Paul Higgs Talks New Album with Pavane And More

Paul Higgs (Angel Award Winner and Ivor Novello Nominee) is renowned as one of the UK’s leading trumpet players and composers. His second album with Pavane ‘Summer Lullaby’ is out now. We spoke to him about the album: 

When did you begin songwriting and recording music?

I began to notate little tunes onto manuscript paper when I was around 8-9 years old. This began a lifelong fascination with both melody and harmony. I’m sure my earliest tunes won’t ever be heard again but I used to get out my “songbook” most times I would sit at the piano.

The recording of music came later. When I was 13 I used two cassette recorders to playback on one and record on the other. The more times you did this the hissier the recording would become. I was 18 before I was able to get the latest ‘portastudio’ – a four track recorder but on higher quality cassettes.

What is your earliest musical memory?

My earliest contact with music was climbing up onto the piano stool and making up little tunes. I must have been about 3 years old and had no way of remembering the tunes, so the next day I would make up new ones.

Your new album with Pavane ‘Summer Lullaby’ is out now. How did you want to approach the making of the record?

I tend to split the stages of making an album up into the writing period where I sit at either the piano, guitar or manuscript and concentrate on getting strong melodies. The recording process itself is where I try to capture the sound that I have in my head as accurately as I can. Often at the recording stage I will rewrite sections of melody or harmony if I feel there could be a stronger version.

Where did you record the album and who produced it?

I recorded and produced the album in my garden studio. Although quite bijou I have a piano and drum booth as well as a control room. The only downside being I have to tidy up after the sessions!

Who plays on the album with you?

I’m lucky to have some of the country’s leading jazz musicians on this album. These include Natalie Rozario on cello who overdubbed whole string sections for me. As well as playing classical cello she is also a great jazz improvisor. Then we have Andy Watson on the classical guitar, Chris Ingham on the piano, Jerome Davies on double bass, George Double on drums and a guest percussionist, Graham Cuttill.

One of your tracks is ‘Lights of Canary Wharf’. What was the story/inspiration behind that song?
I used to drive a detour home from Theatreland every night, when I was working at the National Theatre, via East London Docklands. As the new construction of Canary Wharf was taking shape I’d marvel at the lights that adorned both the cranes and the buildings. This song hopefully represents the elegance and sophistication of the emerging metropolis.

The single is accompanied by an official music video. What was the thought process behind the video and who directed it?
The video is filmed by the gifted James Berry and directed by his sister Aly Berry from Golden Lurcher Films http://www.instagram.com/goldenlurcherfilms/ . Aly is also a fabulous jazz singer and songwriter and it was her concept to have a video entirely shot in silhouette against a red backdrop.

Who created/designed the album artwork?

The artwork was produced by Suffolk-based graphic designer Martyn Wainwright from www.hornpie.com  .When I contacted Martyn he had already been experimenting with a new technique similar to light painting. Martyn always comes up with a stunning and clean design.

Do you have any favoured stage instruments, effects, pedals, microphones etc?
My favourite instrument is my trumpet. It’s the same trumpet I turned professional on and have had it since I was 17 years old. It’s a Bach Stradavarius medium large bore and 37 bell size. A favourite with orchestral players except mine is a green-blue.

Where is your hometown and could you please describe it in five words?
My hometown is Hornchurch on the edge of East London. Leafy, and close to London

Do you have any plans for live shows in Europe/UK in 2024?
I am constantly performing somewhere although with the Pavane project we have 3 fantastic venues coming up: Hadleigh, a Suffolk jazz club at the town hall in June; Wigan international Jazz Festival in July; and Chelmsford Cathedral in August. All details and links are on my website www.paulhiggs.com 

You are given the opportunity to write the score for a film adaptation of a novel that you enjoy. Which novel is it and why?

I would choose a little known 1991 novel called “But Beautiful” by English author Geoff Dyer. The book contains beautifully written fictionalised vignettes of jazz musicians like Thelonius Monk, Duke Ellington and Lester Young. It would be a pleasure to try to capture the essence and style of each of the characters as they appear.

Which of your new album tracks hear you at your a) happiest, b) angriest and c) most reflective?

The track which is me at my happiest is probably ‘Solstice’. It’s an affectionate nod to the American flugelhorn player Chuck Mangione.
I don’t really do angry very well but I suppose ‘Icicles’, because I get very cold fingers in the winter!
My most reflective number is the title track ‘Berceuse d’été’, a simple lullaby.

Who are some of your musical influences? Do you have any recommendations?

My influences in music are many and varied and not all are trumpet players. It was however my early exposure to Herb Alpert that led me to cover one of his biggest hits, ‘This Guy’s In Love With You’.
My other influences in no particular order are Miles Davis, The Beatles, Chet Baker, Gustav Holst, Dave Grusin, Dave Brubeck and Dizzy Gillespie.

As for recommendations some of the newer guys on the scene like Till Bronner are always worth a listen.

Was it a difficult album to write?

The album took longer to write than I intended. I got ambushed with other projects and I fitted mine into the cracks!

What makes Paul Higgs happy and what makes you unhappy?

I’m happiest when I’m songwriting. Nothing beats the thrill of composing and hearing your song sung by a great voice. I work with a couple of great lyricists.

The thing that makes me unhappy is when a long term project comes to an end. However it’s a moment to catch my breath and take stock of what I should do next.