Pianist and composer John Donaldson presents a deeply personal new album written in the aftermath of losing his wife, yet shaped less as a memorial than as a way of finding movement, direction, and light. Bringing together long-standing musical relationships alongside younger voices, the recording captures a rare balance of trust and uncertainty, with musicians responding instinctively in the room rather than working from heavily rehearsed material.

In this interview, Donaldson reflects on the emotional impulse behind the album, the value of leaving space for risk, and the friendships that connect him to musicians including Iain Ballamy, Norma Winstone, and Jeff Ballard. He also discusses the influence of film and television writing on his composing, lessons learned from Joe Henderson, and the changing ways musicians develop their voices across generations. What emerges is the portrait of an artist still guided by listening, detail, and the need to remain true to the path that first drew him into music.

1. The album was written in memory of your wife, but it feels as much like a celebration as a memorial. Was that balance something you consciously sought, or did the music naturally lead you there?

The writing was really a way of finding a way forward and a direction rather than making some kind of memorial. More of a dedication and yes the music just lead there naturally and there is a joyousness in some of it for sure.

2. You’ve said some of the musicians arrived with little or no preparation. How do you know when trusting the unknown will produce something special, rather than simply falling apart?

Of course you don’t really know and it could have gone any which way but I didn’t think too much could go wrong given all the great players involved. If there had been a lot of rehearsal we would have ended up with a very different record. There was some magic in the room maybe because everyone was listening like crazy taking a few chances and just reacting instinctively to what was going on.

3. Your relationships with some of the musicians on this album stretch back decades. Are there any early memories of working with Iain Ballamy, Norma Winstone or Jeff Ballard that still make you smile?

I have some great memories of playing with Jeff in California who was always super positive and energised-still is. A lot of silliness and some practical jokes too. I remember doing a lovely week at Ronnie’s with Iain way back when Ronnie was still around we often ended up in Brick Lane at 5 in the morning to get bagels as the sun came up. We also did an album together in New York with Victor Lewis and Ray Drummond ’93 or ’94. Playing with Norma was a joy. I’ve been a fan for ever and it was always great working with her.

4. For listeners discovering your music for the first time, which composers, musicians or musical traditions do you think they’ll hear most clearly in your writing?

It’s hard to say what people might hear. Stylistically it’s probably a bit of a soup the ingredients of which I’m not really too sure of. Rob Luft said on the session that one of the songs ‘Into the night’ sounded a bit like a Kenny Wheeler tune on the A section and a Chick Corea tune on the bridge. I’m a fan of then both. My ears tuned in to the sixties modal thing- I’ve listened to a lot of ‘classical’ music, church music including some modal stuff. Composers like Charles Ives, Ravel, many many many piano players too numerous to name but certainly McCoy, Bill Evans, Jaki Byard, Geri Allen. Keyboard players like Mike Ratledge,-some of Terry Riley’s stuff. Left field players like Sonny Sharrock, some ECM music -Folk music — the list goes on pretty endless

5. You’ve balanced jazz with an extensive career writing for film and television. Looking back, how has moving between those worlds shaped the composer we hear on this album?

Writing to a brief teaches you some editing skills compositionally, structurally and the importance of intention. Learning how to put different ideas together. I’ve found that helps when writing for more ‘creative’ projects like this being able to more easily make decisions about what goes where, how and when.

6. You’ve worked with musicians from several generations on this record. What do younger players do today that genuinely impresses you, and what do you think has quietly been lost?

Younger players can bring a different energy openness and also styles that older players may not always be tuned into. Musicians young and old bring to their playing their own musical history and also their life history. Maybe one of the difference between the generations is that back in the day you learned your craft through doing gigs of all kinds. Before the digital revolution everything had to be done in real time so everyone worked more steadily and learned on the job but the learning process was longer and more patchy but included plenty of life experiences. So the absence of a well rounded college education often produced unique and sometimes quirky players partly because of those gaps. These days you can get pretty much any information by clicking on a phone and of course some incredible musicians have come through the various college systems. Rob and Rebecca are brilliant musicians and brought so much to this record but you do come across some younger players who are technically incredible playing very complex stuff that is jaw dropping but it’s not always easy to hear the music in all of that. So maybe it’s as much about what informs the notes as the notes themselves.

7. You’ve shared the stage with artists including Joe Henderson, Freddie Hubbard, Kenny Wheeler and Norma Winstone. Is there one rehearsal, conversation or off-stage moment that changed your musical outlook more than anything else?

I was lucky enough to take some lessons with Joe which would often last all day -it was pretty relaxed and he was super generous with his time. At the end of the day he’d say ‘oh give me 20 bucks’. He’d take a tune and would play it on his horn until I got it. Relaxing at Camarillo was one. The following week he might play a few choruses of Charlie Parker’s solo until I got that. No taping or notation and that was the way he taught. He’d play and get me to comp and suggest voicing and different options. On the few gigs I did he would call tunes everyone would know like Recordame, Invitation and so on. He played pretty quietly and being in his orbit contradicted a lot of my preconceptions about a lot of things like how detail and nuance can be as important as the big statement and can open up possibilities. He was kind of understated but very focused and precise. Later on when I began working with Norma she’d been working with the great arranger and piano player Steve Grey. She had some tapes of Steve’s playing -his voicing were interesting and different. I would learn them and that sort of reinforced that importance of detail.

8. Looking back over more than fifty years as a musician, is there one lesson you learnt early on that took decades to fully understand?

Putting aside making a living- adapting to survive etc- I think I would say it would be something like staying true to that path you embarked on as a young guy as much as possible rather than following the expected and prescribed ways that others might lay on you. The importance of being true yourself.

9. Finally, what comes next? Are there plans to take this music on the road, or is your attention already turning towards the next chapter?

I’d love to have the opportunity to get those guys together and they are all busy people but you never know. I’m writing some new stuff but I’m not sure how it’s all going to come together yet!