Melbourne Ska Orchestra
Words: Rob Lyon
Melbourne Ska Orchestra fronted by Nicky Bomba (John Butler Trio, Bomba) is fast emerging as a band to check out proving to be a massive hit wherever they play. It’s definitely a big band experience with twenty six players, sometimes more, as they take audiences through the golden ska period of 1963 through to some modern day classics.
With a repertoire that covers tracks from 1963 (Skatalites, Wailers) through to the British Two Tone craze (Madness, Specials etc) and anything positive or significant in between an imminent album release isn’t far away. Nicky Bomba talks to Caught In The Mosh and the band and their visit to Adelaide as part of WOMAD 2012.
There’s a lot of buzz around the Melbourne Ska Orchestra, what’s it like being involved?
It’s an exciting venture, it’s like this massive musical boat that’s a little bit ramshackle, takes in water every now and again and has to negotiate all these different things but it’s definitely a good ship lolly-pop, which is lots of fun. The music is really uplifting stuff and it’s a pleasure to play and conduct this sort of musical experience.
Was this a project that you initiated?
Originally, it was a bit of a joke to get a world record as to how many horn players we could get on stage to do the upbeat ‘the skank’ for reggae. We had to find a room, The Gershwin Room at the Esplanade Hotel at St Kilda and we advertised thinking it would be a bit of fun ending being massive with three hundred people turned away. It was like we could do this again, I don’t think we hit the world record and I don’t even know if there is one. It was certainly a good excuse to get things rolling and a really good thing.
Do you find with twenty six players that you’re struggling to fit everyone on stage in some venues?
Sometimes it’s up to thirty players, even thirty two! I think you’d be surprised about how many people you can get up on stage if you orchestrate it properly.
With a repertoire that covers tracks from 1963 (Skatalites, Wailers) through to the British Two Tone craze (Madness, Specials etc) and anything positive or significant in between an imminent album release isn’t far away. Nicky Bomba talks to Caught In The Mosh and the band and their visit to Adelaide as part of WOMAD 2012.
There’s a lot of buzz around the Melbourne Ska Orchestra, what’s it like being involved?
It’s an exciting venture, it’s like this massive musical boat that’s a little bit ramshackle, takes in water every now and again and has to negotiate all these different things but it’s definitely a good ship lolly-pop, which is lots of fun. The music is really uplifting stuff and it’s a pleasure to play and conduct this sort of musical experience.
Was this a project that you initiated?
Originally, it was a bit of a joke to get a world record as to how many horn players we could get on stage to do the upbeat ‘the skank’ for reggae. We had to find a room, The Gershwin Room at the Esplanade Hotel at St Kilda and we advertised thinking it would be a bit of fun ending being massive with three hundred people turned away. It was like we could do this again, I don’t think we hit the world record and I don’t even know if there is one. It was certainly a good excuse to get things rolling and a really good thing.
Do you find with twenty six players that you’re struggling to fit everyone on stage in some venues?
Sometimes it’s up to thirty players, even thirty two! I think you’d be surprised about how many people you can get up on stage if you orchestrate it properly.
Did you ever think you would be involved in a project like this?
I’ve always loved ska and reggae and I think I’m open to lots of different things. Somewhere I’ve always wanted to do a big band thing to see what it sounds like and what you can do with it. It was there in the back of my mind at some point and something that’s really grown legs that’s far bigger than I ever imagined.
How do you juggle your time between John Butler Trio, Bomba and the other musical projects you’re involved in?
I’m really big on time management for a start, making sure that a day is full and that I’m not wasting time doing stuff that distracts from my vision and mission. There are lots of distractions from television to internet surfing but it’s a balance. There’s time for work and time for chilling and relaxing. I make a concerted effort to make sure I’m organised with that and all the things that distract me from music like marketing, social media, publicity and all the logistics for running a tour I’m fortunate to have someone who does all that. It’s a heaven sent that I can just sit down and concentrate on my music.
As a collective how does the creative process work with so many people involved?
Funnily enough, it is one of the easiest musical bands to take care of because everyone is on the same page. We know it isn’t going to be a big financial venture and it’s all about the love of the music. When you’re approaching a band with that mindset, everyone having done their homework and knowing the set list it usually is very well organised with no a lot of time wasting. It is a really positive, professional atmosphere and the musicians in the band do this for a living. They know how hard it is to run something like this and it is a blessing that we’re all on the same page. On top of that there are another twenty to thirty musicians who want to join so they know if they’re not in to it there’s someone who can jump in and take their place anyway.
I’ve always loved ska and reggae and I think I’m open to lots of different things. Somewhere I’ve always wanted to do a big band thing to see what it sounds like and what you can do with it. It was there in the back of my mind at some point and something that’s really grown legs that’s far bigger than I ever imagined.
How do you juggle your time between John Butler Trio, Bomba and the other musical projects you’re involved in?
I’m really big on time management for a start, making sure that a day is full and that I’m not wasting time doing stuff that distracts from my vision and mission. There are lots of distractions from television to internet surfing but it’s a balance. There’s time for work and time for chilling and relaxing. I make a concerted effort to make sure I’m organised with that and all the things that distract me from music like marketing, social media, publicity and all the logistics for running a tour I’m fortunate to have someone who does all that. It’s a heaven sent that I can just sit down and concentrate on my music.
As a collective how does the creative process work with so many people involved?
Funnily enough, it is one of the easiest musical bands to take care of because everyone is on the same page. We know it isn’t going to be a big financial venture and it’s all about the love of the music. When you’re approaching a band with that mindset, everyone having done their homework and knowing the set list it usually is very well organised with no a lot of time wasting. It is a really positive, professional atmosphere and the musicians in the band do this for a living. They know how hard it is to run something like this and it is a blessing that we’re all on the same page. On top of that there are another twenty to thirty musicians who want to join so they know if they’re not in to it there’s someone who can jump in and take their place anyway.
Was it a difficult process finding the right people to be involved?
Surprisingly not! It came together really quickly and we simply put the word out and everyone came out of the wood work. My dilemma is that some gigs I can only book twenty five people and thirty want to come. So I have to work out who’s on the bench and that sort of thing.
The bench? Do you flip a coin to make that decision?
I try and make it fair, one does one, one does the other trying to keep it as fair and as balanced as I can. That’s all you can do otherwise you end up getting in to the politics of the who thing. Everyone knows that and it is a fair system.
Do you think there will be an album or a live release to document the journey of the band so far?
That’s definitely on the agenda and work starts on it in April recording an actual album. I’m finishing off recording another album with my calypso band Bustamento so when that’s done I’ll get stuck in to Melbourne Ska Orchestra.
Is longevity the name of the game with this band or is it something that fills in the gaps in your schedule?
I’m working four or five months ahead and there’s already a list of gigs coming up as well as a schedule of rehearsals and recording dates. People can either do it or if they can’t we’ll get someone else. The problem usually is that there’s too many people but everything is workable. Professional musicians know the value of a good gig and at the end of the day if your flight is being paid for and you’re getting a wage or not losing money it’s definitely a win-win. It may not be great dollars but nonetheless it is a great experience. The potential for overseas is there as well already being asked to play shows but we may have to apply for a grant to be able to get over there.
When you’re conducting are you inclined to take a sneaky peak over your shoulder?
I don’t conduct a normal way, most of the time I’m looking at the audience so it’s all about making what’s going on more interesting. I see myself as an MC or ring master than a conductor as the audience is a big part of the performance. It’s a constant thing of making sure we’re connected.
Surprisingly not! It came together really quickly and we simply put the word out and everyone came out of the wood work. My dilemma is that some gigs I can only book twenty five people and thirty want to come. So I have to work out who’s on the bench and that sort of thing.
The bench? Do you flip a coin to make that decision?
I try and make it fair, one does one, one does the other trying to keep it as fair and as balanced as I can. That’s all you can do otherwise you end up getting in to the politics of the who thing. Everyone knows that and it is a fair system.
Do you think there will be an album or a live release to document the journey of the band so far?
That’s definitely on the agenda and work starts on it in April recording an actual album. I’m finishing off recording another album with my calypso band Bustamento so when that’s done I’ll get stuck in to Melbourne Ska Orchestra.
Is longevity the name of the game with this band or is it something that fills in the gaps in your schedule?
I’m working four or five months ahead and there’s already a list of gigs coming up as well as a schedule of rehearsals and recording dates. People can either do it or if they can’t we’ll get someone else. The problem usually is that there’s too many people but everything is workable. Professional musicians know the value of a good gig and at the end of the day if your flight is being paid for and you’re getting a wage or not losing money it’s definitely a win-win. It may not be great dollars but nonetheless it is a great experience. The potential for overseas is there as well already being asked to play shows but we may have to apply for a grant to be able to get over there.
When you’re conducting are you inclined to take a sneaky peak over your shoulder?
I don’t conduct a normal way, most of the time I’m looking at the audience so it’s all about making what’s going on more interesting. I see myself as an MC or ring master than a conductor as the audience is a big part of the performance. It’s a constant thing of making sure we’re connected.