David has a number of musical projects that while dear to his heart, do not necessarily match his local market for live music. These projects are largely based around creating fusions of jazz with various styles of world-music.


Read more about David's Jazz-Reggae project here!


What is ‘world-jazz’ and what are some under-explored opportunities for creativity in this broad hybrid genre? These two questions were the primary focus of David's Music Honours study, which delved into ‘world-jazz’ by examining crossover styles that relate to twelve original ‘world-jazz’ compositions.   

This work addresses two primary questions:  

1) What is ‘world-jazz’?  
2) What are some under-explored opportunities for further development and creativity within this broad genre?    

A third, more theoretical question is addressed secondarily:  

3) Can jazz successfully translate into contexts within all regions of the globe, in such a way that that the music presents an authentic expression of ethnic and regional culture, whilst retaining the essential qualities of jazz, thus contributing towards a global jazz language?   

David undertook practice-led research to create a set of compositions and arrangements representing world-jazz, with styles explored including Bossa-Nova, Samba, Afro-Cuban, Afro-Beat, Ethio-Jazz, Egyptian Jazz, Jazz Reggae, Persian Jazz, Indian influenced Jazz and Oceania/Polynesian influenced jazz.  

David was awarded First Class Honours for this research undertaken as part of the Bachelor of Creative Arts (Music) program, with the University of Southern Queensland in 2018.

Oceanic Jazz

Despite the growing prevalence of world-jazz, there are minimal examples of fusions of Oceanic music with jazz. 

This project aims to create new knowledge of models of hybridisation and ethical intercultural collaboration to enable artists from Oceania to embrace practice expressive of decolonial identity. With this context in mind, my project will ask the following research questions: 

  1. What are some creative potentials of fusing jazz with traditional and/or regional music of Oceania? 
  2. How can collaborating interculturally contribute to the creation of new, hybrid jazz music?
  3. How can the findings of this research project become a process model for hybridity in intercultural collaboration?

David uses a practice led research methodology to fuse characteristics of jazz with traditional and regional music of Oceania.