MP: Could you tell us a little about your musical background?
EH: As far back as I remember, I was exposed to a lot of music, particularly jazz. My dad was a big jazz fan, and he would always have jazz playing in the house or on car journeys. So, I remember being very curious about music from a young age, way before I ever picked up an instrument. Dad also played drums most of his life, as well as singing in a tribute band to The Police.
I started playing bass guitar when I was 11 or 12. My brother was having regular drum lessons around that time. He used to attend a youth club after school where you could meet and collaborate with other musicians, and I was always interested in what he was up to. Then, one Christmas, I decided I wanted to start playing something, and I was drawn to how the bass looked and sounded. Thankfully, my parents were supportive and could afford to buy me one.
MP: How did things progress from there?
EH: I had private lessons for a few years before coming across the Fife Youth Jazz Orchestra (FYJO), which was recommended by a family friend. I'd always liked jazz, thanks to my dad, but I was more into funk, pop, acid and jazz fusion. I thought I'd give it a go, anyway. I was already playing in various bands at school, but FYJO taught me how to really play with other musicians, not to mention improvise or read music confidently.
I was still on electric bass at this point. I'd always been fascinated by the double bass, but I thought I could never play it because I was too small. But then, a few years into playing with FYJO, I asked one of the upright bass players if I could have a go. As I'm left-handed and was playing a left-handed electric bass, however, everything was very confusing.
MP: Sounds like it! But you obviously persevered with the upright bass.
EH: Luckily, FYJO had some unused instruments in the basement where we rehearsed, and I found a spare three-quartersized double bass – which was, obviously, right-handed. So I played that bass for a good few months, ‘upside-down’ if you will, and think I did a pretty good job.
Then, as part of FYJO's 40th anniversary celebrations, a group of current and past players came together for a workshop and concert, which turned out to be one of the most inspiring musical days of my life. I remember speaking with Andy Hamill, now a pro session player, and telling him about my situation. He told me, ‘Don't worry, just switch the strings around, flip the bridge, and you've got a left-handed bass. And I haven't looked back since!
There aren't too many left-handed players in Scotland, but now that I'm living in London, there is a small community of us. I'm playing on a bespoke left-handed instrument made by Neal Heppleston in West Yorkshire, which is everything I could have ever imagined in an upright bass.
MP: Could you name a few jazz artists that have inspired you?
EH: I would say players such as Pat Metheny, John Scofield, Herbie Hancock and Wayne Shorter. Their music really inspired me growing up, thanks to my dad. In terms of bassists, I would say Paul Chambers, Ørsted Pedersen, Christian McBride and Esperanza Spalding. In addition, there's Scottish saxophonist Tommy Smith, who's had a massive influence on the whole Scottish jazz scene. He established the Scottish National Jazz Orchestra and the jazz course at the Royal Conservatoire of Scotland, and has inspired generations of jazz musicians.
MP: How did you come to enter BBC Young Jazz Musician?
EH: I was in my third year at the Royal Conservatoire of Scotland, and I remember a few of my friends mentioning the competition deadline for the video submission. I ended up applying at the last minute. I finished a rehearsal at the RCS and asked the pianist and drummer if they could stay behind and help me record a quick video, just playing a few tunes we knew. The drummer was playing a sort of half-kit, with the snare-drum on a chair and the symbols on a makeshift stand, and he was sitting on an armchair. I thought it was pretty funny.
In the live second-round, my A-string broke about 2 minutes into my 10-minute slot, so you can imagine my surprise when I heard that I'd got into the final. I think the panel must have been impressed that I managed to hold it all together, all things considered.
MP: What advice do you have for musicians thinking of entering the competition?
EH: If you're having doubts, just know that I was in the same position, wondering whether or not to apply. If you get through to the live rounds, my advice would be just to go and be yourself. I was never there to win. I was just delighted to be there and be part of the whole experience. Everyone is there to help you feel comfortable and welcomed. To be named the winner was extremely humbling, and it has helped my career in so many ways. It's something I'll never forget.
- Find out more about Ewan Hastie and upcoming gigs at ewanhastie.com
- Applications for BBC Young Jazz Musician are open until 19 July 2024. Find out more at bbc.co.uk/youngjazzmusician
