Conversation With Bassoonist Linton Stephens

Chineke! Orchestra bassoonist Linton Stephens reveals his inspiration for educating a new generation in music and diversity.

John Branston. © MU 2019

What appealed to you about the bassoon?

I literally saw a picture of one and really wanted to play it. I think because it was so different to the other woodwinds in size and shape.

I read a quote about you watching The Proms as a child and not seeing any musicians of colour in the orchestra. And your mother said: “Well, you bloody well make sure you’re the first”. Was that a really defining moment?

At the time, probably not, no. However, in later years it would come to mean a lot more to me. At that age I never recognised the barriers of there being practically no black role models.

I’m not even sure my parents realise, but I think the fact that they were so enthusiastic whenever a black person achieved any kind of national fame on the TV helped instil a positive attitude toward our heritage in all six of my siblings and myself. Looking back I realise just how important it was for me as a young black boy of eight to subconsciously recognise the lack of diversity in the field I would later call my profession.

As a member of the MU Equalities Committee, what do you see as its major challenges?

In my opinion, words like ‘equality’, ‘diversity’ and ‘inclusion’ have become buzz words, particularly in the work and corporate worlds. Speaking in favour of it, it has thrust issues to do with diversity to the fore, meaning that people are actually doing something about it.

Unfortunately all too often it can become a tedious box ticking exercise for companies to complete. Diversity itself then becomes another quantifiable statistic and is tackled in terms of numbers – which ultimately only serves to treat the symptom and not the cause. I think what we need to do is to educate people as to why the playing fields are so uneven in the first place, and teach everyone to understand why a lack of diversity is an issue, why increasing diversity is beneficial for all , and why combatting it is more than just a box-ticking exercise.

You’re involved in music education at a time of profound inequality within instrumental provision in schools. How vital is this to you?

It’s a significant part of my musical life. I’m the product of a council-run music service and a teacher taking a chance on me, and I’m eternally grateful for that. So I get so much satisfaction being able to give that back.

I’m really lucky to have been involved in some life-changing projects for children and teenagers, some of whom are reaching great success. It is difficult seeing music in schools on the decline and its value underappreciated, moving from ‘providing quality music opportunities for all’ to ‘quality music opportunities for those that can afford it’.

I see a particular demographic from a whole generation potentially missing out. But there are a lot of great people out there doing all they can to help change this.

What’s the best advice you’ve been given?

Practise hard and stay humble.