A multi-instrumentalist, composer, music educator and record producer based in Adelaide, Adam Page has written major works for the Adelaide Symphony Orchestra and the New Zealand Symphony Orchestra.
He's performed at festivals like Glastonbury, WOMADelaide, Edinburgh Fringe, and Adelaide Fringe. His collaborations stretch far and wide, from Tim Finn, Katie Noonan and The Shaolin Afronauts, to Noel Gallagher and recording various sounds for 'The Hobbit' films.Ahead of his appearance at Perth International Jazz Festival next month, Adam sits down for an in-depth chat.
You're headed across the Nullarbor to play the Perth International Jazz Festival; what are you working on, arranging for your live performance?
Well, that is a question that requires a somewhat non-committal answer. . . nothing!
The improvisational nature of my solo performances means every show is different. I am very much moved and inspired by my audiences, surroundings and circumstances. Given this will be my first proper festival solo show in many, many months chances are the music will get quite excited!
Given your broad background in genres, for the PIJF show do you have to actively remind yourself to remain with the jazz genres or do you allow your creative licence to run wild?
I let it run completely wild. That said, I have a long history of being a jazz and funk player so all of the genres will automatically be steeped in those musical realms.
While you're in Perth, will you catch any of the other PIJF performers/ concerts?
Absolutely. . . and I can't wait. . . there are some great acts on the bill. I'll be seeing as much as I possibly can.
I really miss playing at festivals as the nature of the beast is there are numerous things to check out at any one time. That creates a unique energy only felt within the festival environment.
Prior to COVID, you were a musician who travelled constantly; how have you pivoted the last 18 months, have there been any unexpected positive outcomes of the pandemic, and has the lack of live performance opportunities reshaped your relationship with audiences?
It was a real blow for me creatively.
I had been playing constantly for over two decades not realising how much of a freely running emotional tap performance was for me. . . until it was turned off.
That in itself was a silver lining as (once I got out of my deep funk) I clearly understood the importance of performance in all areas of my life, not just creatively.
I was also able to spend gorgeous time with my young family. I have a four-year-old daughter and three months into the pandemic we had another child so in many ways the forced hiatus created a lovely bubble for us at such an important time in the development of our children's lives.
In terms of reshaping my relationship with audiences, it's all just made me love them so much more!
You were part of ABC Classic's take on 'Like A Version' where you turned some popular classical pieces into 'Adamified' loops. How much fun was that and how did you choose the songs you covered?
IT WAS A BLAST!
I especially liked the negative feedback as it is important for art to not please everyone. Choosing the pieces was relatively easy as I needed to find music that would work within the confines of a looping pedal. . . that's why Canon and Bolero came to me immediately as they are basically loops already.
You recently joined Patreon; how has that experience being and how has it shaped your own creative ideas/ engaging with music fans?
It has been really great so far. I love the feeling of being honest and accountable to my patrons.
The content is slowly growing, as is the supporter base, and I plan on sticking with this platform for years to come. I have always despised social media, so this is the first step for my art to largely disappear from those platforms.
I think too many people are giving away their art for free, which has created different and unsustainable expectations from consumers. We all need to value our art more and as hard as that can be, we need to think about putting monetary value on it also.
The artists, creatives and organisations you've collaborated with over the years are a who's who of the global music scene (both indies and mainstream names); is collaboration an element of your craft that you actively seek out? Absolutely. I believe every interaction, creative or not, moulds you as a person.
In the creative realm collaboration is not just the sharing of ideas, it's also the absorption. Every artist I have worked with lives on through every subsequent musical creation. They are all in there somewhere.
As a solo artist what exactly appeals to you personally about creating with others?
Exactly as I stated above; attaining a bit of their artistic fingerprint in my own creative work.
Can you share some more memorable collaborations you've had over the years?
Playing with and learning from sitarist Dr. Chandrakant Sardeshmukh back in the early 2000s still influences me to this day. He was a student of Ravi Shankar, so was a very experienced and knowledgeable Indian musician and a great teacher.
Another artist and incredible human I have worked with extensively, and still do, is Kiwi composer John Psathas. He is a giant of a composer and has been a bright guiding light for me as I have embarked on my own career as an orchestral composer. My life changed when we became friends and collaborators.
After PIJF what's next for Adam Page; and what can we expect from you in 2022?
I will hug my daughters REALLY hard! Then I have two very exciting composition commissions I will start working on.
In terms of performance, I will be watching what happens in Australia and internationally with great interest. As soon as the opportunities start to come back I'll be pouncing!
When it comes to new music/ creative leads, is your brain cranking out ideas all the time (how crazy, wild are the initial ideas; is there anything that you've thought 'that's simply too much' or 'that will never work')?
My voice memo folder on my phone is chocked full of little ditties and ideas that eventually become something. . . and I don't know how many hundreds (thousands?) of pieces of paper/ napkins/ receipts are lying around with random thoughts on them.
Even though the ideas are constantly firing I try to give myself space from them too, otherwise I get consumed.
Billy Connelly has called your work 'ASTONISHING!' while Tim Minchin was 'blown away' by your live performance; that is high praise from two of the most talented individuals in the cosmos – does that kind of feedback energise your creative juices to expand beyond pre-conceived notions of artistic expression?
Sure, I am totally chuffed by their comments, but on a purely personal level. . . I love that my music has touched them deeply in some way. . . but I have no interest in the concept of fame.
We are all humans with the amazing ability to feel emotions and touch people through an external creative source such as music. It means as much to me if Barbara from Carnarvon is moved by my music than anyone in the public eye.
Either way, I'll keep doing what I'm doing and grow slowly knowing I might be reaching someone on a level I'll never understand.
Thanks for your time Adam; anything else you'd like to add?
I CANNOT WAIT TO PLAY FOR YOU ALL!
Adam Page plays The Rechabite Main Hall on 6 November as part of Perth International Jazz Festival, which runs 5-7 November. PIJF On Tour lands at Busselton Foreshore Amphitheatre 13 November.
