Interview – Jade Everett
Originally published on The Ocarina Repository by Cambell Baxter, circa August 2013. That site is no longer online; this copy is preserved here from the Internet Archive.
Jade Everett is well known amongst members of the popular ocarina forums for her beautiful ocarinas and wealth of knowledge and experience. Jade has kindly given me an interview, and I would very much like to share that with you! Enjoy!
- Tell us about yourself!
My name is Jade Everett, I’m twenty-five years old and I live on the White Cliffs along the south-east coast of Kent, England. I currently work in retail, I’m an artist and I have a degree in Film. My other interests include history, archaeology, nature and drums.
- How did you get started playing the Ocarina?
When my best friend and I had finished University in early 2009, we were discussing new goals to set ourselves and new things to learn. I guess we felt a bit bereft not studying anymore, I for one thoroughly enjoyed my degree, but we were left with nothing to do. Musical instruments came up eventually and we both decided to learn a new instrument. The first that came to my mind was the ocarina, as I knew of it from playing Ocarina of Time as a kid. I remember going home that evening and ordering my first ocarina – I was really looking forward to learning to play it. Having been a drummer since the age of thirteen, I longed to play an instrument that could carry a distinct melody, to play songs and tunes I loved. My first ocarina was the Songbird Tenor five-hole, I still have it and treasure it.
- When did you start making ocarinas?
I started making ocarinas sometime in 2010. As an artist, I draw and sculpt, so ocarina making (after having at least a year of experience playing) was a logical step. It began as a curiosity really, and after making my very first few ocarinas, I realised just how difficult making was going to be, but I continued all the same. I studied the ocarinas from my collection daily, and the knowledge I gained from that slowly but surely helped me improve my work. Admittedly I did get distracted by sculpting again eventually, so ocarina making was put on the back burner until I returned from the Budrio Ocarina Festival in 2011. I was so inspired after speaking to the makers there that I decided to knuckle down and make ocarinas as something more than just a hobby.
- What advice would you give to new makers, or those thinking about making Ocarinas?
My first piece of advice would be to study, study, study. If you are able, try to get hold of as many varying ocarinas as you can to learn from. Simply sitting down and studying them will prove to be enlightening, there is so much to learn by observing and analysing. I know it is difficult in this day and age to buy lots of ocarinas, especially with shipping fees and import taxes, but even if you were to get say three good quality ocarinas, that would be an excellent start. Or even borrow some from a fellow ocarinist if at all possible. Having a basis for comparison will keep you grounded and help to keep you from straying into bad habits.
It also helps to know how to play an ocarina correctly before starting to make your own. You don’t have to be amazingly professional, but to at least know the basic principles will give you knowledge on how an ocarina should play so you can apply it to your own work.
I think above everything else though, anyone thinking of going into ocarina making, should do it for the love of the instrument. Don’t just do it for a quick buck. It doesn’t deserve that treatment. Maybe someday you might make money selling your work, but initially, I think you have just got to chill out and enjoy it – see if it is something you sincerely want to do. Ocarina making is full of frustration and disappointment, there are so many things that can go wrong. So in my opinion, you’ve pretty much got to love it unconditionally to be able to move past the many hardships and keep going. I can’t even count the many failures and disappointments I’ve faced along my making journey, but I’ve not once given up on it. It is a long-term commitment, development takes time and a lot of mistakes. But the end result, no matter how long it takes, will be an excellent instrument. The ocarina is so little known in the musical world, so it is up to us (makers and players) to secure its future. The ocarina deserves so much consideration and respect, for all the joy it has brought to us, I think it’s only fair we make quality instruments for its future.
- What are some mistakes that new makers make?
Impatience. There is no bigger mistake, and it can be made in many aspects of making. One example is not knowing the drying rates and habits of your chosen clay and trying to work on parts of an ocarina too soon (I.e. – when the clay is too soft). Construction of the voicing in particular is an extremely delicate part of the process, and if your clay is too soft, you’re either going to mess it up or it is not going to sound good. I made this mistake very early in my development – I’d try to construct the voicing when the clay was still too soft, mess it up, repair it, then have to work on it again. My impatience wasted a lot of time and caused a lot of needless frustration. I soon realised that if I only waited a while, the clay would have hardened to a point where it would have been far easier to work on.
Another form of impatience is also drying your ocarina too quickly. Some makers can afford to dry their work fast, but this relies solely on the clay they use and its properties. Once you settle on a clay, you really have to know it well, and its drying habits are most important. If it needs to be dried slowly, then slow dry it, don’t force it to dry quicker just because you’re eager to fire your work. Be patient, let it do its thing in the time it needs. Waiting a little longer is far better than having the ocarina you worked on for hours crack on you.
Another I can think of is thinking you’ve made the best ocarina you possibly can too soon with too little development. It is very easy to simply make a fully functional ocarina within your first few months of making and think that you’ve reached your ultimate goal. But there is so much more to an ocarina than it simply being able to play all of its notes. Of course you can be happy and proud of your development thus far, but it doesn’t stop there, you have to stand back and ask yourself many questions. Does it sound pleasing to the ear? Is it in tune? Is it comfortable to hold? How are the breath requirements? How does it compare to ocarinas in your collection? Etc. Chances are, improvements can be made. A new maker should take the time to make these improvements before submitting their work to the public.
- If you had to start again, is there anything you would do differently, knowing what you know now?
If I had to start again, I would not have used the clay I used for some time which caused me so much aggravation during my development. The type of clay you use for ocarinas is so important – getting the right one is vital. I was really reluctant to move out of my comfort zone and change the clay I was using, but really I should have changed far sooner. I researched new clays for ages before finally settling on the one I use, and have been using for the past year or so now. I think I could have saved myself a lot of hassle if I’d have simply started with this one! I also would have got a kiln far sooner, as having fired results of your work is crucial for development. I delayed too long in that regard, which slowed down my progress a great deal.
- What do you recommend to new makers on a budget?
If you have the facilities local to you, then definitely try to get your work fired in a kiln. Schools, ceramics suppliers and pottery studios often offer a firing service. As I mentioned above, knowing the shrinkage and absorbency rates of your clay is vital for ocarina making, and something you should know as soon as possible to continue development. If you’re on a budget, buying a kiln may not be an option, so a firing service is your best way to go. And in the long term, if you decide making isn’t for you, at least you won’t have blown £1000+ on a kiln. An ocarina doesn’t necessarily have to be glazed either, so you can save yourself a second firing for each batch. An ocarina can be finished with other materials, like shellac, wax, paint, etc.
- What do you think is the future of the Ocarina world?
From what I have observed, the ocarina has become much more diverse from what it used to be, with ocarinas being made and played all over the world. I think that is fantastic, and I’ve experienced that international feeling most profoundly at the Ocarina Festivals in Budrio. It is so wonderful to meet people from all sorts of different cultures and to share appreciation for this beautiful instrument. I can only see this growing in the future, and the variety of styles of ocarina can only benefit its growth.
At the same time however, I do feel there is a great lack of education, mostly in terms of history and tradition, where the ocarina is concerned. It doesn’t matter how anyone comes across the ocarina, be it through a friend, a book, TV, music, video game, or whatever. But I do feel knowing more about its early history is important, especially if its traditions are to be carried on to future generations. For makers especially, a lot can be learnt from both present-day and historical examples of the ocarina, no matter where or when it was made. Claudio Cedroni wrote a fantastic book, ‘The Ocarina Septet’, on the ocarina’s history, and I highly recommend it to anyone.
- What have been your most rewarding experiences with the ocarina?
The most recent rewarding experience was watching my ocarinas being played by Emiliano Bernagozzi of Gruppo Ocarinistrico Budriese in Budrio this year. It was also the most nerve wracking time of my life. I had no confidence in my work, and I had no idea if he would like them or not. I was so scared! But his enthusiastic approval, and the skill at which he played them was more rewarding than any of my experiences thus far with ocarina making. I was over the moon. Just being in Budrio at all as a maker, seeing others enjoy my work, was a dream come true, and a goal I initially never allowed myself to hope I’d reach.
- Who is your favourite Ocarina maker?
Oh my favourite maker is always a tough one, I have quite a few! If I had to pick one, it would, without a doubt, be Hyunil Ko of Woodsound Ocarinas. Not only do I adore his work, but he has been a constant inspiration to me during my development. But, I can’t not mention my other favourites too – Olivier Gosselink, Kuolong Pan, Giorgio Pacchioni, Kurt Posch, Terry Riley, and of course, my dear friend Ross Dubois.
- What is your favourite Ocarina performance?
Hmm, another difficult one to pick. I’d have to say my favourite performance was the Puppet Show “Tutto nel mondo è burla” with music accompaniment by GOB in Bologna this year. A perfect blend of two local arts and thoroughly enjoyable to boot.
- Any additional comments/questions/material/shameless plug
I just want to take the time to say thank you to everyone who has supported me, encouraged me and helped me throughout my ocarina making journey. Friends, players and makers alike have shown me endless kindness, and without them I would not be where I am today. I want to say an extra special thank you to Kuolong Pan for helping me when I was struggling, to Krešimir Cindrić for educating me and encouraging me to improve my work, and to Ross Dubois, my ocarina making friend and comrade.
Thanks so much for sharing you experiences with us, Jade! I really enjoyed reading your interview. I can’t wait until you officially release your ocarinas to the wider community!
Check out Jade’s progress with her wonderful ocarinas here: Jade Everett Ocarinas
Jade also frequents the Little Geese Forum so you can catch her on there!
If you wrote this, or were interviewed in it, and would like it changed or removed, please write to theocarinamuseum@gmail.com.