Colin Sutton

Senior Lecturer: Popular Music


Colin Sutton

Job title: Senior Lecturer: Popular Music

Courses taught: Bass Guitar tutor - BA (Hons) Music (Popular)

Specialisms: bass guitar, improvisation

Colin Sutton began playing bass guitar at the age of 14. In 1996 he left his home in Essex and went to study jazz at Leeds Conservatoire, gaining his Masters degree in 2002. As a student he was twice awarded the Michael Grady memorial prize for composition.  He has been the bass guitar tutor on the Pop Music degree course at Leeds Conservatoire since 2005. 

As a founding member of LIMA (Leeds Improvised Music Association) Colin has been involved in some of the most aggressive, cutting edge music to come out of the UK avant-underground scene.  His own trio Minghe Morte (“gore-spattered car crash jazz” – Jazzwise) were a flagship group for both LIMA and Jazz Yorkshire, gracing the front cover of Jazzwise magazine and receiving BBC Radio 1 airplay from Gilles Peterson, along with further support from Stuart Maconie on 6Music.

His versatility and passion for all styles of music have seen him involved in numerous projects across many genres.  He was a member of award-winning country singer Lucie Diamond’s band, has recorded a blues album with former Working Week singer Juliet Roberts, and has done session work for BBC television, Channel 4 and Universal Records.

Over recent years he has been a member of slo-mo house group Black Diamond Bay (signed to Exceptional Red Records).  In 2011 BDB made it onto the Radio 1 playlist and played Leeds and Reading Festivals (and previously played the Big Chill, Kendal Calling, B2gether in Lithuania and Soundwave in Croatia).

2012  saw the release of the critically acclaimed Bilbao Syndrome album ‘I-VI’ on Babel Label (an alternative extreme metal group consisting of members of LIMA and London noise crooner Andrew Plummer): “…one of the most ambitiously heavy things to come out of the North Metal scene in a long time.”  (Grind Magazine)… and “Awful…..another wasted effigy aiding the death of music.” (The Review).

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