TBI Q&A: Chris Prowse

Chris Prowse talks about writing and producing Trouble on the Waterfront and balancing his musical career with his arts management work.

“One is an extension of the other in many ways. What I learn from arts management I can use in my music and what I learn from music I can use in the arts management work.”

The album, a musical snapshot of New Zealand’s divisive 1951 waterfront dispute, is a finalist for the upcoming Folk Tui Awards on January 31.

Trouble on the Waterfront is a collaboration of New Zealand singers, musicians and well known broadcasters who have come together like actors in a film to play their own part in telling this story.  The Waterfront Collective will perform a special multi-media concert as part of the Wellington Fringe Festival on February  17 and 18 at The Ruby Lounge.

When he is not involved with music, Prowse runs an accountancy/consultancy practice specialising in broadcasting, film and the performing arts. He is a board member of The New Zealand Film Production Fund, a director of Red Rocks Records, chairman of the Hannah Playhouse Trust Board, and is a part-time tutor for the Bachelor of Performing Arts Management degree at Toi Whakaari / New Zealand Drama School.

During what hours of the day do you feel most inspired?

It would have to be either early in the morning or just after I’ve been for a run.

How would a good friend describe your aesthetic or style?

I’ll have to ask my partner… I’m still waiting for an answer.

What aspect of your creative practice gives you the biggest thrill?

I enjoy playing music with other musicians.

How does your environment affect your work?

The environment is especially important for live music performances. And so is a good sound system!

Do you like to look at the big picture or focus on the details?

I generally start with the big picture and then drill slowly down into the detail.

What's your number one business tip for surviving (and thriving) in the creative industries?

Plan it, and then do it.

Which of your projects to date has given you the most satisfaction?

It is most definitely my latest project - Trouble on the Waterfront. The album is a finalist for a Tui award which is a real thrill. Plus it was fun to produce.

Who or what has inspired you recently?

The duo of Les Paul and Mary Ford. I’ve been trying to complete a song in that early 50s pop style. Perhaps I need a Les Paul guitar?

How did the idea for Trouble on the Waterfront come about?

I was interested in doing a concept album about a New Zealand historical event. The1951 waterfront dispute idea had been in my mind in a vague form for a while. But it was a picture on the nz history online website of idle ships in Wellington harbour during the 1951 dispute that triggered an idea for the first song and got the ball rolling. Check it out…

How was this influenced by David Grant’s book The Big Blue?

I found David Grant’s book in Wellington Public Library and then subsequently bought a copy which I’ve just about worn out. The stories in that book were a huge influence. Most of the ideas for the songs came from the tales of the contributors to that book. What I liked about the stories is that many had a personal angle or perspective. It wasn’t just about the historical facts, but it was also about how the dispute affected  people. Not just then but for many years after the dispute ended.

Who are the other singers and musicians who collaborated on Trouble on the Waterfront?

There were quite a few. Bill Hickman of The Shot Band, Eva Prowse and Tessa Rain - both from Fly My Pretties, Andrew Delahunty of The Windy City Strugglers, songwriter and performer Arthur Baysting,  Darren Mathiassen who is known for his drumming with Hollie Smith and Rhombu, Dave Currie who plays in Eva’s band, Murray Kilpatrick who is an accomplished NZ folk singer, and Gil Eva Craig who mixed the CD and played bass. In addition two prominent and well-respected broadcasters Sharon Crosbie and Tom Frewen added their voices to the track Media Watch. And finally, but most importantly the talented Danica Prowse who designed and did the artwork for the booklet and cover. Not a singer or a musician but an important artistic contributor to the overall package.

You used historical audio as part of the songs. What did you use and was it difficult to get permission?

I used speeches by then Prime Minister Sid Holland and by the Waterside Union leader Jock Barnes. I had came across these speeches in my research and sourced them from an old RNZ radio documentary which was made available to me by the Radio New Zealand Sound Archives Nga Taonga Korero. Karen Neill of the Archive was most helpful. That Archive is a real treasure chest of audio history.

Why was it important to tell the story of the 1951 waterfront dispute? Is it a historical reference or is there a message for today too?

It was an epoch in New Zealand history. It was a battle (often physical) between workers and the establishment, struggle between left and right, and even a bitter conflict between different factions of the union movement. But the key interest for me was the curtailment of civil liberties. During this time it was of an offence to give food or money to the out of work wharfies and their families. The news was heavily censored by the Government of the day so it was all a one sided story as far as the media was concerned. This all happened in New Zealand only 50 odd years ago. We have to be aware of the short  comings of our past so they don’t happen again. 

What were some of the challenges to turn the concept of this album into a reality?

It certainly took a lot of research, planning and organisation. I often felt like I was producing a movie rather than a record album. Like most music in this genre there weren’t any subsidies available from NZ On Air or Creative NZ, so I was on my own in that respect. But my real asset in making this album was having lots of very talented friends who were so willing to help out.

Besides your solo work, what are some of your other musical adventures?

The next one is turning the music from the album into a multi-media music show for the Wellington Fringe Festival in February. After that my daughter Eva has me lined up to do some guitar playing on her solo album which is happening in March. I’m looking forward to working with some of her musical friends. After that I hope the live Trouble On The Waterfront show can go on to do a few festivals around the country.

How do you balance your musical career and interests with your arts management work?

One is an extension of the other in many ways. What I learn from arts management I can use in my music and what I learn from music I can use in the arts management work.

If you could go back and choose a completely different career path to the one you've chosen, what would it be?

I would be happy enough being a builder. A skill saw is a bit like an electric guitar, they can both make a lot of noise.
 
What place is always with you, wherever you go?

Wellington. While I was born in Napier, Wellington is my hometown and the best city in the world…but I like New York too!

What's the best way to listen to music, and why?

The best way to listen to good music is live. Music is foremost a performing art. Recorded music is a relatively recent add- on in terms of the long history of people making music.

You are given a piece of string, a stick and some fabric. What do you make?

When I said I would be happy being a builder I was thinking about nails and lengths of rough sawn timber. But I guess I could try and make a banjo of sorts. I might need some other materials?

What's the best stress relief advice you've ever been given?

Never worry about things that you have no control over.

What's great about today?

Wellington had a summer day between midday and about 5 o’clock today. Then a southerly came through.

What’s your big idea for 2010?

It’s not a big idea but more of a must do. I must finish a book I’ve been writing about financial management in the performing arts. The challenge is to make the subject interesting.