PERSONAL DETAILS

Jabra

JABRA LATHAM

To study classical saxophone teaching strategies, techniques and philosophies - Germany, Netherlands, U.K., France, Switzerland, USA

Jabra Latham’s playing has been described in the media as astonishing, noting his virtuosity and energy. His performances, including work with the Malaysia Philharmonic Orchestra, Tasmanian Symphony Orchestra, Tasmanian Saxophone Quartet, Gilmour Ensemble and Hobart Chamber Orchestra, have earned him critical praise as a an orchestral and chamber musician and soloist. His recognitions include a Fellowship from the Winston Churchill Memorial Trust, a Bachelor of Music with First Class Honours, a Licentiate of Music Australia with Distinction and a Residency at The Banff Centre. Jabra studied performance at the Tasmanian Conservatorium of Music with Barry Cockcroft, Elliott Dalgliesh and Margery Smith, and chamber music at the Australian National Academy of Music. He has performed in Australia, the USA, Europe,Canada, South-East Asia. Jabra has presented original and standard concerti by Glasunov, Dubois, Kay, Smith, Reed, Reade, Dahl, Gilmour and Larsson. To date he has had three complete concerti composed for him and a large number of smaller works. As a member of the Gilmour Ensemble Jabra can be heard on ABC Classic FM and has twice broadcast for Sunday Live. He has spearheaded several recordings of new music, including the albums You Say You’ve Seen Seven Wonders, Seven Things I’ll Do Tomorrow, Ride, Eleven Duos and If Bach Rode Bikes. Most recently Jabra has co-founded Opus House. He is an instructor in classical saxophone, chamber music and performance at the Tasmanian Conservatorium of Music.

FELLOWSHIP DETAILS

2006

The receipt of a Churchill Fellowship enabled me to travel to the United States, the United Kingdom, The Netherlands, Germany, Switzerland and France to investigate classical saxophone teaching and performance. Meeting with several of the world’s leading classical saxophonists, I participated in conferences and masterclasses, spoke with students and professionals, performed and saw many excellent musicians play.

The Fellowship was undertaken, with intervals, between the 27th of March and the 18th of June, 2007, covering a total of 6.5 weeks. The aim was to visit several of the world’s leading classical saxophone performers, teachers and schools in order to investigate current trends, consider pedagogies and improve my own practice. I participated in conferences and master classes, consulted with performers and teachers, performed, met with colleagues and students, observed lessons, performances and rehearsals and sourced new repertoire, recordings and equipment.

Highlights: Attending the North American Saxophone Alliance (NASA) Region VII conference in Greensboro, North Carolina, USA. Participants included Jean-Michel Goury and the New Century Saxophone Quartet; Attending the North American Saxophone Alliance Region III conference in Fargo, North Dakota, USA; Performing Australian works by Russell Gilmour at the NASA Regions III & VII conferences; Meeting with Professor Eugene Rousseau at the University of Minnesota, Minnesota, USA; Meeting with Professor Claude Delangle and attending rehearsals, lessons, exams and competitions at the Paris Conservatoire (Conservatoire National Superior et de Danse de Paris); Meeting with Christine Rall of the Rascher Saxophone Quartet in Frieburg, Germany; Meeting with Wildy Zumwalt, University of Fredonia, USA, in Basel, Switzerland; Meeting with Marcus Weiss and attending rehearsals, classes and performances in Basel, Switzerland; Meeting with Simon Haram in London, England; Meeting with Kyle Horch of the Royal College of Music and observing lessons and rehearsals, London, England; – Attending master classes with Johan Van Der Linden in Enschede, The Netherlands.

FELLOWSHIP CONCLUSIONS & OUTCOMES

Gained valuable perspective on the nature of the classical saxophone career.

Observed that classical saxophone teachers, generally, don’t articulate a specific pedagogy informed by theory.

Observed that standards of performance, according to level, are relatively consistent across the world.

Became familiar with distinct schools of practice.