Leigh Barker: ‘Objectively speaking, the best repertoire is from the 1920s and 1930s!’

When Leigh Barker moved from Australia to France, a decade ago, our community lost a champion of hot jazz, a dedicated ambassador of the sounds and stylings of early-to-swing-era music. (Actually, we lost two, as he was joined by his partner in life and music, Heather Stewart a spectacular jazz vocalist and violinist in her own right.)

Now the bassist, bandleader, and composer is back, with a new album, Cross Street, and a heavy schedule of performances throughout Victoria, NSW, and ACT. Just before stepping on stage at the Wangaratta Jazz and Blues Festival, he took a moment to talk about his approach to music, his admiration for his talented partner, their life in Paris — and how to close a formal letter addressed to a French person.

What would you say to a total stranger to get them to come to one of your gigs?

Because in 2025 what could be better than seeing eight real people with eight real instruments playing music with no amplification and nothing worked out in advance?

Which is the first tune you put on your next set list?

Tomorrow at Wangaratta Jazz and Blues we’re going to open with the ‘Black and Tan Fantasy‘ from Duke Ellington, because it’s a Blues, and it’s Duke Ellington.

Your music is focused on a very specific timeframe in jazz history; I won’t try to define it, but could you?

I would rather argue that we’re playing 2025 music in our own way, because every time on stage something completely unknown will always happen, and we can only play as our true present selves; but objectively speaking — come fight me! hahahaha — the best repertoire is from the 1910s, 1920s, and 1930s. Although it’s quite a technical answer as to why this is the truth…

How would you describe your approach to music, particularly when it comes to your own compositions, and the way the complement or compete with the classic jazz tunes in your repertoire?

Playing our own compositions, is exactly as you put it: it’s a complement to the older material we draw on — and usually just to access certain palettes and feelings and gestures that need to be played. So this month in Australia we want to focus on just playing the music from the album, because its really good, but in general we’re always ready to draw down from any sort of repertoire, try and be super selfish about it, and just go with what inspires us right here and now.

If you could summon the spirit of any musician to come join your band on stage, who would that be?

Easy-peasy: Duke Ellington.

Which tune have you always wanted to include in your set lists, but have yet to try?

Oooh, that’s a good question! I have many half-formed lists of half-formed ideas here and there… You know, there are some really esoteric Duke Ellington things from the 1940s that remain a complete mystery to me as to how they’re put together, such as ‘Ko-ko‘ and ‘Harlem Air-Shaft‘, very complex compositions.

I think I’m a little bit afraid of tackling things like that.

Why did you relocate to Paris?

Paris was a very pragmatic and structured move; there was very little spontaneity or romance about it. I had a lot of friends and contacts there already, and it’s very very central and practical — whereas London is a bit isolated, Berlin much too far east, Spain and Italy too far south, and New York City or the USA in general, present all sorts of other challenges.

The idea was that based in France and the EU you have access to a market and the networks of 600 million people, as opposed to 25 million in Australia, and even the USA is only around 350 million people, AND an eight hour flight from Paris!

PLUS, it’s easy to get to the middle east, to the USA, to North Africa, etc. In that regard, it’s surpassed all and any expectations for touring opportunities. Just for one tiny example, in June we flew to Georgia (the country) just for one single concert — and a nice little look around! — so that was something like four hours in a plane, and then you’re in Georgia! Incredible!

What was the main challenge you faced?

The stories about bureaucracy and paperwork in France are all true; but deeper than that, the biggest challenge is adapting yourself to foreign norms, foreign codes, hierarchies… You’re never quite sure if you’ve done something ‘correctly’ or if you’ve stepped on toes, or burnt a bridge without even realising it.

One spends an enormous amount of energy and emotion trying to assimilate in a new culture, I find.

The last few months, as I’ve been juggling work emails with France and Australia, the juxtaposition has never been more acute! When I get emails from Australian venues or publicists that start with “Hey mate…” as opposed to France where I am ALWAYS “monsieur…” and as the popular trope goes, here is how you sign off on a — very very — formal email in France: “Please agree to accept, sir or madame, the expression of my most distinguished sentiments” — and I’m not even joking there.

What’s it like, working with Heather Stewart?

Ummmmmm… Pass? Hahaha! Okay, I will say this about Heather:

Heather’s magic power, particularly as a vocalist, is to immediately and instantly connect with people on a very emotional if not spiritual way. Which really is the ultimate goal in any musical expression.

So as whereas I’m always perhaps overly concerned with technical aspects of the group and the music, for example programming of the sets, choice of repertoire, balance of features and soloists, is it good for dancing, are we connecting and holding the room’s attention etc, she proves again and again that if you are able to connect directly with each listener or dancer straight to the heart and soul via the ears, you’ve got them forever. So all the technical questions instantly fall away, because you’ve made someone FEEL something.

Which tune best describes your current state of mind?

I’ve got ‘I Want Somebody to Love‘, the first track of our album, going around and around my head, because it’s our number one hit single sweeping the planet! It’s a simple jolly little ditty from New Orleans and I suspect the lyrical content is less relevant than the overall ‘happy bouncy Jazz’ gesture that makes us want to play it.