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Lets talk about your CD "Avalanche". How is it constructed and what was your idea about it?
There are basically two different bands playing on this recording; my quintet (including Nils Wogram on trombone, Andy Bemkey on piano, Michael Formanek on bass and Anders Hentze on drums) and my quartet (with Karl Wenninger on guitar, David Miller on bass and Matt Jorgensen on drums), and on one piece I added a few strings to the quintet (Rob Thomas on a 5-string violin, Lee-Ann Pinder on cello, as well as Karl Wenninger on guitar). The two bands are quite different in style, but complimentary. I wanted to showcase these different sides of my musical personality, and simply document what I have been doing so far. Even though this recording might leave a few people a bit puzzled because they cannot really categorize me, I prefer that to being put in the drawer of "avant-garde player" or "straight ahead player" or whatever. Also, I thought of trying not to bore the listener, and keep giving them surprises, so they will be intrigued to listen once more.
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Tell us about your background. I know you have lived for extended periods in Australia, Denmark and France especially. What do you consider your home? Well, I guess I am more Danish than anything else, although born and raised in Australia, but I left Denmark when I was 18, and I haven't kept much contact with the Danish jazz scene. When I lived in France I considered that to be my home, but when the opportunity came to spend a couple of years in New York, I was happy, and now I feel perfectly at home in the big apple, and I intend to stay here. Does your geographical background have an influence on your music? Yes, definitively. I have been living in 5 different countries (Australia, Denmark, Germany, France and the US). Musical aesthetics and priorities in musical education vary very much from country to country. |
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What are some of the more specific things in European jazz that have influenced you?
The calmness and the space in a lot of Scandinavian (ECM-style) jazz corresponds with the environment up there, but it doesn't necessarily fit to the up-beat pace of a New York City lifestyle.
From France and Germany there is a lot of very interesting music with some very avant-garde concepts, and which is harmonically very influenced by 20th century compositional music, but very often the rhythmical aspect is neglected, especially the swing feel.
On the other hand, concerning rhythm, many European musicians have been exploring the possibilities of incorporating rhythms from Eastern Europe, India, the Far East and Africa, to a much larger extent than many American musicians, who traditionally spend more time on getting a good groove happening in 4/4.
How did being in NY influence your music?
Moving to New York had a major impact on my music. Both educationally and aesthetically. The music I had been playing and composing before I left Europe, was very much in the tradition of European jazz. I didn't have a strong be-bop background, but I was writing and playing music that had improvisation and strong rhythmical elements in there. That was - actually still - is my definition of jazz. But I felt a need to build a broader foundation in the traditional jazz language, so I came to New York to study at the New School. Especially time feel and chord changes are things that are better taught here.
Concerning aesthetics, I must say that the exposure to more commercial music, especially R&B, hip-hop, and soul music, have changed the aesthetics of my music. Earlier I was a bit of a purist snob or an anti-large-audience-pleaser, because most music I knew was either extremely commercial or extremely non-commercial. Especially the "acid jazz" movement taught me that one can mix successfully more avant-garde concepts with more groove oriented music. My next project is by the way in more of an acid jazz feel. I am basically just trying to combine elements that I like from all sorts of music, and trying to be honest towards my own personal taste.
Who are your musical influences?
Saxophonist who have had a major influence on me are: Dave Liebman, John Coltrane, Wayne Shorter and Joe Lovano. Liebman was probably my first big idol in jazz, but when people started mentioning his influence in my playing I thought I had better move on and study some other players. But I did learn a lot from him. I still have a lot to discover among the earlier tenor players before Coltrane.
Since I stopped playing tenor, transcribing tenor players didn't make so much sense to me, so I started checking out especially trumpet players like Tom Harrel and Chet Baker and more recently Lee Morgan.
Actually, I realize that much of my listening has been more focused on the music in general, on concepts, on interaction among the musicians and on the harmonic language, than on a particular player. Dave Holland's band with Steve Coleman on "Extensions" is one of my favorite. Of course Miles Davis' group in the 60's, and Quest. The very first Quest record from 1982 is one of my absolute favorite records. For a more modern approach in writing, I have listened very much to the French clarinetist Louis Sclavis' band, and also Tim Berne. A band that does some extremely hip things rhythmically, but who does not get much recognition in the states is John Mclaughlin's trio with Trilok Gurtu.
Among non-jazz influences, I must mention that I listen very much to contemporary classical composers like Schoenberg, Shostakovich, Bartok and Stravinsky.
Do you have a classical background?
Theoretically yes, I studied musicology for 4 years when I lived in France, but I never really studied classical saxophone. I did play classical piano though, for 10 years before getting into jazz and before picking up the tenor saxophone.
How did you get into playing jazz, and more specifically the soprano saxophone?
I was playing piano in my high school's big band and I had the opportunity to borrow a tenor for the fun of it. I immediately knew this would be my instrument and that I would let go of the piano for it. The soprano came later, and now I play soprano exclusively. It is an instrument that demands another kind of attention than for example the tenor. I can always hear when soprano players are tenor or alto saxophonist who are just doubling on soprano.
I guess you have often been asked about your opinion of the much debated subject female jazz instrumentalists...?
There might be some differences in the sensitivity of a female or male musician at some point, women often being brought up learning to express their feelings differently than men. But many female musicians react subconsciously against this and play louder and more aggressively to avoid the sissy-girl image. If there are not so many women jazz musicians around, it is probably more due to the lifestyle connected to it. Family life is often a more important issue for women then for men, and it is difficult to balance this with the life of a touring musician. Touring extensively in more or less comfortable conditions, hanging out late at night playing in clubs and socializing with colleagues is a different issue for a woman than for a man.
How is it like to be a musician in New York?
One frustration of being a musician in NY is the extreme categorization of jazz. To play in a NY club, your music has to be exactly like every thing else they program. The avant-garde scene has to be as noisy as possible, the more commercial places have to be extremely commercial, and the straight ahead places have to be extremely straight ahead. Another side is the financial side, which is totally ridiculous. But the good sides are the concentration of excellent and accessible musicians, the famous NY creative energy vibe, and being able to follow what is happening on the scene in all styles, without having to wait for the release of a CD or a tour coming in to your home town.
What is up next? And what other activities do you have?
I am getting into producing other people's records. This is a field I really like. I produced my own CD by myself, and it was an extremely challenging situation to be in one person the composer, the band leader, the performer and the producer. Having an overview of the situation - deciding when we have a good enough take on a tune etc. - is tough, when you have a limited budget and when you also have to be relaxed and perform your very best.
I compose a lot, not just for my band. Right now I am finishing off a string quartet. (No Strings Attached) An extended piece for improvising, but classically trained musicians. I am very excited about this string quartet. It is very rhythmical, much inspired by African and Indian rhythms, and has a lot of poly rhythms and odd meters.
I mentioned earlier that my new project is in an acid jazz direction. Funky and odd meter grooves, a lot of crazy energy, and a punchy horn section. But still room for subtlety and flexibility.
