Beginning her classical musical studies at the age of six, and educated at the Royal Academy of Music on a piano scholarship and then at the prestigious Royal College of Music, Rosey Chan has won numerous prestigious awards, and played some of the
Beginning her classical musical studies at the age of six, and educated at the Royal Academy of Music on a piano scholarship and then at the prestigious Royal College of Music, Rosey Chan has won numerous prestigious awards, and played some of the world's most renowned concert halls. In the the last couple of years she has been focusing on more than just a purely classical repertoire, the fruits of which are showcased in her forthcoming debut solo album, Rosey Chan One, for which the gifted musician has tackled an eclectic mix of artists, from Debussy to Tom Waits. AnOther caught up with Rosey a few days before her solo show at Kings Place, London, to talk jazz, fashion and how Sting came to produce her album.
At your forthcoming show you are mixing up Mingus and Beiderbecke, among other jazz greats, with Scriabin and Bach. With your classical background, did you find it hard to make the transition to jazz?
I was lucky because my late professor (Yonty Solomon) at the Royal College of Music was a Jazz musician first and foremost – he could not read a note until he was 16, when he fell in love with Debussy and then forced himself to read music. Before we'd begin (there were always two grand pianos in the room) we'd do some improvising excercises before starting on some hardcore Liszt or Ravel. He inspired me greatly.
I read somewhere that you and director/musician Mike Figgis, who played bass on the Tom Waits track Rainbirds on your album (and who will be playing with you at your show), believe that Bach was the start of jazz?
Yes, I think a lot of musicians came to the same conclusion – Bach has such soul and was undoubtedly an improviser.
Sting produced the album – how did that come about? What did he bring to the recording that a traditional producer of classical music perhaps couldn’t?
His daughter, a New York friend, brought us together at a dinner in Italy. After way too much wine, I played for everyone – I was about to start recording at home in London, but then he donated his Italian studio and his engineer – It was the most generous gift. He let me get on with the recording and came in and out of the session to listen and make a few good comments – mainly he encouraged me to follow my instincts and not worry too much about other pressures. He’s quite an inspiring man.
You also work with filmmakers, fashion designers, artists? What attracts you about these collaborations?
I’ve been working with Zowie Broach, from Boudicca for a couple of years – she is amazing and I would say that she was instrumental in getting me right out of the ‘concert pianist’ look. Her clothes inspire me and I perform better in them. I enjoy working with various art forms, dancers, filmmakers, DJs and other musicians. Their influences help my creative process, in which I can enjoy finding new ways to present classical and improvised music using all these elements. I’m just having fun right now.
An Audience with Rosey Chan, September 17, King’s Place, London. Rosey Chan "One" album is released on CD 20 September 2010
Text by James Wignall
