“As I said before I grew up listening to a lot of different things, such as Keith Jarrett’s Koln Concert, Miles Davis’ Kind of Blue; and a lot of (Thelonious) Monk…I just can’t get enough of him; it’s just something about his feel…” – Tori Handsley
Photo: Courtesy of Nadjib LeFleurier
Harp player, pianist, band leader, composer and artist Tori Handsley is an individual whose star has been in the ascendency on the Jazz, Alternative Jazz and vibrant London Free Improvisational scene over the past two to three years. A recent and deserved inductee into Jazz Warrior International family, Tori via her Tori Handsley Trio has is making a most welcome and indelible imprint. Revered and respected not only by her peers but moreover by seasoned and accomplished UK-based musicians such as Rowland Sutherland, Orphy Robinson, Nigel Kennedy, Emi Watanabe and Cleveland Watkiss, all of whom she has played alongside, whether in small combos or in orchestral settings A January 2014 debut release of her superlative Tori Handsley Trio EP only served to highlight her underrated writing ability and the band’s technical prowess and musical diversity.
Michael J Edwards was afforded the opportunity to go deeper in conversation with the self-styled purveyor of the harp ahead of her participation in ‘Freedom’ – The Art of Improvisation at Vortex Jazz Club to uncover what inspires her, her emotions on being asked not once, but twice to perform as part of a precursor band during ‘Enlightenment’ – Tribute to John Coltrane, her affiliation with the harp, her involvement in a new all female Jazz project, and her latent artistic abilities amongst other things.
Michael J Edwards: Greetings Tori, eventually we sit down at last to get the crack on your career thus far and future career plans. Where were you brought up and was it a happy childhood?
Tori Handsley: Absolutely! I think I was very lucky really in that my parents formed a massive part of where I am now, and where I’m going. I was brought up in Farnham in Surrey. It was a really beautiful little village, and I grew up surrounded by my mum who was a great inspiration for children as a teacher, trying to help kids who weren’t doing very well in life, to help inspire them to get into creative things and other stuff and helped turn their lives around. She taught me the piano from when I was three years old, so that was kind of when my musical journey started.
Michael J Edwards: What was your first recollection of playing a musical instrument?
Tori Handsley: I don’t have a specific memory, but one thing I do remember was our animals sitting under the piano. So my dog at the time who was a massive Alsatian used to sit and listen whilst I was playing! (Laughs)
Michael J Edwards: Was it your parents who inspired your love and appreciation of good music? Do they play an instrument?
Tori Handsley: As I said my parents played a big part in my journey and my mum is a piano player; apparently she played the piano to me everyday whilst I was in the oven! And my dad also, whom you’ve met, is a massive, avid fan of Jazz – he really got me on that journey. We would listen to all kinds of things in the kitchen; I remember like Miles (Davis), a lot of Thelonious (Monk), MJQ; all kinds of things from when I was young. So hopefully it was all just floating in by osmosis really from when I was little. And my mum always used to listen to loads of Rock, so we had like The Who and The Stones on stuff. And I’ve always had a big love of Rock and riffs, and heavy stuff, alongside Jazz stuff which is freer. My dad also took me to many incredible gigs over the years, including McCoy Tyner, Branford Marsalis, and Courtney Pine, which I am very thankful for.
Michael J Edwards: Did you attend any specialist music schools or have private tuition of any sort?
Tori Handsley: I was very lucky that I was a classical music scholar when I was growing up, so I had a lot of tuition for the harp and the piano. I had some great teachers, many different teachers actually along the way, no one who really took me on a Jazz journey though. And actually it wasn’t until probably my early twenties, after I had stopped playing the harp for a couple of years, when I came back to it, that I decided to go out and find my own teachers, and my own path.
Michael J Edwards: When and how did you start to gravitate towards the harp as your main instrument of choice, as you are obviously quite competent on the piano?
Photo: Courtesy of Nadjib LeFleurier
Tori Handsley: The piano came first actually, and I played harp since I was six years old. Whilst I was studying and performing a lot – as I said I was a music scholar when I was younger – amidst these performances that I had to do, I’d often go and sit in the practice room and play the piano for hours, but kind of just free, just improvising. And it was like my therapy aside from all of the studies that I had to do. It was somewhere I could speak in a natural way and that’s when I realised that my love of improvisation was there. And then I started doing bits and bobs of writing. The thing I love about the piano that always inspired me when I was younger is that it is so versatile, and there’s so many people playing it in Jazz and in an improv way as well. Growing up you hear so much, so there was always that inspiration. Whereas with the harp just naturally because there are fewer people who are writing for it, there are fewer players, you hear it a lot less. And that’s one major thing about the harp that I think would be great to try to change as well. To get it more involved in society and people hearing it more and played in a different way.
As I said, I kind of stopped playing the harp for a couple of years, as I had become disenchanted by the music I was playing. But then I decided to come back and do it in my own way; and I’d always had a love for it. I started writing and arranging things, and trying to make new sounds, to try to create the sounds that I could hear in my head, different perhaps to what you might expect. Latin players as well really influenced me. There are some amazing South American players – people like Ismael Ledesma; there’s a guy in London called Diego Laverde, who’s a Colombian harp player as well – and these guys have amazing attack and real energy! And the only other person that I had really heard before then was somebody called Dorothy Ashby. She was a great harpist and for me one of the few people I heard who was really playing with a different feel. It’s not about the notes, it’s about the feel and attack, and she really gave it this funky feel that was so different. It was from the heart.
Michael J Edwards: Do you compose on the piano or the harp?
Photo: Courtesy of Nadjib LeFleurier
Tori Handsley: That’s a very good question. Both, however, it’s quite common that I will compose on the piano, as I still have this real natural affinity with the piano, which I love and the fact that you have all the notes at your fingertips. So for composing it can be great, because you can just move around. Often I’ll be improvising and then something will come from there; I’ll record it and then go back and take it out. So yes, sometimes I write in the piano and then later transfer it to the harp, which can be a nightmare; because as you know the harp has got seven pedals to contend with.
Michael J Edwards: I didn’t know! And I’m sure many other people don’t either.
Tori Handsley: I need to show you at the next gig!(Laughs) And the pedals also have totally different functions. Many musicians who play with harpists sometimes don’t even know, or they think it has a soft and loud pedal like the piano. The way I like to describe the harp, is that it is a little bit like your white notes on the piano. So if you imagine looking visually at the piano, it’s like having your white notes in front of you, your black notes you’ve got to create your feet. So that’s the challenge; it’s a little bit like driving a car. Your head’s got to know what’s going on, your hands are doing something, and your feet are doing something else. And hopefully over time it becomes intuitive that your feet just become a part of what’s going on, and you can just move through the changes just quite intuitively.
Michael J Edwards: What is the story behind the harp? Have you had the same harp from the beginning, or have your harps increased in size over your career?
Photo: Courtesy of Nadjib LeFleurier
Tori Handsley: Again, another great question, I’ve never been asked that. I had a pedal harp, I was very lucky that my parents got me pedal harp when I was a teenager. It was an Aoyama, it’s called a student harp here, and in the states it’s called a chamber harp I think. But it’s what I had, and it’s all I had until a few years ago. It’s a three-quarter size, and I like it because you can get around it and you can grab it a little bit more.
Michael J Edwards: Do you still have it?
Tori Handsley: I don’t have it! Very sadly a few years ago I got a new harp, the one that’s on stage tonight that is affectionately named the beast; and that’s an electric harp. That was a major move for me getting an electric harp, which has enabled me to use FX pedals and create sounds which I couldn’t with the other acoustic harp.
Michael J Edwards: What is the main difference between an acoustic and electric harp?
Tori Handsley: Specifically for me it’s helped me to create the sounds that I’ve been hearing in my head for so long, and that is the best way to describe it. I’ve got this wicked overdrive pedal that I found. There’s a little pedal shop in North London called Stomp Box that I go to quite regularly, and I’ve got a really nice distortion pedal from there now as well and I’m just making friends with that. I tried about twenty or thirty overdrive pedals with the harp and then this one was just magic and just worked and with what I was trying to say. It’s also got this wicked purr! So that’s been the major difference it’s made to me. And that has been a massive difference. Just freeing me up to create more sounds really.
Michael J Edwards: We’re here at the return of the ‘Freedom Loft Sessions’ at its new home Vortex Jazz Club. I believe it was at the initial Freedom sessions at Charlie Wrights that you managed find an outlet for your musicianship in London. Would that be the case?
Tori Handsley: It’s been one of a few major things for sure. London is an enormous city and there are so many musicians here as well; and it’s quite a daunting place. For me it’s the Jazz clubs and especially a lot of the musicians here tonight that have become like a little family in London. Just working with those guys and creating these connections, it’s been a great privilege to have met these people and have what’s now like a nice Jazz family. I think the other major thing and the reason why I was invited to do the ‘Freedom’ sessions was working with Orphy Robinson alongside Nigel Kennedy, which was the reason why I met a lot of the people who I am now playing with.
Photo: Courtesy of Nadjib LeFleurier
Michael J Edwards: What is the ‘Freedom Loft Sessions’ attraction, and why does it appeal to such a broad cross-section of musicians, be they from Orthodox Jazz, Classical, Rock, Funk or Free Improv background?
Tori Handsley: I think what is really special about the ‘Freedom Sessions’, is the fact that it’s crossing boundaries and it’s looking at improvisation in a holistic sense, rather than looking at it from a Jazz perspective or a free improv perspective; it’s just improvisation. You either feel it or you don’t! And I think the beautiful thing for me about the sessions is that people come from all walks of life – Soul musicians, Jazz musicians, Rock musicians… And all we’re all here just trying to express ourselves. There’s a great pool of musicians who are now coming to these sessions, and people who are of that mindset, and I think it’s quite special for that. Also the fact that on the last sessions we did, there were a number of times that I would just walk off stage if I didn’t feel I had something to say. It’s up to you if you think you’ve got something to say or if you just want to listen.
Michael J Edwards: Obviously Nexus – ‘One World Music’ at St George’s Church was where I and many others first encountered you and your harp. You played alongside Shabaka Hutchings and Cleveland Watkiss. How was the experience for you?
Tori Handsley: Nexus is another section I think of what the Jazz Warriors are trying to do; again crossing boundaries. It’s perhaps got a slightly more Classical twang, I’m not sure, but again it’s not under any classification; I’ve seen all kinds of things there, I’ve seen dance there and all sorts. The Nexus night was one of the most special nights of my entire career. Firstly being asked to play was an enormous privilege; and then playing alongside Shabaka Hutchings. The first half I did a short performance, Shabaka did a short performance; and then at the end it turns into an improvisation. So we did duets between us, and Cleveland Watkiss was also singing that night. But there was one extra special thing that came out of that night.
One of my compositions that I’d written and played many times before, I asked Cleveland if he would put some words on for me. These words I’d written probably a year or so before; it was actually whilst I was in zoo watching fish. (Laughs) Literally watching fish moving! I’m a massive animal fan, and I’d written these words that were really close to my heart, just while I was doing some drawings. And afterwards I thought that I’d like to do something with them, but I wasn’t quite sure what. Often I find that this happens, you create something and you’re not exactly sure what it’s for… And I just felt it was right over this song. So I gave Cleveland a sheet of just words, and asked him to speak them over it. He agreed that night… And we just went for it, and he absolutely blew me away to another place. And something happened in that church as well, it’s a special place.
Michael J Edwards: It seems things have escalated at a rapid pace establishing your own trio and being invited a wealth of UK Jazz and Classical talent at two John Coltrane Tribute Concerts – at the Royal Festival Hall in the summer and Union Chapel in the winter of 2014. Furthermore, at the later you were given the honour of performing your own composition ‘Remembering Kenny’ ably supported by Rowland Sutherland, Emi Watanabe, Pat Thomas, Orphy Robinson and Ansuman Biswas. A dream comes true?
Tori Handsley: Yeah, that was again another slightly out-of-body experience. Union Chapel as well was a beautiful place to experience. Being on stage alongside people like Orphy (Robinson), who’s become a great friend and colleague over the years, and an enormous part of my journey – and I thank him a lot for many of the things he’s encouraged in me. I’ve been playing with Rowland and Emi for a little while. We started playing together and suddenly we were getting a good buzz off it and people liked what we’re doing. When Rowland asked us to do the opening set for the ‘Love Supreme Re-Envisioned’, I suggested that I had just written this piece, and it was just hot off the press. It had just come into my mind and was inspired by Kenny Wheeler. And although I didn’t know Kenny, I think for me with all the Jazz greats when they pass away lights just go out, so I had to write something, which in this case was ‘Remembering Kenny’.
So I asked the guys if they’d be up for playing at, and they said yes, so we went for it! I was holding onto the reins whilst Orphy Robinson was going for it like lightning. And Pat Thomas as well, he’s been a great guy to have met, we’ve spent quite a lot of time playing together. He again has also really encouraged me, and been an enormous inspiration just with what he’s trying to do with sounds as well. I played with him once and he brought one of his little amps along. We were meeting up to play and I said, “Pat, I haven’t got an amp, can I borrow one of yours?” And he said, “Yeah! I’ve got this little Peavy (Amp)”, and it was light as a feather, and I’ve been lugging around harps and amps all my life, so that was a delight. I was looking at all these other amps that I have tried that have been great, but then Pat said, “Try this little one, I think you’ll have fun with this!” So we set it up, and we we’re playing around with my distortion pedal and stuff; and it had this kick ass sound! But then Pat took it home, and I looked on the market and they’re not around anymore. Anyway, I had sort of glimpse into this beautiful little world. And it’s funny months and months later I was still looking for amps, going and trying them, and not finding the right one that would work with my pedals and that I would want to keep as a part of my sound.
Photo: Courtesy of Nadjib LeFleurier
Then I went into my boyfriend’s workshop and we were having a little to look around and right in the corner there was this tiny little amp covered in dust, covered in filth. There were cobwebs all over it, it almost didn’t look like an amp, it was brown in colour, when in fact it’s black! (Laughs) And I said, “What’s that, what that little amp there?” And he said, “It’s my dad’s, he hasn’t played it for like twenty-five years.” It was the same model that Pat had, but in the back of this workshop. And I said, “Well does he play it anymore?” And he obviously didn’t because it was covered in cobwebs! So I asked them if I could borrow it; and I borrowed it, took it home and cleaned it up. It was a session cleaning it up, but I put the pedals to it and it worked a treat, considering it had not been touched for twenty-five years. I think it’s pretty much the same model as Pat’s and it just works like a dream. It’s tiny little thing, but it just gives it this massive purr. It’s funny how things happen (laughs)
Michael J Edwards: How and when was the Tori Handsley Trio conceived?
Tori Handsley: The trio’s been playing for probably two and a half years actually, since 2012. I’ve always been writing; I started playing solo first of all, I was playing around clubs doing solo harp stuff with my compositions. A couple of the ones that you still hear ‘Settling into the Sun’ and ‘What’s In A Tune’; they are some of my oldest tunes. And then I got a couple of different drummers playing with me; I had a Latin drummer with me at one point, another kind of break-beat type drummer, and things just evolved. Then it embellished into a trio and Paul Pace gave us our first major gig really at the Spice of Life actually. He’s another person actually that’s been a great part of my journey from when he ran Ray’s Jazz. I’d go there and he’d suggest what to listen to, and I’d go in the next week and say that I loved that, and he’d suggest some other shit. He’s such a great promoter of new music, and he asked us to go down, which was great, and that was the start of it.
Michael J Edwards: Had a band always been your vision, or was it by happenstance?
Tori Handsley: Yeah, I think it sort of just happened actually; and I think like most good things in life, you can plan stuff out and you can work at it. And I think you’ve got to put the work into stuff, you’ve got to be heading towards the horizon. But I think with most things that have happened to me, amidst the bad things that have happened to me along the way, they just organically happen. And it’s very much like the way I try to do most things in my life, I put a shed load of good energy in, but I think things just happen in the right way over time.
Michael J Edwards: I witnessed the trio perform live on a few occasions. Both were very stimulating very eclectic sets. You draw on a broad section on musical styles, including Reggae, highlighted by the sublime ‘Other Side of The Tracks’. Is this how you express your broad love different musical genres?
Tori Handsley: I tend to write as it comes out, so whatever happens will be. So it’s not really a conscious thing where I say, “I want this tune to sound Reggae, or I want this one to be like this.” Something will come to me, a riff will come to me, and then it will go from there. But for sure, I’m influenced by so many different styles of music, and for me I’m not trying to fit into a certain category. My influences are very wide from Reggae through to Rock and Jazz – and within Jazz a major influence for me have been bands like EST, Bad Plus, Neil Cowley Trio, and then like Keith Jarrett, McCoy Tyner – it’s quite a wide spectrum and all of them I love and I’ll put on daily to listen to. And I really hope that the things we listen to over time and the gigs we go and see and supporting everyone else really kind of feeds back in to what you do. It’s like feeding your hands and your mind.
Michael J Edwards: Of all the tracks you’ve written, which resonate with you the most?
Tori Handsley: It’s a tricky question; there’s a few that spring to mind for specific reasons. There’s a song called ‘What’s In A Tune’ that everyone just seems to love, and that’s the song that people come out singing. And it’s one of my oldest tunes; it’s one of my simplest tunes, inspired by tuning the harp. But there’s something in there just clearly works, it’s very simple, but it is what it is. And it’s good fun. And that’s another thing that music should be, it should be fun, and one thing I’ve learned from a lot of the great improvisers is just to see what happens and don’t take it too seriously, although we are very serious about what we do… In terms of improvising one of my songs called ‘Mistake of Thinking’ is actually probably one of my favourite tunes to play insofar as that it’s based on something that was on an improvisation that I recorded. And the story behind it tells a lot more about it too. But I like to perform it with the tune as such, as the main glue, but then we spin-off it from there, we play it live, we see what happens and we treat it as if it’s a free improvisation.
And another thing I’m really trying to work on at the moment, that I’m investigating, and having conversations with various different people about, is the boundaries between improvisation and composition, which I don’t think are that great. And when improvisation is really working, it feels like you’re composing. There was a moment actually at the last ‘Freedom’, I think Zuri Jarrett-Boswell (piano) was on stage, Llio Millward (voice), Filomena Campus (voice), Cleveland (Watkiss) and a few other people; and there was one moment when I kind of just went into another little place. The only way I can describe it is like when I’m composing, when you suddenly get inspired, and you feel like something is just happening out of nowhere, and you’re not in control, you’re not thinking in any shape or form. But it was a really powerful moment, and it just felt exactly the same; if that makes any sense.
Michael J Edwards: Where do you draw your writing influences from?
Tori Handsley: As I said before I have a broad range of influences and I grew up listening to a lot of different things, such as Miles’ ‘Kind of Blue’; Keith Jarrett’s ‘Koln Concert’; a lot of (Thelonious) Monk. I recently found a few more albums that I didn’t have on a trip when I went to some new record store. I just can’t get enough of him; it’s just something about his feel… McCoy Tyner’s been a big influence on me, Cedar Walton actually as well, who one of my pieces that we play is inspired by… He was a massive light for me; I’ve seen him play a few times… He just represented this massive fire, and when he plays – I don’t know if you’ve seen him live? The last time I saw him was at Ronnie Scotts and I took my parents actually, because I think I knew it was going to be a great gig. And there was this old man coming on stage, similar to when I saw McCoy Tyner recently – they’re struggling to walk on stage, yet they get up to the piano, and it’s just like this little sprite let loose, and almost setting fire to it! I don’t think we can owe enough to the Jazz greats who kind of just keep learning, and just keep inspiring us, and keep growing. And I think that’s something very, very special within the world of Jazz, compared to some other forms of music which focus more youth and image perhaps.
Michael J Edwards: You released your eponymously titled debut EP at the beginning of 2014 which received both critical and public praise. Can you give us some background to the recording?
Tori Handsley: Actually it was done quite quickly, in fact over the course of one afternoon with Harry Pope on drums and Misha Mullov-Abbado on bass. It was all quite spontaneous and we arranged it within a week. Graham Godfrey recorded it in a tiny little studio which was in some storage units – it was literally a tiny, little room, I could barely see the bass or the drums at all. So it was a very difficult set up in some respects, but the energy just felt really good. Graham had a great vibe and created an awesome warm atmosphere, probably due to his sympathetic nature being a musician himself. We recorded four tunes, I think pretty much in one takes.
Photo: Courtesy of Nadjib LeFleurier
We did ‘Settling into the Sun’, ‘Mistake of Thinking’, ‘Kestrel’, and ‘What’s in a Tune’. Chantelle Nandi, who I also must mention features on this, she’s being another really special musician for me to have met. It was lovely, she was due to sing on ‘Kestrel’, which she did a stellar job of as usual. And it was all very fresh and very much one takes. We were about to play the ‘Mistake of Thinking’ and she happened to still be in the studio. so I said to her “I tell you what, as you’re here, just hang about, if you feel like singing, just go for it!” So she was there with the mic, and we were playing, and there was a wicked little dynamic between me, Harry and Misha, and then Chantelle just out of nowhere started singing, and this really ethereal voice just came out of nowhere which pushed me to another place. And that is what was beautiful, and exactly what I wanted from that tune, to make it feel like it’s free, and to see what happens; and we just went to other places. That was a dream really yeah!
Michael J Edwards: Filomena Campus alluded in an earlier interview that there are plans afoot for a fresh and dynamic female Jazz band. What’s the state of play with that project currently?
Tori Handsley: It’s still in motion… I’ve only met Filomena (Campus) a few times, but she’s one of those people, what you see is what you get I think; she was so warm and extremely modest as well. Someone who you can tell that is just in it for the love. And she mentioned to me, “Would you be up for doing something, a female driven project?” So I was really excited to be asked to be a part of this project, and there seems to be a lot of focus at the moment on trying to push female jazz musicians out there a bit more. There’s obviously less female musicians, and there is a myriad of reasons why that might be. Shabaka Hutchings put a lovely shout out recently to female musicians, just trying to push people out there bit more. Julie Kjaer did a lovely little small mini-festival within the main Jazz festival last year, which I was very pleased and honoured to be asked to be a part of. And actually that was another time when I got to play with Rowland (Sutherland) and Emi (Watanabe) and get that project out there a bit more. Regarding the all-female group, we’re yet to meet up, but it seems like there’s some exciting vibes in the ether there; so watch this space!
Michael J Edwards: Can we expect a full and proper Tori Handsley Trio album in the near future and a tour of the back of that?
Tori Handsley: Absolutely! The next thing in the pipeline is an album, and I’ve got some exciting things up my sleeve that I’m not gonna give away just now. I’ve just started working with the incredible Ruth Goller and Moses Boyd and has been amazing watching things unfold and new sounds come into play between these two heavy, creative voices. I’ve got a great engineer who’s very keen to work with us as well. I’ve been writing quite a lot of new material too, which is yet to come out. So yeah an album is the next major move, and keeping on exploring the boundaries between the composed and the improvised, so I’m excited about next moves.
Michael J Edwards: Your passion and talent for art/drawing was recently brought to the fore via the ‘Freedom Sessions Promo Flyers’. Has drawing always been a latent passion of yours?
Tori Handsley: Music and art have both always been a massive part of my life, since I was a baby apparently. As a great artist Len Massey once said to me, who is also a musician and an artist, it’s all the same, it just depends on what medium you feel you can most express yourself with at that time. Similarly to the beautiful tactile sensation of touching the piano keys, I’ve always had a deep raw connection with making marks. A great private drawing tutor I had for a while, who trained under Auerbach, used to constantly ask “what do those marks mean?” And its the same with music and improvising – what are you trying to say?
Photo: Courtesy of Nadjib LeFleurier
I went to art college originally, but I left my degree disillusioned with the so-called fine art education system, which was one of the most closed-minded, contrived experiences I’ve had. It was all about creating so-called conceptual art, however with no real content, no life, no skills, nothing to say. I got showed books of what I should create to be a successful artist, being told to quite literally go to the skip and get a plank of wood, a pair of tights and some blue paint, and that would be art. I wanted to create a sculpture of my own head, starting with the bones, brain, muscles and working out – but that was apparently just pointless – so I ended up doing it in my bedroom which freaked a few people out! (Laughs)
However I realised the hard way, that I had to create my own path, and find my own voice and teachers. It still angers me this so-called teaching is allowed to go on . I’d press my tutor as to why they dismissed my paintings, and a typical response was “I just don’t like it”. What kind of creative education is that?! It was bullshit really!
I wouldn’t have met half the people I have if it wasn’t for this life lesson, and that only you can choose your path. It reaffirmed what I’d been taught growing up too, to question and decide for yourself what you think is right, no matter what anyone else tells you. I have found some absolutely incredible tutors since this time. People and like minds are out there. It’s just about finding them and not believing the bullshit or what other people tell you you should do – you should be you!
Like I say I’ve always drawn, but since I’ve been more involved with Freedom, it was just a natural progression I guess when Orphy said he needed a flyer for our London Jazz Festival gig that I offered to make one and have been doing them ever since. I tend to draw from life, and at gigs where I can feed off the energy of the music. Sometimes they work, sometimes they don’t – just like music! You just gotta go for it!
Michael J Edwards
Tori Handsley Trio (UK Vibe Review)