Bassist Chris Pound hails from Canberra where he studied Music at the ANU under Eric Ajaye. After residing in Europe for a decade, his strong fundamental sound and feel have rendered him in high demand upon his return to the Australian Jazz scene. He has performed with a diverse range of artists from Australia and abroad, spanning a wide range of musical disciplines, including Jon Gordon (US), Sean Wayland (US), Sarah Mackenzie (US), Carl Morgan (EU), Anita Wardell (UK), Grace Knight (AU), Steve Barry (AU), Hilary Geddes (AU), Flora Carbo (AU), Miroslav Bukovsky (AU), John Mackey (AU), Mike Price (AU), John Crawford (UK), Tim Firth (AU), Chloe Kim (AU) and many more.
Photo Credit: Creswick Collective
THE STREET TALKED TO CHRIS BEFORE HIS PERFORMANCE WITH CRESWICK AND ENSEMBLE FOR IN HIS WORDS: VOICES OF FATHERHOOD.
DESCRIBE YOUR RELATIONSHIP WITH MUSIC.
My journey with music began, as it probably does for many, with the music that was played by my parents around the home when I was young. I remember hearing artists including Led Zeppelin, Madonna, Black Sabbath, Rolling Stones and Daddy Cool being cranked on the weekends. I got my Dad to make me cassette tapes of some of that music that I could play on my own portable cassette player – I would visualise that I was Jimmy Page shredding guitar solos in front of a stadium crowd. Studying an instrument then gave me the ability to express the way I hear and feel music in collaboration with other musicians – and so the element of collaboration and the types of relationships that forges became a defining aspect of music for me. In essence music for me is like this vast inner experience, it takes me places inside, it transports me to different worlds.
WHAT ARE THE POSSIBILITIES OF THE BASS FOR YOU?
Taking quite a traditional approach to bass, it has this tremendous capacity to bring seemingly dichotomous elements of music together – it melds rhythm with harmony, the simple with the complex, it fills a particular sonic space that allows other elements to blend together, it provides the context for melody and harmony to flourish, it brings out groove in the music. It’s a really magical thing to witness, and I feel that it’s quite a privilege to play in a context with other musicians and provide the fundamental layer that allows the other musical elements to become alive. And so when I am playing I am really striving to make things come alive – to make music that touches people in some way, like it moves them. It could be they want to start moving and dancing, or it could be that they suddenly have a different mood or feeling inside them when they hear the music.
HOW DO YOU DESCRIBE YOUR SOUND?
Playing Double Bass my ambition is to sound natural, warm, rich, deep, and woody. Playing Electric bass there is a little more scope to add colouration to the sound. I’d still want it to be warm and deep, but also punchy and with clarity. I also like playing with effects, where I replicate the sounds of synthesisers, distorted guitars, and also doing weird glitchy computer sounding stuff.
IN HIS WORDS IS A LIVE MUSIC CINEMATIC RESPONSE TO FATHERHOOD. WHAT DO YOU BRING TO THE CREATIVE PROCESS AND THE ENSEMBLE PERFORMANCE?
Firstly I bring my own unique experiences as a father myself. Having my own children helps me relate to the project on the level where I understand the themes presented from a personal place. So that grants me a level of sensitivity and awareness where I’m contributing to the project to help bring out the themes presented in work, but on a musical level. To the ensemble, in the capacity of playing bass, I bring shape to the compositions in terms of their form and structure, meaning they have a contour that is coherent and tells a story. Also sonically I’m bringing the low end, the fundamental pulse and harmony that serves as a foundation for the music to be aurally impactful, and for the lyrics, melodies and narratives of the music to really shine through.
HAS BEING A DAD YOURSELF HAD AN IMPACT ON YOUR MUSIC/CAREER?
Going through the process of fatherhood has contributed to a shift in my awareness where values such as connection have really come to the fore. Whenever I am doing something I love, I try to make every second count. When I spend time with my children, I aim to be totally present, totally engaged, to make every interaction count, to help my kids feel totally supported, valued and loved at every turn. Likewise when I’m playing music, I want to be giving my absolute best, treating every note like it really matters. So essentially, in whatever I’m doing it’s about making positive contributions that will further the level of connection amongst people in that time and place.
WHAT WAS THE INFLUENCE OF STUDYING AT THE ANU SCHOOL OF MUSIC ON YOUR MUSIC AND CAREER?
Studying at ANU was highly influential for me. As a young musician at that time I was fortunate to have gone through a pre-tertiary music program, followed by my bachelors degree there – meaning I was able to study under the great Eric Ajaye for 5 years. It was a privilege for me to have that time learning from such a great player – I remember before I began lessons with him, I called him on the phone and he basically laid down the law, explaining what I needed to learn, and what would be required of me moving forward under his tuition. At that time I was so ready for this kind of challenge, and thus I am ever grateful for to him for starting me out right! Further to this the student cohort at ANU was awesome. There were such great players around and I had amazing experiences making music with so many wonderful people in orbit of the School of Music.
YOU RESIDED IN EUROPE FOR A DECADE. WHAT INSIGHTS AND INSPIRATIONS DID YOU BRING BACK TO AUSTRALIA?
Without trying to sound too dramatic, living overseas for a time was significant in shaping my understanding of what it means to be human. Soaking in different cultures for extended periods, was very eye opening. By a kind of contrast I was able to see what the differences and similarities were amongst people in the places that I lived and travelled to. Following from this I was also able to understand better the uniqueness of Australian culture, with what I perceive to be its pros and cons. I’m also inspired by all of the musical cultures that I’ve had time to absorb – I’m particularly obsessed with rhythm, and I love getting to know the rhythmic nuances that are found in music from all over. This awareness is definitely something I bring in my playing.
HOW WOULD YOU DESCRIBE THE STATE OF MUSIC IN CANBERRA?
I’d say considering the size of the city, the music scene is pretty decent here! There are plenty of places to play, plenty of artists visiting (if you keep your eyes out) and plenty of local artists striving to put out great music. I think also post-COVID people came to fall in love with live music again – there seemed to be a real resurgence in people going out and venues putting on live music. There’s something really special about going out and hearing really good music – it can really pass a lot of warmth. I’m not even necessarily talking about huge concerts, even things happening at local cafe’s, bars and theatres. For me that’s what is special about playing, being part of an awesome atmosphere where people are having a great time and digging good music.
WHAT IS INSPIRING YOU IN MUSIC AT THE MOMENT?
I’m always listening to music of many kinds. At the moment I’m inspired by lots of classical music, of which I’m by no means an expert, but I’m always trying to learn more about. I also recently went through a huge ‘Meshuggah’ phase, a band I consider to be absolutely unparalleled in what they do. I love a recent album by Domi and JD Beck – it’s a really cool kind of jazz – hip hop fusion. In that vein I’m also a huge Louis Cole fan. I’m also always listening to Major Lazer for my dance/pop fix. Jazz wise I’ve been digging Branford Marsalis recently, getting in to his work which runs deep.
WHAT ARE YOU CURRENTLY READING AND WATCHING?
I’m currently reading The Lucifer Principle by Howard Bloom. It’s a fascinating take on the human condition with a good dose of science and history thrown in. I’m also presently searching for some good non-fiction to read – I’m a fan of sci-fi. Recommendations welcome!!
THE WORLD PREMIERE SEASON OF IN HIS WORDS: VOICES OF FATHERHOOD RUNS FROM 23 – 25 JUNE 2023 AT THE STREET THEATRE.
STREET TALK 