Helen was born in Toowoomba, Queensland – the youngest of an intensely musical family. Helen was steeped in jazz and classical music, participating in vocal groups and studying classical piano from age 6.

(I actually did do all those things from age 6) Helen began gigging as a bassist at 17 when her mother Peg, a talented jazz pianist, found herself in need of a new bass player- the departing bass player provided one lesson on the electric bass and then it was off to the gig on Saturday night!

While completing a Diploma of Creative Arts (Music) at The University of Southern Queensland, Helen studied both classical and jazz piano, arranging, orchestration and played in a Balinese gamelan orchestra.

After relocating to Brisbane in the late 80s, Helen switched to acoustic bass, since her interest in jazz had turned into a profession as she became a sought-after bassist for local jazz bands.

Late in 1990, Helen joined Bebopera (Leah Cotterell – vocals, Tony Hobbs – saxopohones, Steve Russell – piano, and Ken Edie – drums) – at that time, the most successful and innovative of Brisbane’s jazz scene. When Bebopera folded, after a busy few years including tours to Sydney for performances at the Manly Jazz Festival, and iconic venues such as Soup Plus, Helen started the quartet Good Bait.

Good Bait (Andrew McNaughton – trumpet, Jamie Clark – guitar, and Paul Hudson – drums) spent the latter half of the ‘90s playing gigs and festivals around Brisbane. In 1997, with support from the Australia Council, they recorded their eponymous album featuring compositions by Clark & McNaughton, released in 1998 to critical acclaim. In September 2000, again with an Australia Council grant, they toured South-East Queensland and New South Wales. When McNaughton moved to Melbourne for some years, the band continued as a trio. In more recent times, the trumpeter has returned to Brisbane and the band has performed again as a quartet.

Although identifying primarily as a jazz musician, Helen’s career has evolved to include many musical projects in differing styles. From the mid-90s Helen began to find work as an orchestra pit musician for national touring productions of musicals such as 42^nd Street and Singing in the Rain.  Starting with the locally written and produced show Starbuck, Helen began working as musical director for theatre productions: credits include the long-running cabaret series Women in Voice, the Queensland Theatre Company’s We Were Dancing and several productions with La Boite Theatre Company, (Way Out West, Long Gone Lonesome Cowgirls).

Helen was also a founding board member of the Brisbane Cabaret Festival as Music Consultant: she performed and provided musical direction for many of the shows and tours generated by the organisation.