Audio and Video links

Here are a few links to some solo work:

Matins and Lauds for solo clarinet and humming audience:

Greenwood Mountain Harp practice video:


Plucking with bends:



And to some extremely fun collaborations:

With the amazing Emily Sanzaro driving the pedals while I played unpredictable clarinet:

SkinMusic  With Sonja Hindrum, who's wired up a SCOBY (Symbiotic Culture Of Bacteria and Yeast - the 'mother' for brewing kombucha) and Bruce Innocent playing a Greenwood leather drum:



I play clarinet, bass clarinet, and guitar in classical, jazz and experimental styles.

I also play marvelous leather instruments with The Chordwainers and the Tasmanian Leather Orchestra, in particular the saxophone-style bowhorns and the 18-string Tasmanian Mountain Harp. The instruments were made by the late Tasmanian sculptor, Garry Greenwood. Check out for photos, audio, and video. I have been developing a solo program with the Tasmanian Mountain Harp and a selection of leather horns which I presented at MONA in 2015 and 2017 and at the Launceston General Hospital. 

I have also used leather horns in Women's Breath, a masked dance performance by Carmencita Palermo, with percussionist, Bruce Innocent, and in White Dark a voice/theatre performance by Robert Lewis (Voice and the Core/White Dark (DVD) Robert Lewis, music for White Dark created and performed by K. Love. Melbourne & London: Contemporary Arts Media. 2007.) For MOFO 2018 we did a project called Tannery with 9 leather horns and taiko, supporting Gotye:  For MOFO 2019 we collaborated with Sonja Hindrum, who plays an electrified SCOBY (see above) as SkinMusic. I played in MOFO 2020's Stockhausen 50 concert, in which I used the Tasmanian Mountain Harp in Stockhausen's 'Aufwarts' with Myles Mumford (electronics), Aviva Endean (woodwinds), Julius Schwing (guitar) and Ron Nagorcka (didjeridu).

A current project (2020) is '41 Strings' with kora and berimbau-player, Lila Meleisea (also a Chordwainer). I'm playing Tasmanian Mountain Harp and a Buffalo string drum.


Other highlights include:


I lead the Tasmanian Clarinet Quartet - an ensemble that relishes playing new and quirky works.

Ron Nagorcka ( Artamidae- I play clarinet on this one, and Prelude (my arrangement, I play guitar)

I played soprano saxophone on Ron's Cockatoo and clarinet on his Frolicking Quoll on his Devils of the Night CD

Bass clarinet in Marakoopa Cave for 'No Song Left Unsung' with Suzanne Turner, vln and Phil Pitcher, saxophone as part of the Meander Valley Festival of Creative Ageing.

I studied with William O. Smith during and after my B. Mus degree in Seattle. Bill introduced me to the weird and wonderful world of clarinet extended techniques which have infiltrated much of my playing, teaching and composition.


Guitar: In 2002 I had an artist residency at the Cataract Gorge Gatekeepers Cottage in Launceston, during which I composed a set of duets for guitar and other instruments: clarinet, bass clarinet, flutes, and Tibetan singing bowl. The culminating performance in 2006 at the Queen Victoria Museum and Art Gallery, explored issues of water and forgiveness and was entitled There is a River. We played in the gallery exhibiting Graeme Base's Waterhole illustrations.

I've played for many weddings with flautists Jennie MacDonald, Aimee Rossler, and Eli Baker and arranged many classics and not-so-classics for us.

As a jazz player, I've joined Four, the All-star Whoopee Fun Band, She Rote, Kromozones, and other local groups on clarinet, saxophone and guitar.

I played part of my concept piece, 'Indefinite' for a forum on Australia's offshore detention of asylum seekers. The piece doesn't have an ending either, unfortunately.


I've organised performances and played in the Meander Valley Festival of Creative Aging, The Tamar Valley Peace Festival, Junction Festival, 10 Days On the Island, Cygnet Folk Festival, National Folk Festival, MONA, MOFO and plenty of other wondrous occasions, including an ongoing concert series at the Launceston General Hospital as an arts-in-health initiative.