Composition
Louise’s artistry as a composer has frequently been noted by reviewers and listeners alike:
“…[Denson’s compositions] are not just improvising vehicles, they are pieces, which, with their rhythmic momentum and attractive chord changes, all but ensure that strong improvisations emerge…” John Shand, Limelight Magazine
“Similarly, the languid and sauntering Soñando de tí and Contemplacion (Two Boleros) … arranged for piano trio by jazz artist and composer Louise Denson, envelop the audience with luxurious, rich, captivating Cuban melodic and harmonic material” - Prof Kimberly Greene, IAWM Journal
“…expertly crafted compositions from Denson…” - Dr. Sandy Evans, saxophonist/composer, OAM
“The Wild Silk Project is a mesmerising fusion of a traditional jazz combo with the lush sound of strings. The arrangements of originals, classical music, classic popular music and standards were melded together with … care and finesse … originality of both arranging, instrument blend, vocals and repertoire.’ - Danielle Manche, pianist/vocalist, educator
Composition became a serious part of Louise’s musical life after she completed her Bachelor degree in jazz at St. Francis Xavier University (Antigonish, N.S.) and moved to Montreal. Wishing to continue studying, she took a jazz composition class at Concordia University. The first semester, taught by musician/musicologist Andrew Homzy, involved writing 40 tunes, yes – 40! - in 16 weeks. That’s 2.5 tunes a week! The idea was that as a composer, you can’t wait until an inspiration wafts in from the ether: you need to learn how to inspire yourself by getting down to work on a regular basis. The class was a turning point in the development of Louise’s compositional voice, both with regard to skills and self-concept. In fact, it’s fair to say that she didn’t have a self-concept as a composer at all until she finished the semester with a portfolio of tunes – all of them playable, and a good many of them ‘keepers’. Also, having come originally from a classical background, this course helped cement her understanding of the defining musical characteristics of straight ahead jazz, common time feels, the use of song forms, blues inflections and the aesthetics of jazz melody writing.
Louise’s two-year Masters program at New England Conservatory (Boston) broadened her musical mind in many ways. She studied Lydian Chromatic Theory in George Russell’s composition classes, and played a lot of his music in his ensembles. A highlight was performing Russell’s “New York, New York” suite with the NEC big band, and the concerto he composed for Bill Evans, “All About Rosie”. Lessons with Joe Maneri and Paul Bley began a process of trying to hear beyond the conventional harmonic language of jazz, and an exploration of 12-tone composition and free improvisation.
Meanwhile, extended tenures in Afro-Cuban and Dominican dance orchestras in Montreal during the 1990s continued to influence Louise’s musical tastes, with the result that a ‘Latin’ flavor can often be heard in her compositions, in addition to her signature lyrical melodies and rich harmony.
While the majority of Louise’s compositions are jazz tunes and arrangements, her Doctoral research (DMA, 2014) occasioned a close examination of her early training in classical music and resulted in a number of compositions well outside the realm of jazz. She has continued exploring notated music, as well as the intersection between notated and improvised music ever since. Her notated works include ‘Two Boleros’ and 'Sketches', (Muses Trio); ‘Pondside’ (Barega Saxophone Quartet); Mill Life (Viney-Grinberg Duo); four song cycles for soprano and piano; Joyous and Gradual (string quartet); Tipping Point (cello duo); and assorted works for solo piano, clarinet quartet, clarinet and piano, and SATB choir.
Commissions include 'Saborea el momento' (Tasmanian Symphony Orchestra, 2021), 'For Love' (Clarence Jazz Festival, 2026) 'mulaka milaythina' (Clarence Jazz Festival, 2023), 'Bridge' (Richmond Bicentenary, 2023), 'Cooktown Cantata' (Cooktown 250th commemoration, 2021), 'Flora australiae' (2018), ‘Wild December Wind’ and ‘Out of My Way!’ (Queensland Conservatorium Saxophone Orchestra), and ‘Hear Me’ (2019, Elly Hoyt).
Louise has composed around 200 works to date and is a Represented Artist with the Australian Music Centre. Her works are published by Wirripang, TSO House and the Australian Jazz Realbook.
