Carolin Pook is a German-born violinist, composer, improviser, conductor & drummer from Brooklyn/New York. She creates and conducts music that is tailored to the featured performers and part improvised, part written, while melting those in a seamless way into one composition. Carolin has been commissioned to write for the Deutsche Radio Philharmonie and Roy Hargrove quintet, and for free Jazz saxophonist Peter Brötzmann and an 8-piece percussion ensemble. In April 2022, her violin concerto ‘About Time’ was premiered by SJSO Orchestra and Hannah Weirich (Ensemble Musikfabrik) as the soloist. Since 2023 she has worked for Theater for Niedersachsen as a composer/performer, became a member of Kussi Weiss Trio (Sinti Jazz) and teaches Jazz violin at University of Hildesheim/ Institut für Musik und Musikwissenschaft . Carolin is based in Germany and has a five year-old child.
UK Jazz News: What is the best advice you received about balancing/juggling parenthood and career?
Carolin Pook: My mom once told me ‘you will be an artist with a child and a mother who makes art’. Now I understand what she meant, because that is how I try to keep my balance. In shifting the focus when needed but knowing that in the end it’s all one. Because it really is and that’s a beautiful thing.
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)?
CP: To not stop practicing almost entirely for one year!
UKJN: Your top tip(s) for other parents in jazz:
CP: There is no point in stressing about not getting back on the scene if you have to say no to opportunities. Everything is so fluid, things will keep going no matter what if you do what you love.
UKJN: Travel/gigging/tour-with-child advice. This can be gear or gadget-related, or pertain to approach/what to do/what not to do:
CP: Never done it. We decided that no one will actually benefit from it, and since I wasn’t away for more than a week mostly, it was ok. We realized that, even though working, I would benefit from being away and having some “me-time”, and our daughter would be happiest in her environment with friends and family. My husband is my hero during those times.
UKJN: What is one way that figures or structures in the jazz industry could better support parents who are working jazz musicians?
CP: We need affordable childcare for everyone. It’s the main reason we moved to Germany.
UKJN: What has surprised you about becoming a parent and remaining engaged with your professional activities and ambitions?
CP: I am at the same more serious and less serious about what I do, and I feel more confident. Everything is overall more fun 🙂
UKJN: What boundaries have you set for yourself as a parent in jazz (could be related to travel/touring, riders, personal parameters, child care decisions, etc.)?
CP: When our daughter was 2, I was commissioned to compose a big piece for orchestra. So we moved from New York to Germany to be able to balance parenthood and career better, free daycare starting at age one. Now I focus more than ever on doing less, but better paid gigs. I believe it works out if you are patient and don’t compromise.
(*) 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 working jazz musicians with children, those contemplating parenthood, and jazz industry figures who work with and hire musicians who are parents. The insight of the musicians 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.
