Sarah Weller is the Head of Music at Ronnie Scott’s Club in London.There are few positions in the UK music industry to equal the authority of her position at one of the leading jazz clubs of Europe. With a multi-faceted career, spanning numerous musical genres, Sarah was busy and successful as a touring singer and DJ in the soul, blues, and rock world before coming back to jazz, joining the music team at Ronnie Scott’s in 2009. Her singing work saw her supporting artists such as Chaka Khan at Hammersmith Apollo (with the Urban Dwellers) and Limp Bizkit at Brixton Academy (with The Tarantinos), and she had a record played on Pete Tong’s Radio 1 show. As a DJ, Weller has performed for the MOBO awards, Hed Kandi and Jazz FM’s online station ejazz.fm. Sarah lives between Kent and London with her children.
UKJazz News: What is the best advice you received about balancing/juggling motherhood and career?
Sarah Weller: My advice would be before you have children think about how it would be to fit them around your life – as much as that is possible – rather than the other way around. Children are as adaptable as you make them. There is always a sacrifice, whether it is career, family or money. Ours was money, and I will always be happy that it wasn’t the children.
UKJN: What information or advice do you wish you’d received but didn’t (and had to learn through trial and error or on the go)?
SW: Have children as young as possible. No time is the right time.
UKJN: Your top tip(s) for other mothers in jazz:
SW: I hope you have a like-minded partner who appreciates your time as much as you appreciate theirs.
UKJN: How does being a mother influence and shape the work you do as a booker and presenter?
SW: I feel it keeps me current. It’s great to see what the next generation are listening to and are influenced by. Being a mum you have to be flexible/adaptable because you never know when something out of the ordinary is going to happen. The more you have to juggle the more organised you are…in theory.
UKJN: What is one way that figures or structures in the jazz industry could better support parents who are working jazz musicians?
SW: Flexible working or working from home, which I am lucky to be able to do (as a booker) but when the children were young I don’t know what I would have done without my parents, family, friends and babysitters for their babysitting duties when we were on tour or at gigs, coming in late. It would have been much harder to do without all the lovely help we received.
UKJN: What has surprised you about becoming a parent and remaining engaged with your professional activities and ambitions?
SW: As a woman (I don’t think it’s the same for men), that people don’t think you are as ambitious or as dedicated as those without children. Also, no-one really likes you bringing along your kids to gigs so if you are both in the band, that’s hard.
(*) Parents in Jazz was started (first as ‘Mothers In Jazz’) by vocalist Nicky Schrire in August 2022. The initiative aims to create an online resource for jazz industry professionals with children, those contemplating parenthood, and jazz industry figures who work with and hire musicians who are parents. The insight of the musicians and administrators interviewed for this series provides valuable emotional, philosophical and logistical information and support that is easily accessible to all. “Parents In Jazz” shines a light on the very specific role of being both a parent and a performing jazz musician or jazz arts professional.
