Composer and sound designer Jo Quail has released her seventh album, Notan. We asked her the BIG questions . . .
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Notan is Jo's seventh album and it takes its name from the Japanese concept that explores the interplay of light and dark.
Tell us three things about yourself . . .
I'm a mum, I'm a teacher and I love to cook! My daughter is now 13, and the time has flown by, it seems only yesterday she was tiny. Nothing seems to mark time like school schedules.
I teach composition, looping, performance prep, all sorts of related things and I'm a team leader and tutor at ThinkSpace Education, working online with amazing students around the world on their Masters in Media Composition, orchestration, and sound design.
How would you describe your music?
I’d describe my music as a blend of classical and experimental sounds, rooted in the cello but not limited by it. I use looping and effects to build layered, textured pieces that can be quite cinematic - sometimes gentle and introspective, other times intense and driving, heavy. Each composition is like a journey; I aim to create a sense of space and narrative without using words. It sits somewhere between contemporary classical and post-rock, and I love how it can connect with listeners from very different musical backgrounds.
Who are your musical inspirations?
That’s a big question! Many composers have stayed close to me since day one, like Penderecki, Bach (of course), and Kodály. Learning his solo cello sonata - which is still very much an ongoing process! - was a total game changer for me in terms of both cello technique and scoring. Veljo Tormis has also been a huge influence, especially Curse Upon Iron, which opened up so many ideas for vocal writing. Some of those ideas made their way into The Cartographer, and also into Invocation, which I wrote for Maria Franz.
What was the first gig you ever went to?
I used to go to The Venue in New Cross here in London, and I saw several bands kind of 'by accident’ that way - Green on Red, Half Man Half Biscuit, The Levellers, and the iconic Cardiacs too. Stoneage Dinosaurs remains one of my all-time favourite tracks. I actually use it in teaching sometimes.
I think the first gig ticket I properly bought was for The Black Crowes at Brixton, a million years ago! After that (or before, maybe) came Reading Festival, heaven knows which year, but I’ve got a feeling both Jane’s Addiction and Red Hot Chili Peppers played, so it must’ve been the early ’90s.
What was the first record you ever bought?
It's a three-part answer! The first record I actually bought was The Lost Boys soundtrack, before that I was given Introducing The Hard Line According to Terence Trent D'Arby and I borrowed Dan Reed Network, the first album, and all three I still love today.
What’s your favourite song right now?
I don’t really have one favourite at the moment, but the last three pieces I listened to yesterday were the soundtrack to The Conversation by David Shire, Penderecki’s Stabat Mater, and Head Over Heels by Gun Boi Kaz. Right now, I’m also listening to one of my student’s works as I write this - a hugely impressive symphony that’s really inspiring.
Favourite lyric of all time?
Roll With The Changes by REO Speedwagon. The first bit of the chorus - "If you’re tired of the same old story, turn the pages" - is such a simple and powerful metaphor for moving forward and sorting things out. I like to think we all have the power to make changes, maybe not globally but personally at least, and that’s something I find really inspiring.
If you could only listen to one song for the rest of your life, what would it be?
One song? That’s tough! I think it would have to be Bach, probably the C Minor Suite, which is the fifth solo cello suite. Every time I listen to or play Bach, I discover something new - a different direction, phrasing, or interpretation - a new landscape unfolds and over the years what was familiar becomes less so, and something new arises in the music. Sometimes I focus on the individual notes leading into each other, sometimes the phrase, sometimes the movement as a whole, or even the entire suite. It’s endlessly rich and inspiring.
Where can people find your music/more information?
People can find my music on all the major streaming platforms like Spotify, Apple Music, BUT it means so much more to me if you stream on Bandcamp please! I'm not really a fan of streaming platforms but I recognise they are very useful.
If anyone wants to dive deeper, please do feel free to join me on Music Patron where I regularly update with BTS content, including compositions in progress, orchestrations, new ideas, backstage venue tours (now and then!) and I hold monthly zoom hang outs too.
My official website has everything all in one place including my Instagram and Facebook links.
Alan Corr
