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Olivia, thank you for taking the time to speak with Occhi Magazine. Do you remember the first moment music felt like your language—not just something you enjoyed, but something you needed? What was happening in your life at the time?
I don’t really remember not doing music or it ever being a conscious decision to pursue it. I have never wanted to do anything else, and it’s always just felt like my pathway in life; and so whether that makes me fortunate or a bit mad, you can tell me!
When you were first learning, what did you find yourself copying instinctively—melodies, rhythms, textures, attitude—and what does that say about the kind of artist you were becoming?
I’ve always been drawn to melody; catchy earworms or beautiful soaring lines. I always have songs (usually annoying jingles or theme tunes) in my head and I think as a result my writing has always held melody of high importance. I think my love of musicals has also influenced my writing; it is very driven by storytelling, and developing clear soundscapes through melody, lyrics, or texture is integral to my music.
Early on, who or what gave you “permission” to be bold—especially in large ensemble writing where the stakes (and the number of moving parts) are so high?
I’m not sure I’ve ever looked for permission – upon getting involved more in large ensemble writing while I was at university, it immediately felt right for me and my musical voice, and so I didn’t look for permission – I just pursued it! I will say, though, that I have always been surrounded by family and friends who support and encourage my work; having those people around you certainly gives you the courage and motivation to go for it and not doubt yourself so much.
Your work fuses contemporary composition, songwriting, and free improvisation while keeping storytelling at the core. What’s the hardest part of keeping a story intact when you’re also inviting chaos and spontaneity into the room?
One reason why I love improvisation is the invitation to the performers to impart their own personality into composed music. I write my music for certain players, and often I can anticipate the way they will approach a solo, allowing me to craft the storytelling with specific improvised moments as part of that. That being said, it’s amazing when the improvisation goes in a different direction. Any original “story” for my composition is just an idea – once the music starts, that’s where the fun begins, and I’m happy just to see where the music goes; perhaps a new ending to the story appears – I’m not too precious about it.
UK Jazz News called your output “some of the most exciting large ensemble jazz emerging from the London scene today.” When praise like that lands, what does it change—and what do you actively refuse to let it change?
It’s a brilliant feeling getting positive reviews, and hearing how other people enjoy your music. I suppose it’s further encouragement to keep going, but I think the most important thing is always the music. If I, as the composer, am proud of my work, I continue going regardless. However, I love above all else sharing music with wide audiences and hearing from audience members, especially young musicians/composers who are inspired by the music. That always feels a great source of motivation to continue going.
You’ve won major awards and secured significant support (Peter Whittingham Jazz Development Award, Help Musicians’ Next Level Award, Eddie Harvey Award). What do accolades genuinely validate for you—and what do they fail to measure entirely?
I’m incredibly grateful to receive those awards, and especially in regard to funding bodies (PRSF or Help Musicians), I would not be financially able to do this work without their support. Creating large ensemble music without label or any team is (very) expensive and I simply cannot afford to pursue recording in particular without funding. Awards and funding are so integral to the UK music scene, especially in the current financial landscape of the world – it’s validating to receive them, of course, but more than that, they enable projects that otherwise would not exist.
If you had to define “success” in a way that would still make sense to you on a quiet day with no gigs, no press, no applause—what would that definition be?
I think it’s important not to have endpoints of success – to be a musician is a lifelong game of perseverance, and so for me it’s recognising your work so far and feeling grateful to be a musician.
As you’ve developed your own voice, what “rule” or assumption about jazz writing—or about what a composer should be—have you had to let go of? And what changed in your music once you did?
In lots of creative contexts, it’s important to learn the “rules” and then actively try and disregard them or at least bend them to fit the artist. I think this allows for a more personal approach to writing, rather than doing something more pastiche, which I’m just not interested in.
Mentorship can be life-changing—but it can also be complicated. What’s the most useful mentorship you received, and what’s something a mentor once got wrong about you that you had to outgrow?
I’ve had lots of teachers who underestimate and patronise me; it’s unfortunately a little bit of a common problem for female musicians in male-dominated fields. But on a more positive note, there are many programmers, mentors, and other musicians who continue to inspire me and believe in my music. Tony Dudley-Evans and Django Bates have been two people who have believed in my music, given wonderful advice, and allowed me the opportunity to grow as an artist.
You’ve written ambitious long-form works like Open World Suite (inspired by video-game world-building) and Siren Cycle (folklore and Greek myth, plus your own poem). What draws you to the “suite” format—and what emotional or artistic risk does it demand from you each time?
Working on a larger scale (in terms of composition length), allows me to plan a story in more depth. I find pacing easier that way, and it feels more natural to plan musical variation throughout movements. Often when I try and compose more standalone, shorter pieces, it’s easier for them all to sound the same!
With Siren Cycle being celebrated as a “wildly ambitious odyssey,” how do you personally recover after delivering something on that scale—artistically, mentally, and physically? What does the comedown look like?
There’s always a bit of post-gig blues, but it helps having something else in the diary to look forward to afterwards!
As Resident Musical Director for the National Youth Jazz Orchestra, you’re not just writing—you’re leading weekly rehearsals, mentoring, and shaping young musicians. What do you feel is your responsibility to them beyond notes on a page, and what do you hope they learn from you that isn’t strictly musical?
I always want to cultivate a healthy rehearsal and education environment where young musicians are not afraid to try new things, they push themselves to new heights, and come away from the rehearsal/gig happy, proud, and excited to keep going. I hope musicians can come away from my rehearsals knowing that as long as they work hard and care about the music, anyone can be involved in jazz and the arts more generally.
NYJO’s programme for the London Jazz Festival is always a moment—bold, high-energy, and full of discovery. What can audiences expect this year in terms of sound, storytelling, and the experience you’re trying to create on stage?
NYJO Blueprint Orchestra are going to be performing the 1980 Bob Brookmeyer/Mel Lewis Orchestra album “Live At The Village Vanguard”. It’s one of my personal favourite big band albums of all time, featuring all Bob Brookmeyer’s compositions and arrangements. It’s really jazz orchestra writing to the highest level, and I’m so excited to perform it in its entirety. The band already sounds exceptional on the music, and it’ll feature solo moments from lots of the brilliant musicians within the Orchestra.
For further information on the artist, please visit her official website
For further information on NYJO and upcoming events, please visit its official website
Images Olivia Murphy -Livingston Studios_0617 © Mike Skelton
Olivia Murphy conducts NYJO Blueprint Orchestra, credit Can Mehmethanoglu
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