What is your musical background?
I am a clarinettist, specialising in Sri Chinmoy's music. I have travelled to over 50 countries, teaching and playing with musicians. In 2002, I set up the 51st State Band, which was the largest in the country, with over 130 people.
What does WHB provide?
The academy has a very broad and open way of teaching people. It has programmes where you learn by ear, through the oral traditions of jazz, Asian and folk music, which sit alongside the classical route. They support each other, with as many programmes with by-ear learning as there are following the way that we've been doing music education in this country for hundreds of years. At the moment, it has 50% of students on full bursaries, and more than 75% from low-income houses. We have world-class musicians supporting the programmes by playing alongside the students, who learn in a very organic and inspirational way from them.
What is the benefit of such a broad programme?
Students aren't learning in isolation. At WHB, a pianist could learn jazz, by ear or from recordings, and would be able to play in one of our classes, learning through practical means. Musicians get all the transferable skills of music, the shared humanity, the ensemble, without just training to pass an exam and get a place at a top music academy or conservatoire – though many of our students are offered such places. They get to be creative and no problem can't be solved by creativity.
What inspired you to set up WHB?
I was travelling to America a lot, before the internet really, bringing music back in my suitcase for my band to play. I liked the American band system, where you didn't have to audition. I noticed that the demographics of my community had changed and the way young people could learn changed. They couldn't actually afford to go to music classes, or find time to go to a teacher's house, practise at home and go to your borough's youth orchestra – if they had one. There was a need to have an accessible academy, available every day.
So how did WHB start out?
In a derelict building, given rent-free for a year in exchange for some radiators and fixing it all up. We created studios and made our music academy. If it failed, no huge loss, but in no time at all we had a number of programmes, a visit from the Grammys’ head, Gucci sponsorship and students flying to America to participate in the Grammy camp – all in the first year!
What are the challenges that you have been facing?
We can't find a big enough stage for our band to fit on – we have to do two back-to-back concerts. I think there should be a music academy on every single street corner, like Starbucks. Exam pressure is affecting students in Year 8, who feel that they can't do music due to GCSEs. There's also a lack of visibility of instruments in the commercial sphere and a lack of respect. People think that access to musicians should be free; I'm not sure why, especially when learning an instrument can be as expensive as horse riding. You need to find ways of making students learn through joy, not by fear. Once you've inspired them though, they love it and can't stop. That's how they become good.
What impact are you expecting your recent Arts Council England National Portfolio Organisation status to have?
A big one, because our work is about providing young people's first access to music and removing financial concerns as a barrier. We're also looking to build skills at the top, supporting talent at the ages of 18–22, helping those wishing to enter the cultural professions and enabling them to teach younger students – like a family.
