One of the joys of doing what I do is having the opportunity to "meet" and get to know musical artists from all over the world. Jim Ottaway isn't the first composer from Australia that I've interviewed or whose music I've reviewed, but he recently released a single and two albums, one of which is the 20th anniversary edition of his debut album, First Light. This seemed like a really good time to do an interview, so we did! I've really enjoyed delving more deeply into Jim's music as well as getting to know him better, so I hope you will, too!

KP: Hi Jim! How are things on the Gold Coast of Australia today?

JO: Hi Kathy. Things are going really nicely on the Gold Coast at the moment. We are now a few weeks into Spring; things are starting to warm up and the days are getting longer. The beautiful shrubs and plants in my garden are starting to flower. I am keeping well, which is a blessing.

KP: We're a few weeks into Fall here, so it's kind of the opposite - cooler days, more rain, and a hint of winter in the air!

You've had a busy couple of months with the release of a new album, a new single that isn't on the album, and the 20th anniversary release of your first album! Let's talk about those first. "Wonderful Land" is the first cover piece you've ever released. I love it, but with all the music floating around in the world, what made you choose that particular piece to arrange?

JO: "Wonderful Land" is my first-ever cover version. As it was so different from my own works, I decided to release it as a non-album single.

The instrumental hits of popular music of the 1960s, 1970s and 1980s have always been some of my favourites. In particular, I have always loved Jerry Lordan’s "Wonderful Land," which was made famous by the British instrumental band, The Shadows, in 1962. I was also familiar with Mike Oldfield’s interpretation of the tune from 1980, however I always preferred the original.

I have a number of copies of The Shadows' 45RPM in my collection, one of them being the original 45RPM purchased by my eldest sister, Lizzie, ‘back in the day’.

When recording the track, I wanted to stay true to the 1960s sound but I decided to add some modern drums and bass, a new string arrangement and some innovative trills. I always wanted the original version to play a little longer as it had a very ‘1960s radio-friendly’ run time of just over 2 minutes, so I extended the length of my version by adding a vocal pad to the extended intro and repeated the chorus and verse.

I have had some wonderful feedback about that track.

KP: I have always loved a lot of the instrumental music from those decades, too. I thought it was really interesting how you captured the spirit of that era in the music and yet brought it up-to-date with your changes.

A Promise of Eternity is your newest album. I know it's the name of one of the tracks, but tell us about the title.

JO: It is interesting, Kathy… when I compose a piece of music, 99 out of 100 times, it is not named, other than say… “Test 12_12_2012”. I am composing and recording continuously, so when it comes time to put an album together, I have a huge archive of recorded tracks to choose from, most of which generally require additional work. At that time, I also think about the theme of the album. In more recent years the themes have had a spiritual basis. For example… When Eternity Touches Time; Threshold Of The Universe; Somewhere In-Between; Infinite Universes; and now A Promise Of Eternity.

We are all spiritual beings having a human experience. I feel very strongly about that and it is part of who I am and naturally it comes out in my music and in the titles I give to the albums and individual tracks.

We have all been presented with ‘a promise of eternity,’ so I thought that that would be a great title and ultimately the music would provide people with joy and happiness, and hopefully some comfort and peace.

KP: That's really interesting! Can you tell us a bit more about the overall theme of the album and the music?

JO: As I mentioned, the theme of the album is that we have all been promised eternity. I think the individual track titles reflect this even further. For example: "Horizons Beyond"; "Whispers Of The Soul"; and "Light Dawns."

While being very a spiritual album, it also covers the fact that we are human, experiencing life as best we can. This is reflected in tracks such as "This Fleeting World"; "Dancing In Shadow And Light"; and "The Edge Of Knowing."

KP: There is a lot of variety in the musical styles on the album and several of the titles are thought-provoking. I was going to ask you about "The Edge of Knowing" first.

JO: You are right. This album includes tracks that cover various sub-genres of electronic music. Actually, most of my albums are a bit like that. I do like variety and melody in music and I think it helps to keep interest in the album if playing it through from the first track to the last.

Yes… the track titles are thought-provoking and I think that is a good thing. However, the beauty of instrumental music is that it will take you where you need it to take you. You are not guided by lyrics, just melody and rhythm.

"The Edge Of Knowing" is quite an up-tempo track with a very prominent sequence throughout the track. Many of us think we know how our lives will pan out, however no-one really knows. We could be totally correct, partially correct or totally wrong. It is probably best that we don’t know for sure how things will pan - it makes life interesting. However, I feel we are always on ‘the edge of knowing’.

KP: How about "Days Without Yesterdays"?

JO: Like "The Edge Of Knowing," this track is one of those that relate to our human experience. The track again features a strong sequence (but this time a more 'bassy' sequence) and is a little darker.

Most of what we do in our lives is based on things that have happened in the past, and that is probably a good thing because we learn from the past. However, sometimes to move forward with our lives we need to do something totally different…. something we have never done or experienced in our lives before. This is another way of learning and growing. So people who take this approach may not think about their yesterdays, just their present and future.

KP: Fascinating! Tell us about "This Fleeting World."

JO: Again, another human experience track.

This track does not include any drums and is the style of the Berlin School sub-genre of electronic music.

Life is short. Tempus fugit (time flies). That kind of sums it up. We live in a very fleeting world and we have the opportunity to achieve what we came here to achieve. I think it is up to all of us to do this, hopefully surrounded by love, light, joy, peace, happiness, and fulfillment... as much as possible, anyway.

KP: You also recently released the 20th Anniversary Edition of your first album, First Light, which had a very limited release in November 2004. There have been so many improvements and changes in recording processes since then. What kinds of changes did you make to the album before you released it internationally for the first time in July 2024?

JO: Early in 2004 some of the tracks that eventually ended up on First Light were included on a cassette tape… First Light (The Meditation Demos). A mini-disc, and eventually a CDR, were also produced of this recording. These demo recordings have never been officially released.

The tracks that finally made it onto First Light were recorded between February 2003 and November 2004 and all were composed and recorded live on the Korg Karma 16-track midi sequencer. The tracks were eventually recorded in audio to Steinberg Cubase recording software via a (rather inferior) Novation Speedio audio/midi interface (soundcard), with only a few overdubs added to the original midi files. I, without any previous experience with mastering, mastered the album using Steinberg Wavelab software. Being improvised recordings, the tracks are very free-form and raw.

First Light was released locally here on the Gold Coast on CDR on 21 November 2004 and became a very popular release in the ‘new age’/meditation groups around the Gold Coast. The album is still very popular to this day. Although it has never been officially released internationally, a few copies did make it into the hands of radio show hosts and collectors.

Roll on 20 years. On 21 November 2024, First Light celebrates its 20th anniversary. To celebrate this milestone, I revisited the original midi files and audio recordings, and released a 20th anniversary edition of the album. Some tracks have been re-recorded and remixed from the original midi files using the RME Fireface 800 audio/midi interface and Studio One recording software, and a few minor issues have been adjusted. However, the tracks still retain the original feel and intent of the album released 20 years ago… live improvised recorded tracks… melodic… relaxing… instantaneous… raw… warts and all... but expressing much love and emotion.

KP: I find it to be a really interesting step back in time! How many albums have you released so far?

JO: I think the number of albums I have released is about 35. The first being First Light released in November 2004 and the most recent being A Promise Of Eternity and First Light - 20th Anniversary Edition both released in July 2024. Not all of the albums have been made available to the international market and may not see the light of day in their current form.

KP: You've also won a very impressive number of awards for your recordings as well as music for films and television. Let's talk about those a bit.

JO: Yes, I have received a number of nominations and received a few awards in songwriting and music awards around the world. All of them are documented on the Awards page of my website at this link…

A few highlights are:

1. Three Zone Music Reporter Awards (New Orleans, USA) for three of my albums… Deep Space Blue; Timeless e-Motion; and When Eternity Touches Time.

2. Schallewalle German Electronic Music Awards winner in the ‘Der eigene Weg (Your Own Way)' Category.

3. Three Silver Medals awarded at the Global Music Awards (USA) for my albums… Southern Cross; Deep Space Blue; and a few days ago Beyond The Purple Sun.

4. Other international nominations and awards from New Age Music Notes Music Awards (USA), One World Music Radio Music Awards (UK/Cypress) and New Age Music Planet Awards (UK).

5. Some important local awards… two Queensland Music Awards nominations and just recently my 2023 album Infinite Universes was chosen as a finalist in the ‘Release of the Year’ category of the Gold Coast Music Awards.

6. Twenty-three of my compositions have been shortlisted in the Top 30 in the Australian Songwriting Awards (Instrumental Category) including three in the Top 10 finalist list.

All of these ‘acknowledgements’ are wonderful and certainly help with getting a little exposure, however I compose and record because I am guided and inspired to do it… and importantly, I love doing it. The nominations and awards are a bonus which are very welcomed.

KP: When did you start composing music for films and television?

JO: Actually, as far as I know, none of my works have been included in any film or television productions. It is something which I would be interested in pursuing. I have, however, provided music for two radio plays… ‘Connie’ and ‘Morph’ produced and aired by 4ZZZ in Brisbane.

I also composed scores to four short films as part of the Tropscore Contest which was a feature of the Tropfest Short Film Festival which was very popular in Australia for many years. The short films were: ‘Capture’; ‘Returning’; ‘The Exchange’; and ‘Apart’.

I have also released two albums of music that I think would be suitable for film and television. These albums are titled… Music For Film – Vol 1 and Music For Film – Vol 2. Each album contains about 30 tracks varying in length from 20 seconds to 3 minutes.

KP: Have most of those projects been for Australian productions?

JO: The radio plays mentioned above were produced in Brisbane, Australia in 2022.

KP: You do most, if not all, of your recording in your home studio. What kind of a set-up do you have?




JO: Yes… all my composing, recording, mixing and mastering is done in my home studio, which is basically a third bedroom.

I have a few keyboard synthesizers including: Korg Karma; Yamaha MX49; and Korg Wavestate. I also have a few rack synths including Novation A-Station; Yamaha Motif; and Roland XV5050. I also use quite a few virtual instruments (VSTs) including Omnisphere; SynthMaster; Spire; and Sylenth.

I use a RME Fireface 800 soundcard/audio/midi interface and Studio One recording software with two screens. My studio monitors are two Yamaha HS8 monitors.

I don’t have a huge amount of gear compared to what I see in other studios on the internet, however I don’t believe quantity is important. What is important is what comes out of the studio. Hopefully, that is good and enjoyable music.

KP: And you are definitely very good at that! Okay, let's back up a bit and learn more about you. Where were you born and where did you grow up?

JO: I was born in North Rockhampton which is situated on the central coast of Queensland (state). My family lived in North ‘Rocky’ until the mid-60s when we moved to Brisbane, the capital of Queensland. We lived in Indooroopilly, a western suburb of Brisbane. I had a great childhood and a wonderful family life. After finishing high school and my first university degree, I moved into my new home in Bracken Ridge, a northern suburb of Brisbane. Eleven years later, I purchased a home in the hinterland of the Gold Coast and I have lived there ever since.

KP: Do you come from a musical family?

JO: My mother played the family piano occasionally, however she was often too busy to play much. My three older sisters studied music (piano) and played well. None of them really play that much anymore. My father taught himself to play the harmonica in his later years and he became quite good at it. One of my young nephews is an extremely talented musician and is currently Principal Bass Clarinet with the Sydney Symphony Orchestra.

KP: When did you start getting interested in music?

JO: I have always loved music. I remember as a very young boy sitting with my ear up against the door of my eldest sister's bedroom trying to listen to her playing her records… The Beatles, The Shadows, Cliff Richard and others of the time.

Early birthday and Christmas gift requests were always records… 45s, EPs or LPs. When I was a little older I would save my pocket money to buy a 45, EP or LP every now and then (actually a little more regularly than that when I got a little more money!).

KP: Did you take lessons or are you self-taught?

JO: When I was in primary school I started having piano lessons. I wanted to learn how to play and understand theory but not to sit for exams. Over the few years I learned piano, I had three teachers, two of which were wonderful and the other not so much. I must admit I did not practice as much as I should have. My final piano teacher was a young fellow who lived across the street and was in a rock band, so not only did he help me with classical music but also with rock/pop music.

KP: When did you write your first piece of music?

JO: There was probably something attempted when I was learning piano in the 1970s, however that is long lost now. A lot of my early works were live improvised pieces, however putting notes on a page started when I got my first synthesizer in 2003. These days I either compose directly into my DAW or, on the odd occasion, I write it out very roughly on manuscript paper. I have fifty or more compositions on manuscript that I have never recorded. So, if I ever get ‘writers block’ I can always go back to some of these early compositions. I hope I can interpret them!

KP: Which musical instruments do you play?

JO: All keyboard. I have a few synths which I use regularly for composing and recording including a Yamaha MX49; Korg Karma; and Korg Wavestate.

KP: Who and what are some of your musical influences?

JO: As I mentioned earlier, I love the popular music of the 60s, 70s and 80s. I always think 1972 was the best year for music. This is probably because it was a time I was really listening to the radio. I am particularly partial to Australian music of the era, most of which, sadly, never made it into the international market.

From an electronic music perspective, my great influences are Tangerine Dream (particularly the 70s and 80s era) and Vangelis. Other artists such as Gary (The Dream Weaver) Wright, Steve Winwood, Pink Floyd and Lisa Gerrard have had an influence on my music.

I was lucky enough to meet Edgar Froese, founding member of Tangerine Dream, in Australia, only a few months before he passed way. During their brief stay in Australia, I saw the band play live on three occasions… twice on the one night!

KP: I never saw them in concert, but Tangerine Dream is a great band!

You often mention that some of your music is inspired by the Gold Coast of Australia, where you live. Tell us a bit about it.

JO: I live in a beautiful part of the world. Firstly, I live in the best country on Earth… Australia... and I live in one of the nicest cities… Gold Coast… in the hinterland. So I am relatively close to some of the most beautiful beaches on Earth and I have bush land around me. I also get visits from native wildlife including Wallabies and many birds such as Kookaburras, Rainbow Lorikeets and King Parrots. I don’t think you can live in a place like this and not have it influence your life… and in my case my music too. The beauty and peacefulness of my home and surrounds inspires and motivates me and provides me with amazing creativity.

KP: I'll have to put visiting Gold Coast on my Bucket List!

When did you know that you wanted to be a professional musician? Did your parents or family resist or object?

JO: Actually I don’t consider myself a professional musician. I was a public servant for over thirty years. During my final years, I started composing and recording as an interest and a hobby. When I stopped ‘work,’ music became one of my major focuses along with the ‘caring’ roles that I take on. So, I still consider what I do in relation to music as a serious hobby. I like that approach as it allows me to relax and do things at my own pace. I really think that helps with my creativity.

KP: What an interesting approach!

JO: Sadly, my father had passed away by the time I started composing and recording. My mother was my biggest fan. She passed away about nine years ago, well before any of my music successes.

KP: Who are some of your favorite composers and performers?

JO: I have mentioned a few above, however as far as modern day composers are concerned, I can’t go past the beautiful works of Vangelis and Ennio Morricone. I love Vangelis’ studio works as well and his soundtrack works, particularly 1492 Conquest On Paradise; Missing; Blade Runner; and Chariots of Fire. Ennio Morricone’s soundtrack works are amazing, too. I particularly like his score to the television mini-series Marco Polo from the 1980s.

There is no one classical composer which I admire, however there are a few works that I particularly like including… ‘Pictures at an Exhibition’ (particularly ‘Promenade’) by Modest Mussorgsky; ‘New World Symphony’ by Antonín Dvořák; and ‘Symphony No. 5’ (particularly ‘Adagietto’) by Gustav Mahler.

KP: What has been your most exciting musical moment or experience so far?

JO: I think the most exciting moment was purchasing my first synth and setting things up to be able to record. That opened a huge number of doors for me including providing me with a gift to be able to compose and to be able to get my music out to the world.

Receiving nominations in songwriting and music awards is also very rewarding and inspiring. To be presented with an award is amazing. Although I must admit that I don’t compose and record for awards or rewards. I do it because I love doing it and I love being able to make people happy through my music.

I have also had four of my albums peak at #1 on the North American College and Community (NACC) Radio Top 30 Chill Chart… which is very special.

Meeting Edgar Froese in Melbourne (Australia) was pretty special too.

KP: Do you perform in concerts?

JO: I don’t do live performances… not at the moment anyway. I did perform live improvised ambient music during a meditation session at a local church group many years ago. It was a lot fun and gave me a little insight into the ‘buzz’ which performers get from performing live. I don’t discount performing live in the future, however I would need to investigate what equipment would be required to allow me to do it professionally.

KP: If you could have any three wishes, what would they be?

JO: 1. To live in a peaceful loving world.
2. To be with loved ones (family and friends) - both those here now and those passed away.
3. To be happy and healthy and to be able to continue to share my music to the world.

KP: Is there anything else you'd like to "talk" about?

JO: Thanks for the opportunity to chat with you about my music. Thank you also for being so supportive of independent artists from all around the world, including me.

If anyone would like to know more about my music they can visit my website ...or check out my music on YouTube; Spotify; Apple Music; Pandora; and all other major streaming platforms.

Take care, all.