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Interview with Jim Conway (musician)
Jim Conway is an accomplished blues harmonica player and is recognised internationally as a master of his craft.
Born in Melbourne and now based in Sydney, Jim and his brother Mic Conway co-founded the 1970s phenomena The Captain Matchbox Whoopee Band – a rare mix of jug-band blues spiced with jazz, swing, popular standards, cabaret, sideshow alley shtick and vaudeville routines including slapstick, tap dancing, juggling, magic and even fire-eating.
Following two decades with Captain Matchbox, Jim Conway joined iconic Australian blues group The Backsliders, before launching his own band Jim Conway’s Big Wheel, in 2002. Conway was diagnosed in with Multiple Sclerosis in 1983 and is now in a wheelchair. He continues to tour extensively around Australia.
I developed all my skills, and confidence, in performance – I was thrown onto the stage as my early training. Of course we rehearsed, but I became totally hooked on live performance. Playing various folk clubs and venues early on, within the true sense of the meaning of folk, I picked up a lot of stuff from old music and performances and watching other artists.
Who or what influenced you to become an artist?
I grew up in the folk boom of the 60s and was very influenced by the folk artists at that time, like Bob Dylan, Joan Baez, Odetta, Peter Seeger, Josh White, also The Rolling Stones – hearing blues in a more modern context. As a consequence I took up the harmonica and quickly realised that I was born to play it. Members of my extended family had been musicians and performers. My grandfather on my father’s side was the organist at the State Theatre (in Sydney) and that was like being a rock star at the time! My uncle on the other side was a world-renowned opera singer and his brother was a highly regarded popular singer around Sydney. From an early age music was seen as a respectable endeavour to pursue in my family, even though neither of my parents played an Instrument. At high school I never saw it as career – that happened later.
Where do you practice and how much time do you spend on your work?
I practise at home with the band (Jim Conway’s Big Wheel), before every performance. At the moment that’s about once a month, so that’s a four-hour rehearsal beforehand, and if I have parts and things to learn I do that as well. Much of my practise is done in performance. I also have preparation to do for various casual performances and recording sessions. I just practice when I need to. I also spend about six hours a week teaching music. When I moved away from working with Mic I wanted to play a different type of music. I started playing blues with The Backsliders, just playing on Sunday afternoons. I thought “this will be nice while I’m taking it easy and looking after my health”. Then The Backsliders started doing well and it was back to a hectic touring and performing schedule all over again! How do you develop your ideas and receive feedback on your work?
How do you develop your ideas and receive feedback on your work?
I practise at home with the band (Jim Conway’s Big Wheel), before every performance. At the moment that’s about once a month, so that’s a four-hour rehearsal beforehand, and if I have parts and things to learn I do that as well. Much of my practise is done in performance. I also have preparation to do for various casual performances and recording sessions. I just practice when I need to. I also spend about six hours a week teaching music. (more...)
When I moved away from working with Mic I wanted to play a different type of music. I started playing blues with The Backsliders, just playing on Sunday afternoons. I thought “this will be nice while I’m taking it easy and looking after my health”. Then The Backsliders started doing well and it was back to a hectic touring and performing schedule all over again!
I developed all my skills, and confidence, in performance – I was thrown onto the stage as my early training. Of course we rehearsed, but I became totally hooked on live performance. Playing various folk clubs and venues early on, within the true sense of the meaning of folk, I picked up a lot of stuff from old music and performances and watching other artists.
How do you go about getting your work out there?
Recording, performing, all of those things – we were very lucky in that the opportunities came to us. My brother Mic and I started a band at high school, a cabaret come jazz/blues outfit, and won the school talent quest. Then our sister was performing at a folk club and invited us to do a guest spot. We also appeared on a couple of television talent shows in Melbourne, like New Faces. The high school band developed into Captain Matchbox. By then I was at art school and we recorded our first album, which took off straight away. Then there was no looking back and we were a fairly successful band from then on throughout the 70s. (more...)
From very early days we had management and an agent. Nowadays I’m my own manager – my favourite work is at festivals, and other appropriate performances. I’ve never been interested in being the singing pot plants in the corner at events. Because my name is so established, I can use it to get bookings.
Also, you can’t do everything. For instance, I had quite a commitment to MS Australia for a number of years but had to draw back from that involvement so I could concentrate on the music, which is really where my passion is.
Jim Conway’s Big Wheel
What are the challenges in your practise and how do you work to address them?
I have an acquired disability that gradually and steadily increases. My increasing disability has slowed me down a bit. I would be performing more if I didn’t have so much to contend with these days. For instance I can’t consider travelling overseas anymore. At the moment I’m having a problem staying upright in my chair so I have fitted a strap to hold me upright in my wheelchair during performance. I have become increasingly heat sensitive under the hot stage lights so I need to wear an industrial cooling vest when I perform. Others may have thought about retiring in my circumstances but I live for the music; I live for performing and the spiritual rewards in continuing to perform. I will continue to do it until it really does become too hard. (more...)
I also get a lot of support from people all around me, including my long-suffering wife Helen, who is a bit over going on tour but nevertheless does so very generously. I couldn’t keep touring without the support of Helen and various other friends. Some of the physical environments of the festivals can be challenging, like having to cross a muddy field at Woodford [Folk Festival] to get to the stage, but generally I find venue managers very accommodating.
Working as a musician has kept my spirit strong. It is difficult for me these days but it is definitely still worthwhile.
I’ve been very lucky with the breaks I’ve had but to really achieve you have to develop your skills as a musician as much as you possibly can because, out there, if you are good enough, you’ll survive – if you’re not, you won’t.
I have had some issues with disability and tokenism. I just want to get out there and show that people with disability can perform at an elite and professional level. If you have the talent, disability should be incidental to your skills. That’s what is really important to me.