Sandy Evans received an OAM in 2010 for services to music. A recipient of the Churchill Fellowship to India, she was awarded a PhD from Macquarie University with a Vice Chancellors Commendation for Academic Excellence in 2014. Her thesis was on practice-based research into Carnatic Jazz Intercultural music. In 2019 she was inducted into the Australian Jazz Bell Awards, Hall of Fame as a performer, member of the bands Mara!, The Catholics, the Australian Art Orchestra, Ten Part Invention and austraLYSIS, among other ensembles.
What are the similarities and differences between Carnatic and Jazz music, and what challenges do they present?
Sandy Evans OAM: Jazz and Carnatic music share fascinating similarities and differences, with improvisation central to both genres. For me, Rhythm is a key connection, as Carnatic music has an extraordinarily intricate rhythmic structure.
There are overlaps between the deep expressive qualities of ragas and jazz modes, which help but a ragam isn’t just a set of pitches – it’s defined by phrases, ornaments, and emotional nuances. Jazz has a similar “feeling” in blues, though it’s not as formalized as in Carnatic.
Unlike Jazz, traditional Carnatic music lacks harmony. In recent fusion approaches we see new works being performed across the world. This constant exchange of ideas deepens our understanding and enriches both traditions.
What have you learned from your collaborations with Hindustani and Carnatic musicians?
Sandy Evans OAM: I’ve been fortunate to work with incredible Hindustani and Carnatic musicians across three decades. A transformative mentor has been Guru Karaikudi Mani, whose teachings opened my eyes to Carnatic music’s rhythmic sophistication. The refined, systematic teaching methods are also very helpful and inspiring.
Tabla player Bobby Singh has been a big influence on me. He also introduced me to his Guru, Aneesh Pradhan, and singer Shubha Mudgal, leading to the “Bridge of Dreams” project. I arranged the music for this album, for the Sirens Big Band, and we recorded it in 2019. Harmonium player Sudhir Nayak has shared some of his vast melodic knowledge. Sarod player Adrian McNeil also taught me a great deal when he was my PhD supervisor. Recently, I collaborated with Carnatic singer Nadhamuni Gayatri Bharat and others in Shakti Spirit, a group celebrating female creativity. Our debut at the 2024 Sydney International Women’s Jazz Festival has been a recent meaningful milestone.
Could you share an unforgettable performance experience?
Sandy Evans OAM: One of my most memorable experiences was in 1996 with the Australian Art Orchestra, performing “Vasantha Pravaham” arranged by Adrian Sheriff Bass Trombone, with Guru Karaikudi Mani. Our first concert in Delhi was incredibly moving. Mani Sir’s Tani Avarthanam with Ghatam player T Vasan was filled with energy, virtuosity and passion. Life changing! Another profound experience was performing in Mumbai, outside the Taj Hotel and India Gate, alongside Carnatic flautist B.V. Balasai. The setting was breathtaking, and the music opened new rhythmic and melodic dimensions that resonated deeply with me.
What was your experience of India like?
Sandy Evans OAM: My first trip to India was when I was 19, initially to explore filmmaking due to India’s large film industry. However, I ended up focusing more on music, which solidified my desire to be a musician. India’s vibrancy – the culture, people, and spirituality – has deeply impacted me. I cherish the friendships and family-like bonds I’ve formed, and I’m inspired by the dedication many have to their spirituality. I miss it and hope to return soon.
Do you make music for yourself or for others?
Sandy Evans OAM: For me, music must be a true expression of my ideas and identity. While collaboration with band members and other musicians is precious, the focus isn’t on external recognition but on creating “ah” moments together. I feel that my music is an offering to uplift and energise others, and it reflects the interconnectedness between myself and the world around me.
What physical exercises do you recommend for young saxophone players?
Sandy Evans OAM: For serious saxophonists, posture is essential from the start. Wearing a harness helps protect the neck and back, which is crucial for long-term health and performance. Taking care of your body is key to sustaining a career as a saxophonist.
What is your dream or long-term goal in music?
Sandy Evans OAM: My dream is to create a unique musical language that reflects my place in time and history. I aspire to develop a style blending rhythm and melody in ways that resonate with my own expression and aesthetic.
Unlike Indian saxophonist Kadri Gopalnath, who integrates the Nagaswaram’s techniques, and is so innovative, my approach to the saxophone is that of a Western Jazz musician – carving my own journey that shapes my evolving artistic vision.
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