, and the music is appreciated on all sorts of different levels, spectrum, whatever you want, because there is, I believe, compositional integrity, but there's also some quite intense moments and meanings. And, you know, I'm waving my arms around here, you know, you're on the radio, of course you can't see that, but, you know, there's a power to it which I think attracts probably some people. Absolutely, I'm sure people can get it through the radio anyway. So I'd like to start start listening to one of your pieces from your latest album. We have chosen Gold from the Exolve album. Oh, that's actually from Five Incantations, Gold. Ah, sorry. So do you want to tell us something about this piece? This piece of music was one of the few pieces that actually wrote itself very, very quickly for me, and it began life in Melbourne in Australia at about 4 o'clock in the morning. And I love this piece, love playing it, and I'm glad that you chose it to listen to. Let's listen to it then. Welcome to Women's Radio Station, the voice of women worldwide. This is Women's Radio Station. You're listening to Avril Price with Kitchen Sink Spirituality. It's Anna Kennedy talking all things autism, and my guest today is Karen. Welcome to Future Classical Woman Awards with me, Stefania Passamonte, on Women's Radio Station. Women's Radio Station. We want to hear from you. I listen to Women's Radio Station. Women, the possibilities are endless. That's what makes us different. Hi, I'm Liz Van Linden, the UK travel consultant for Hazelmere Travel. People come to me as they want unique experiences and a personalized service. This happens from the moment that they inquire till they come back I work with luxury tour operators. You can contact me on 07825 44 12 12 and liz@hazelmyrtravel.co.uk. Hi, I'm Mariam Jamoah and I'm the founder of WCAN, a young social enterprise ensuring an increase in employment, progression and retention of Black women in the corporate world. We specialize in the professional and personal development of over 3,000 young Black women in the UK. To get involved, please sign up or learn more via wcan.co.uk. Visit our Twitter or Instagram @WCANetwork. If you're a corporation interested in sponsorship, email sponsorship@wcan.uk. Are you struggling with money? Turn to us as a national charity. Helping people struggling to make ends meet. 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To donate, simply head to our website. Every little will help. Welcome back to Future Classic Women Awards on Women's Radio Station, the program where we search for the most amazing new female artists on the classical panorama. Today we are live with Jo Quayle, a unique classical concert cellist— classical rock concert cellist and composer. Jo, we were talking about your collaboration with the a cappella group in Poland. Where do you get this inspiration? Where did you get inspired? If you have, you know, any particular idol or if it's all your— Inspired to write the music I write, you mean? Yeah, yeah. Well, actually, I mean, my inspiration comes from lots and lots of different areas. I mean, in terms of artists, Well, I mean, I'm inspired by every great artist that steps on a stage. So, you know, I, for example, I've seen Yo-Yo Ma play the whole of the Bach cello suites at a sold-out Royal Albert Hall. So that's one man on his own with an acoustic cello keeping an audience held for 3 hours or more. It's amazing. Yeah. And so this is one great inspiration. Obviously, he plays the cello beautifully. You know, I would hope to one day play that beautifully, but— but it's not for everyone. It's— no, but he's It's great, you know, and this— basically it's the power and the intensity of performance that inspires me. Equally, when I see very, very exciting rock musicians or something, so, you know, I've always loved these types of productions, big concerts, and at the same time also seeing when there's very intimate performances, you know, perhaps in some small kind of blues pub, you know, you can imagine the sort of thing where there's one dude with a guitar And that's just as captivating. And aside from, obviously, from music, I mean, many things— literature inspires me greatly. I study quite a lot of psychology, or my version of studying it, and I'm very interested in Jung. I'm interested in a lot of spiritual aspects. I'm interested in— I like to read tarot, for example. So I don't say I'm brilliant at it, but I find a lot of inspiration in kind of the archetypal imagery as well and things. So all these things, feed into music, you know, going to the park feeds into my music, you know, everything, everything does. Absolutely, okay. And how important it is, you think, to record your music? For me, it's critically important because I make my own records, I'm completely independent, so I compose my music, I then record it with producers and engineers, and then I make my CDs and I make very special packaging for them, and then when I play concerts, I sell these CDs and this is the way I make my income. I also sell them online and stuff. It's also very important to record the music for me because I compose the pieces, I record them, and that recording is not the finish point, that's just the starting point. So I have a document on that record of how that particular piece of music sounded at that moment in time, and each and every time I play it live following that, it changes, it morphs, develops again. And so it's never a static aspect. It's constant fluidity, it's constant movement in the composition itself. Absolutely, yeah. I think it's also a way to reach wider audiences, isn't it? Yes. Because when you perform, when you tour, there is still a limitation of that moment and of that particular, you know, place where you're performing. I can see, for example, with my music that I get fans in South America or Canada, and I've not been in Canada yet, for example, or in Taiwan. So it's an amazing tool, isn't it? Yes, it is. And what would you say is the difference between performing live on stage and performing, for example, on the radio? Or on television, or— well, I mean, I suppose— I mean, I don't know, because if you're performing on the television, then presumably there's a live aspect of that as well. But I mean, in terms of stage performance, I know that there is— there's a lot more rawness, I suppose, is the diplomatic term. There's a lot of passion. And for me, the audience— there is a three-way interaction between me and the space and the audience, and this is again another constantly evolving set of energy, then that comes into the live performance. If you're comparing that to recording, that's very different because obviously in recording there's a lot of control. I can theoretically overdub something until I actually play it in tune, you know, even then it's not perfect, but of course when it's live, and because I'm live looping, so what I do is quite extraordinary in, I mean, I'm not extraordinary, but the technology is extraordinary. Extraordinary because it allows you to layer and layer. So I can have up to maybe 43 or 44 loops going at any one time, and each of them has gone in live. So if something is the matter with it, well, that's too bad because it's in, you know. And so then I decide, okay, right, this is the piece now, and that's how we're going to do it. So I want to talk about your latest album. It was released in November, uh, it's called, um, Exhales. So you want to tell us something about this and about the next piece we're going to hear, that is Mandrell? Mandrel Cantus, why this title? Well, the whole album is about creation actually by hand, and so the first track is Forge, and I was working a lot with a blacksmith who made a very beautiful stand for my cello, which I use live. And then there's Mandrel Cantus, so the mandrel is one of the tools in the blacksmith workshop, but it's also about the fact that things wrap and revolve and turn, you know, you wrap things on a mandrel in order to curved them. And this is exactly what happens with the music, really. I see. And the album took a long time to write, actually. Each album I write seems to take a bit longer than the last one, but this one had very, very great starting point with the, the music, the sculpture of Barbara Hepworth. This was the beginning part, and there was a quote of hers that said, um, my, my left hand sees and my right hand carves. And it was this aspect, and I wanted to to explore this with playing the cello as well, and the fact that it is— obviously, it's a silly thing to say, but it's very physical. And so it's not just about, you know, here is my first finger and this is my bow and I'm going to make this note. It's actually— when I teach as well, it's like, try to say, well, what's the physical sensation? How do you feel when you play? What does your body feel like? You know, all this type of thing. And this— all of these pieces of music are about this physical aspect, you know. Wonderful. Then let's listen to it. So next piece is going to be Mandrel Cantus from Exsolv by Joe Quayle. Welcome, welcome to Women's Radio Station, the voice of women worldwide. This is Women's Radio Station. You're listening to Avril Price with Kitchen Sink Spirituality. It's Anna Kennedy talking all things autism, and my guest today is Karen. Welcome to Future Classical Woman Awards with me, Stefania Passamonte, on Women's Radio Station. Women's Radio Station. We want to hear from you. I listen to Women's Radio Station. Women, the possibilities are endless. That's what makes us different. Hi, I'm Liz Van Linden, the UK travel consultant for Hazelmere Travel. People come to me as they want unique experiences and a personalized service. This happens from the moment that they inquire till they come back I work with luxury tour operators. You can contact me on 07825 44 12 12 and Liz, spelt L-I-S, at hazelmayortravel.co.uk. Hi, I'm Mariam Jamoah and I'm the founder of WCAN, a young social enterprise ensuring an increase in employment, progression and retention of Black women in the corporate world. We specialise in the professional and personal development of over 3,000 young Black women in the UK. To get involved, please sign up or learn more via wcan.co.uk, visit our Twitter or Instagram @WCANetwork. If you're a corporation interested in sponsorship, email sponsorship@wcan.uk. Are you struggling with money? Turn to us as a national charity. Helping people struggling to make ends meet. Job loss, illness, or bereavement can cause a real financial crisis. We give practical help to get people back on track. Whether you're thinking of having a baby, trying to get out of an unhappy relationship, or just unsure what benefits you may be entitled to, we can help. Visit turntous.org.uk. Let me tell you about German Street Theatre. This is a secret theatre in the heart of the West End. Once found, never forgotten. This is where careers ignite, where playwrights take risks, where great actors perform just feet away from the audience. This is where magic happens. We would love you to join our mailing list or become a sponsor or just buy a ticket to one of our shows. The website is www.theplayhouse.co.uk. Www.germinstreettheatre.co.uk. Women's Radio Station is a not-for-profit community interest company. Supporting women is our passion. We're currently welcoming donations to help towards our running costs to keep this important initiative alive. To donate, simply head to our website. Every little will help. Welcome back to Future Classic Women Awards on Women's Radio Station. Our guest today is Jo Quayle, an amazing cellist and composer, rock, classical, metal. It's the most, you know, cool thing I've seen so far. Totally. So, Jo, What would you say was the most exciting moment in your career? Oh, I mean, I'm very lucky, there have been many. I suppose a particular dream of mine was to play at the Southbank Centre, and I had that this year. I played at the Queen Elizabeth Hall twice. Oh, beautiful. Yes, which was great, and it was wonderful playing to a full capacity audience in this amazing hall. What did you perform there? Well, it was my repertoire, so it was part of Robert Smith's Meltdown, the festival he curated for the South Bank Centre. And I was playing the same night as Nine Inch Nails were in the festival hall, and I would quite like to have seen that gig, but I was in fact doing my own at the time. So, but it was great, you know. I know, I know the South Bank very, very well for many years, and just to have to be on that stage and to experience that stage, this beautiful space. I mean, the lighting rig was intense, it was amazing. So I really, I really enjoyed it and I love that hall as well very much. Acoustics are— whoa! And the audience, I mean, in general the South Bank, you know, just the whole area is so inspiring and so eclectic and so the audience that come to see the concert, particularly your type of concert, is really super inspiring, isn't it? Yes, it is, it is, absolutely. So what would you say was instead the most challenging moment in your career, if you have any? Yes, I mean, well, okay, given that I play, as I've said to you, I'm a soloist and I play with loops and etc. So I think probably the most challenging moment for me, I went on stage to support a fantastic Korean band called Jambanai who are basically post-rock but much, much more than that with traditional instruments, traditional Korean instruments, plus guitars. Anyway, so the audience was there and I was doing my support set and I stood on stage, I had my set prepared, and I began with a Colleño hit, which begins a piece of mine called Dolores. Went for it and the A string snapped. So I was like, oh no, excuse me everybody, I'm just going to change my string. And I went backstage, changed my A string. It doesn't take a minute. I know, I know. And in my haste, I snapped, idiotic, the spare putting it on. So I was sitting backstage and all this happened very quickly, but in my head it felt like years, you know. And I was sitting there thinking, I have to do a gig. There's no way around this. I have to do a gig that needs to last 30 minutes and I've only got 3 strings. So all my whole, all of my repertoire was out the window. So I went back on stage and people clapped and cheered and I said to them, you might want to reserve your enthusiasm because I'm now going to perform an entirely improvised gig on 3 strings for you. You know? And I honestly, I mean, God, after that, Afterwards, I was very, very, very exhausted, but I did it and I did my gig. But you know what it's like, you know, you have to do it and there is no other option. So anyway, I did it and it's actually still a bit talked about sometimes, the 3-stringed Jambonite improvisation. It happened to me, I broke an F sharp and I had a piece, it was all with the F sharp. Oh man! I told the audience, you're going to hear ping, and every time I was playing that ping, I was looking at them and they were laughing. What can you do? There's nothing you can do, you've just got to do it. Oh my gosh, yes. So what would you say are the pros and cons of being a classical concert artist? Ah, well, a musician in general, let's say that. Yes, yes, because I don't think I fall quite into the classical traditional— Too cool. Yeah, yeah. But I suppose, I mean, well, the pros obviously is that you're doing what you love to do, and provided you keep it that way and provided it doesn't become become, uh, something that happens by rote, you know, that you just do over and over again. So it must be, you know, this is, is a great blessing to do what you love, um, whether you do it for your living or whether you just do it anyway, it doesn't matter, but do what you love. And this is a great thing. And I suppose the downside is— not a downside really, but I travel a lot now, you know, I have family, so I'm privileged to travel, but I have to think very carefully and work very hard to make this balance work because my priority is my girl, husband, my home. This must be okay. And if this is okay, then yes, I can travel. But yes, you know, this is, I suppose, you know, this is the biggest, if you like, thought in my mind, you know, um, when, when I'm considering my career. So yeah, totally. I know I'm a mom myself, so yeah, and mom is just mom. There is none, you know, father can be the most amazing figure ever, but yes. Mum is mum. Yeah, if you have a mum. So, all right, so what is your most interesting collaboration? I know you've been collaborating with many amazing artists. Yes, yes, I have. I'm very, very lucky. I get to work with a lot of different artists. I was one— a couple of years ago, I did an entirely improvised album with Eraldo Bonocchi and FM Einheit, who was in Neubauten, you know, one of the greatest, most groundbreaking percussionists and sort of avant-garde instrumentalist. Working with him was fantastic. He had big power tools and bricks and all sorts, hammers going on, you know, made a great album. But I also, I love to work with, there's a Belgian singer called Lucie Dely and she is fantastic. She sings the blues, she sings these earth-shattering primal screams. She's an incredible, she's a violinist as well, very, very great composer. And she brought some magic to a track of mine called Corsoline's Wheel. She's— I've collaborated with her on previous albums, but this Corsoline's Wheel, she lifted this track into a very, very special space. And yeah, working with her was great. She inspires me greatly and she seems— we meet each other somehow or other. We know, you know, when we work together live as well, we quite often do improvised concerts and we just working with her. You know when you can just work very easily with a musician, you don't struggle to find them on stage, and she and I connect like that, and I love working with her. Then let's listen to Coslin Will from Exholver with Joe Quayle and Lucy Taley. Women's Radio Station is a fresh new broadcasting platform driven by love and passion. Connecting women around the world in a global network is all about diversity. From opinions, career, ethnicity, education, we aim to show the individuality of every woman everywhere, providing opportunities and a platform for your voice. Women, the possibilities are endless. That's what makes us different. I'm Tamina Zaman, founder of Empower and Enrich. When it comes to money, do you clam up or get confused? 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To donate, simply head to our website. Every little will help. Welcome back to Future Classic Women Awards. On Women's Radio Station. Our guest today is Jo Quayle, and we are live, uh, for an amazing interview. We've been talking so much and listening amazing music. So now, Jo, it's time for the odd question. All right. So do you have any strange hobby to free your mind or relax? Oh yeah, I— well, um, recently, I, I've always loved needlework and needlepoint, so I've always done that, but recently, uh, I started crocheting. I'll tell you, it's great. We got to a venue in Nottingham, we got to the accommodation, we were quite early, and next door to the accommodation was a shop, an arts shop, arts and crafts, and I went in there for no apparent reason, and there was 4 old ladies and 1 old man, and they're all sitting there crocheting, and I just walked in and said, "Please, can somebody teach me how to crochet? I really fancy doing this." So they— I bought a ball of wool and a crochet hook, and they set me off, and I'm now on my second blanket. That's amazing! Beautiful. I love it, I love it, and it's not procrastination, it's self-care. That's what I tell myself. I watch a good Agatha Christie murder and do my crochet. I'm very happy. Super fun. All right, so do you have any ritual or superstition before going on stage? Not particularly. I like to be on my own, and, you know, Alan, who's with me in the studio, he's very good at getting rid of people just beforehand, and I like to just think a little bit, and I ask that I can make, you know, a good performance and do the best that I can, you know, just in sort of general terms. And then I just get on and do it, really. But I do yoga. I mean, you know, in terms of practical things, yes, I breathe and I stretch and I will, you know, the usual things you'd expect to do. So, yeah, that are so important. People forget that. Yes, no, you must, you must. Yeah, because we're athletes, you know. Exactly. So, exactly. All right. So, do you have any funny moment or embarrassing moment that you want to share? Do you want to share with us funny moments? I tell you what, yeah, there was a very funny moment actually. I was doing a concert in Switzerland and there was— because in this particular instance I'm playing through a PA system, so electric cello has PA, and there was something the matter with I do not know what, but there was very odd things going on. I began to loop my pieces, all sorts of strange sounds were going on, and it was very busy, it was a big hall and everything. Anyway, something was wrong and it was beyond repair, you know, and it wasn't my fault. So anyway, I just stopped everything and I said to the audience, I'm very sorry, but something is wrong here and I'm going to just ask my colleague on the sound desk to just come and have a look at this. And in the meantime, I will play you some Bach. And so I played to this big 1,000 post-rock fans and I played them the prelude. Oh, wow. G major prelude. Oh, beautiful. And meanwhile, behind me, there was this kind of like comedic sketch of all these dudes rushing about with DI boxes and other bits and pieces. That is so funny because it's so ethereal, that prelude by Bach, isn't it? It's like a moment being up in the sky. You know, I chose that piece, obviously you're thinking on the flight, but I chose that one because it's one that is likely to be recognised by people, you know, who are not necessarily steeped in classical knowledge and they really enjoyed it, you know, and then by the time I finished it, I actually got to the first kind of the first point where it sits on the D and I was like, have we finished or shall I carry on for a bit? And the sound man was like, no, no, carry on, finish the piece, please. And so then I finished it and by that point they'd managed to sort out the technical technical issues, and it was something very simple in the end, but there was a big kind of feedback which ought not to have happened. Anyway, it doesn't matter, but that was quite a funny moment. Absolutely beautiful. So what's your next project or concert collaboration? I am literally in the throes of writing the fourth track for Exile. Exile has been released, but I'm making a vinyl release in the summer, and so there's going to be a fourth extra track. So I'm writing this track, and I will go back to the studio to record it in a in a couple of weeks' time, and then I'll make a special concert in the summer where I will invite some of the students from the Centre for Young Musicians, which is where I studied, and they will play some pieces from Exhale with me. I'm using— working with their senior brass ensemble, so we'll have me and conductor on my click track and these students, great students, and we'll make a special concert. So that's a big project. I've got a nice prog music festival, I've got tour with Mono coming up as well throughout Europe. So lots and lots of things happening. Wonderful. I think I didn't ask you, what would you like to say to a younger self or a young inspiring student? If— oh, I— well, I say this to the people that come, but I mean, just, just play, you know, play and be free. And yes, do your Piatti, do, do your study, do your Foyer, and then close the book and play. Just play. And play as high as you can, play as hard as you can, as deep as you can. Make the softest noise, make the strangest noise. And then put all that away and go back to Piatti, you know, and keep this revolving. And just play, because that is where the seed sprouts from, you know. You don't have to compose, you don't have to do it for an audience, you don't have to do anything. But you must do for yourself is play. And then everything is okay. And on this beautiful message, I would go to our last track of the day, that is Fair Forward from your debut album, performed by Joe Quayle— written and performed by Joe Quayle. What's the name of the debut album? From the Sea. And this was Fare Forward from Joe Quayle, debut album From the Sea. From the Sea. If you have any questions that you would like to ask to our guest or nomination for our Future Classic Women Awards, please email presenters@womensradiostation.com or tweet us @WomensRadioStn for a chance to win 2 tickets to our concert of the finalists of Future Classic Women Awards. A big thanks to our guest, Jo Quayle. Thank you for having me. It was amazing, amazing chat and beautiful music played today. 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