Jens Larsen is a Danish jazz guitarist who has become an internet celebrity for his YouTube lessons.  Aside from his incredible jazz guitar chops, he has posted over 700 YouTube videos, has acquired almost 150,000 YouTube subscribers, and recently released two books.  Joe McMurray and Aaron Sefchick sit down with Jens to talk about his journey, how to approach jazz as a player and as a teacher, musical gear, online success, practicing, composition, and recording.
Jens has become famous through his YouTube lessons on how to play jazz guitar.  In Part 2/2, he says that he originally started posting transcriptions of jazz solos, then began writing blogs for UltimateGuitar.com, and finally started posting videos on YouTube.  Recently he released two books, Modern Jazz Guitar Concepts and Advanced Jazz Guitar Concepts.
Aaron asks Jens how he approaches his practice sessions, and Jens provides an in-depth look into his practice routine.  He warms up by playing chromatically across the guitar neck in all 12 keys, he practices 7th arpeggio patterns, triads, and open-voiced triads over the entire neck, and he creates simple melodies by ear and transposes them to all 12 keys.  Then he practices his triad ideas over the chord changes of jazz tunes.  Jens practices with his metronome set on beats 2 and 4, but also experiments playing with the metronome set on unusual beats to spur rhythmic creativity.
Jens tells of some of his most meaningful performances as well as his dream show.  He talks about his band (Traeben), how he/they compose songs, and the differences among his three albums.
Finally, Jens gives us a few inside looks at his other hobbies and interests outside of music!
Welcome back to another episode of Fret Buzz The Podcast. A podcast for musicians
focusing on how we use musicians and professionals approach our craft, giving
insight to help us all become more informed and better musicians. Hi. I’m
your host Aaron Sefchick and this week we’re gonna get into part two with
Jens Larsen, all about jazz guitar. Real quick before
we start today’s show, hit that subscribe button. And as well, head on over to
iTunes and give us a review. More importantly, if you really enjoy
Fret Buzz The Podcast, share an episode. That is where it’s at.
Spread the word. And with that, let’s jump into part two with Jens Larsen on
Fret Buzz The Podcast.
So you have this whole you have a video about getting a good
jazz tone from any amp that I watched at some point so as much as the guitar I do
feel like the the amp has almost equal importance in your overall tone but you
you managed to get a good sound out of a bunch of different stuff like an AC 30
and a some sort of marshall like a Jew’s a jcm800 or something yeah that was I
mean I think the marshall was one that was the most surprisingly the most
difficult because actually I gave Marshalls that I thought were really
really easy to play with but this one was really bright but I think I mean I
think the end is important definitely and I also think one thing is getting
what you consider to be an OK gesture on like that and then the another thing is
actually finding the tone where where you really think okay this is gonna be
my tone and I realize it and it’s gonna work
when I play I think that that’s another story to be honest but well yeah I think
you can you can do it I think that the thing that
nobody ever really teaches people and that’s also kind of ear training is this
idea that you actually hear the different frequencies involved in a good
tone that people will say well it has to be guessed so it has to have a lot of
mother base which is just completely untrue so I’ve actually been into a
store once and they said oh you want to play just play you need to buy a bass
amp that’s the worst thing I’ve ever tried so so for me I mean that I think a
lot of the great classic Jeff’s records are made with thinners so it’s it’s
basically twang amps and it’s it’s all about how you set it up and then then
that you make sure to well I said I think especially cut out enough low-end
noncoding out enough highest and then really focus on getting the right kind
of meets this and I think you can do that with if with a bit of searching you
can do that with most amps I mean the video that I made of course
was made together with a recording engineer and a record producer who just
really knew those amps so we didn’t agree incompletely on what you wanted
for tone but he would always just be like all it has to be this this is this
works okay that’s not so difficult he’s also thinking like that he’s
already fine-tuned to recognizing this is too much high-end it is too much
compression there or this is too much low end or stuff that that I I’ve tried
to train myself in getting I’m getting better at it now awesome both with both
with just guitar on but also just with like record production and you can
actually hear compression that stuff like that I couldn’t hear the beginning
I really sound funny but I couldn’t really hear what it was
now I can go out okay this is compression going wrong no well what amp
would you what do you gig with what is your or what would you like to gig with
if you had you know any choice actually I keep mostly with with with what I
would like to use also because I’m using a modeling
I find that really really practical and it sounds what my my choice
when is usually like I also have a whole an old Fender Twin and that is pretty
much what I really really like of course with the fender trainers like to get it
to really feel nice it’s always too loud doesn’t really matter what kind of music
we play it’s always just too loud so it’s just not practical it’s really geek
with I want and then one of the things that I do a lot is also directly a lot
of school concerts so that means that I’m often playing in situations where
it’s like me and the bass player and a session player and a singer for a
hundred kids that are like five years old so that’s that’s a certain kind of
volume and that is not the kind of volume where you get a nice compression
from a Fender Twin that’s just the radius so so the whole I’m using a
fractal audio x8 and which is just like the floo floo version of the EXA fix and
that really works well for me because I can get that kind of feel but I could
turn it down and another thing that I found which was probably the main reason
why I changed was that in general when you play a lot of festivals then a lot
especially the smaller festivals in Europe that I played us then they will
hire a huge PA and they will hire the band to complain but the guy sitting
they’ll hire the equipment but the guy is sitting behind the knobs who’s the
summoning here is just the guys with the biggest stereo at home so so sometimes I
would come there and I will be playing and we will be being really straight
ahead yes and I would be bringing my like my Mike Gibson
yes 175 and then I would still sound like John Frusciante in the PA and that
was so frustrating I hate that so much and that was curious because people have
also just people who are not paying attention with some in years and they
may be really good at pop music but them they’re not good at yes they they will
just do what they always do and then and then what’s your beef red green sounds
like sex machine from John promises this just doesn’t work
what I found really was that when I then when I bring the X effects they don’t
have to put a microphone in front of it they get this di and I guess it’s just
sort of a pattern interrupt or something so they just they don’t have like oh I
have to do this and this mis’able EQ and then it’s screwed up so they will just
go okay how is the sound and then they don’t mess with it that’s
been the huge game changer for me actually which is a weird place to have
that game changer but it’s really used a lot do is there a reason you don’t I
mean I I understand that the twin is got a great sound when it’s loud but like I
use a Princeton Reverb and that’s too small for certain situations but you
know why not have a deluxe and it print for maybe not the festivals where you
have a PA like you know house sound guy but do you not ever try to just use a
smaller answer that you can turn up until it compresses properly well I
think at the time where I chose to go with the fresh no audio it was like I
wanted to use effects so I needed to get either something that would do the
effects and and the M sound or I would need to get an amp and some effects and
that investment was just going to be bigger and then it was a gamble at the
time I was like I didn’t know really but so so I went with the X effects and then
then then I just really liked it and then it’s like then there’s no reason to
go when if I just need and if I’m going somewhere and I’m and I’m flying I can’t
bring an amp but my X 8 I can just throw that in the luggage it can handle it
yeah so I can just bring that and then just just use the effects and then I can
easily play on any kind of situation so for me it’s just it’s for now it’s just
convenience I sometimes think it’s nice to use a real amp but but the difference
is so small to be honest yeah they’ve gotten so good at modeling nowadays it’s
it’s pretty it’s not a perfect but it is damn close in like you said it’s it’s it
really comes down to the convenience factor the fact that you
just throw it in your backpack or whatever like that and honestly once you
get to the gig and all you have to do is this you know handle a cable
there’s no biking there’s no feedback problems there’s no it’s and you already
have all the levels set the way you like them everything’s you know gain stage
perfectly it’s just convenient it’s just so much less of a headache to deal with
obviously amps are great and when you’re in a studio situation and recording you
know you would want to use an amp to try to get that pure sound could go pretty I
do I use the because I can also just plug it into the computer yeah so it’s
it’s for the video stuff it works perfectly as well yeah and also actually
one thing that I find this a is my problem with fender and often it’s the
open back thing because that means that we have all this low-end that sort of
growing everywhere and and that’s have to work with and I
didn’t try that out actually I did try a lot of other amplifiers but some of the
places when I’m playing in schools we’re playing like in you know in sports holes
and stuff for that and the acoustics there are like crazy so any kind of
issue I would have with something like that
is it’s nice to be able to take that away and here I can just eat you that
out it’s a problem it’s gone but you cannot do that with an open back cabinet
that’s that would be something where and I don’t know how it is because I never
really did that we did all those concert our concerts where I was already going
with with the ex-fix but I played a hundreds of concerts for that and it’s
always it’s always worked in that way and I would imagine that to be a huge
disadvantage for me personally when I bet you’ve never had a fan come up to
you and say I can’t believe you’re not using an amp because to them at all in a
sense it’s also safe I don’t think no I didn’t like now I’m using the x8 before
I was using the fractal audio the XFX which is like a
refuge and then my controller was like a Behringer something and I’ve had quite a
few sounded misko look not looking at what was I’m just looking at barren
German girl like you’re using this because I don’t know how it is where you
are but behringer does not have a great name so but usually what I’ve had is
when I get skepticism especially to play logic in use of last year festivals
where people actually know what they’re doing you know with the sound in years
but I all they have been polite or they’ve never told me like I don’t like
it they were usually I get like this man that sounds good you know this this
really works yeah so so for that I think it’s is it’s good I don’t know it was a
gamble for me and it paid off and I don’t think I’m planning on changing it
actually yeah any time soon maybe I feel like it would be that it
wouldn’t be because I have to because I think it’s better really yes I can’t
imagine that the audience can tell yeah our last episode we actually recorded
with a guy who his entire band only is the helix or at least for the
instrumentalists and he was he was really talking about how he you know
some of the details of how he gets it to sound like a real amp and it’s a little
complex but it it has good results in the end yeah I mean I think for me it
actually wasn’t for the ex-fix it wasn’t that difficult of course you do need to
to make sure that you get a good speaker and that’s not like you don’t go and buy
the most expensive FX unit and then the cheapest PA speaking you can find the
stuff kinda work but but with the stuff that I have I thought these QC monitors
and they they’ve really done the job it’s okay
so for and also for anything I do but I never need to bring anything else if I
do a solo gig or a rock gig a musical it’s always the same and as you look
it’s one petros you mentioned you plugging your your axe FX or
your fractal it’s directly into the computer to record I think it’s not a
bad time to transition into your online
what do you call it your you’re almost like a online celebrity amongst
guitarists at least around here people come up to me and they’ll be like if you
some of my students especially my adult students and like have you seen this any
of yemm’s Larson’s stuff online I’m like oh yeah absolutely I’ve got his book and
I’ve got and you know you’ve been on our schedule for a while coming up and I’ve
been excited about it yeah sighs Joe said something that’s like of course I
know yen’s yeah yeah and I think that from my
perspective you have some of the clearest most immediately applicable
lessons in the jazz guitar world that you can find online they’re just they’re
very accessible you’re free material is is awesome so I think that that must
play some part in your your success here but wouldn’t when did you decide to try
to get into the online world and how did you start going about doing that it was
kind of like most thing else over the M is it’s a random thing almost because
like I said I was done with conservatory and I was doing all the geeks and I had
my band concerts and stuff but when I was teaching it was only like ac/dc
metallica Lynyrd Skynyrd Katy Perry you know and that’s that was that’s cool but
it’s also not what I indicated do and I really felt like teaching jazz as well
and so one thing I found out was that on my website the thing that people came to
check out on my website and that there was no surprise to me was really when
you thought it was the transcriptions I had out their solos because they’re
interesting to everybody there you’re not gonna go check out some random
guitar player and his music somewhere on the web that doesn’t really happen so so
then then I thought well maybe if I start maybe making some lessons
for my website then then I can get some more traffic or maybe maybe even get
like next year I’ll get one more guy at our concerts every time or something
like that you know it seems like every time and I can also just I have all
these things I think nobody is teaching or nobody is teaching it this way and I
want to teach them that way because I think that just made a difference for
how I understood it when I joined it like that so good but there was that
then I started first with just making blog posts and I was posting them over
on this website this Russian website called ultimate guitar so that was kind
of how that’s done and then then it actually got most of it got received
really well over there and also like a lot of the people that I that I still
talk to and know from sort of the YouTube world we’re also posting over
there so Chris Supra you know him Australian top here I don’t and they
were posting over there as well so we were a few people that the can use and
Chris was really the one who told me like man you have to do video you know
the stuff you’re doing is great and I think it’s really interesting but it’s
gonna work so much better if you have a YouTube channel and at that time he was
he had like twenty five thousand subscribers and YouTube channel he does
like a lot of solo lessons checking out how to how to play anything from Pantera
to faheen and all that stuff and and then then I was sort of thinking a
little bit about that and I’ll just try take my mobile phone so somewhere on my
channel there’s like this really old lesson on shell voicings with like 15
minutes of complete awkwardness yeah and and that was kind of how I started and
then I was thinking well how do you do this and then I was worst one lesson
somewhere where somebody was talking about well if you want to make it make
it on YouTube you have to be consistent so you have to make a lesson every week
and then I thought wow okay let’s try that and that really works
how that happened and not stuff was like I mean the good thing is if you’re a
musician if you’re guest musician you used to practicing and you’re used to
doing that every day so being consistent or something is not like a giant heap
and being able to make one video at the time now it takes me really long to make
a video because you get nerdy about it but at the time it didn’t take me that
long and I also had like a ton of things that I wanted to talk about so the first
year of making videos with my phone and I spent maybe one or two hours on a
video and then I would just uploaded and then it would get like a few hundred
years and I was happy it wasn’t monetized anything else this thing out
this is from and people were signing out and then all all that sort of gradually
you think well maybe it can become more and maybe I should get like an extra
camera and then things are slowly just evolved into what it is now where it’s
it’s becoming one of them well it’s becoming the thing that everybody knows
before which I guess I mean I guess it’s among guitars I don’t really get that so
much I get sometimes people will come up to me in the street I will happen
sometimes but not but not so often for those I don’t feel it because the other
guess people around me don’t really know about it it’s not something that’s among
the other instrumentalists to down around my colleagues so sorry that
that’s just how that that work but I mean I know I have a lot of subscribers
and both of my making lists and stuff for that and it’s become a thing where I
mean you want to do something where you can really get people to learn in an
easier way than how I had to learn it but I think that’s the main thing also
just okay how do you actually explain this in a way so that you can you can
look at it and go like okay I get the principle and then I can take this away
and and start working on but you can also heal like we talked about earlier
this is for adults into that way it’s from people who are analytical because I
can’t make a video where I’m like okay we’re gonna be playing take the A train
for three weeks and you have time to by ear but but at the same time at least
I didn’t figure out how to do that yet so so it is it is like that but it does
make a difference to that and I can just get to think about Jess stuff which is
what I like to do you do any live sessions you don’t love you but it’s
it’s been it’s been difficult is like now I also have a video editor because I
went to making three videos every week which is also right and I beach the
schedule and at the and I start when I started doing that I mean I’m still
digging I’m still teaching at the conservatory and and I have a family so
it’s like that was getting a little much and I tried the live thing a little bit
but I didn’t really get to it and I didn’t really like it that much and I
think I want to do it again at some point also because now I’m now I haven’t
yet it’s a noun outsourcing some stuff I still need to figure out how to do that
I have no idea how to do that yes but but if I can free up a little more time
then that would definitely be something I do I probably I’ll do that like I have
a Facebook group where where people that are live in more interested can also
just join in and it’s also a place to post videos if you want to have some
feedback or if you have find something nice somewhere and so if you know it’s
just like community around it but on Facebook that would be so an obvious
place to try it out also feel safe for me YouTube comments parrots are off game
so yeah I don’t know I don’t actually care is I mean I’ve been on YouTube long
enough if somebody tells me I’m stupid
with your lessons do you I’ve you have lessons for sale online but there do you
have any full courses but that is definitely coming I need to solve a few
problems with my problem I need to figure out how to do that technically on
my website and I need to make the cross and then that’s definitely something I’m
looking into there I didn’t do like I’ve done small lessons because like the
small downloads that was the first that yeah and a big part of what makes this
possible for me is that I have a patreon page that supports me and that’s that’s
been huge for me to be able to that’s the reason why I quit working at a music
school also makes it a good service right just to focus on doing the online
thing and and in that I am also using the smaller lessons that’s a part of the
thing that the people get access to so I didn’t change that yet but an online
course is definitely something that would like you also just to try and find
something where you can give like a longer longer act to it and people need
to also commit to it in that way because that’s just so difficult like making
YouTube videos in a series it just never works it’s – that’s just not how you
consume you you you continue to you look some for something and you want to have
a sort of complete independent piece of information that you can take away and a
course with ten lessons or something even though people will request it in in
the comments once in a while my experience is that whenever I do stuff
like that it doesn’t really I tried it a few times it doesn’t really work to make
four or five episodes on something so yeah so an online course is definitely
yeah in the planning yeah wonderful I mean obviously your book for everybody
out there Matt modern jazz guitar concepts is uh
is a pretty pretty great grab I’m working my way through it slowly I think
I’m on chapter three or four the one using the harmonic minor over the five
chord yeah I love that sound five islands it’s perfect for broke I
mean but it’s just the sound of a minor dominant or like a dominant in a minor
key but yeah and so you have that book and the second book that I wrote call it
bombs Jessica’s our concepts okay how did you lie was that also the same
publisher fundamental changes yeah okay someday when I fit when I
finally get through this one slow going there’s no need to rush through this
kind of thing now but I think it also I mean this book and that you have and
also the second group are really made for beings of the chapters are
independent so in that way they kind of have a little bit the thing of the
YouTube that it’s like you can just take this one topic and then go into that if
you feel like working on some core or how many you something that’s chapter
four that you can grow into that you don’t need to look at the other ones
necessarily and of course they’re still like especially in the first book the
modern Jessica concept there is some progression in there where it might be
easier if you start on the beginning but if you’re already familiar with with the
way of thinking and play some songs then probably you can start anyway in the
book you want to also because we learn we learn in different ways and
especially if you’re not in some sort of curriculum if you’re running a school
then there should be some freedom to also just go by what you feel like
working with I don’t know how you guys work with for me it’s that’s been a huge
part of what I’ve always always done I just find stuff that I feel interesting
you know just work on that for some time and then take something else and yeah
before you were that say like for instance if you heard a solo that had
some great diminished lines you just decided to focus on diminished four for
the day in your practice session I think I’ll do longer longer periods than that
but yeah yeah yeah yeah like this morning that’s probably gonna be the
topic for me for practicing this morning I heard this Kevin hey solo kinase is a
piano player now if you know him it was good power I came across this solo he’s
playing where he was doing some stuff also actually with diminished and a lot
of triad stuff that I was like wow yeah this is interesting so so that’s
probably gonna be something that’s that I’m gonna begin to ease and how long
will you be able to sit down and devote to your practice today today not a lot
actually because I I was have to finish the and
to finish the video for tomorrow and then the night was I had
about me you guys I had to shoot a video for the patrons and tonight I’m I have
suffered enough with a good friend of mine who is a guitar player from Iceland
who’s here on tool so I practiced this morning like just technique and stuff
and then I did some stuff for the patreon that’s me
if you had one hour to practice could you break down your where you would how
you would divide up your time in an ideal day where you wanted to hit you
didn’t have a gig that night you just had wanted to work on a few things I
think yeah I can I mean I think most of its kind of simple actually for me
because if most of my practice is really just that I have a technique thing that
I do which is sound always completely the same we also have a video on from a
few years ago and it essentially it’s the same thing so he’s just warming up
first being just a chromatic scale across the make then playing I always
play everything’s intro keys that’s just then you have like a set amount of
exercise you have to do and you can just create some variation with it so I’ll
first take one for essentially I do the set of course a picture over the entire
neck just up and down essentially from the lowest to the highest note I choose
one type of one type of caught every day and it’s a bit random I’ll just take
something and then just play that through all 12 keys triads all 12 keys
then over the most trials I’ll play some stuff with that because that’s really
good for your right hand kind of coming out of the bluegrass thing actually is
that so I’m really I really like the idea of
working on your alternate picking with the open voice trance because it’s just
so annoying it sounds really good but it’s just so
annoying to work on or it’s so difficult it’s not annoying this is difficult and
then you can work on you really warm up your right hand yeah and then I go into
playing scales and exercises and scales again
right now I’m not doing in positions I sometimes do positions but the period I
mean wrong I’m just doing the lowest to highest note and then
just stuff with first thing to scale those two eyes nose then some sort of
exercise and for me a big pink thing with with with improvisation is
developing flexibility and being able to come up with new things hear new things
through on the guitar so I’ll first play the scale and then I’ll just take some
sort of exercise that can be like playing try and a pattern 7th chords
drop two voicings whatever just play that in that scale of the neck lowest to
highest and then down again and I often try to just come up with stuff that I
didn’t really do before so that I have to I can’t have to come up with it on
the spot I have to solve solve the problem while I’m playing it and what I
found is that very often especially if you’re doing more simple exercise and I
found that really useful for my students also but if you have to think about that
you’re playing diatonic triads in a scale then that’s really difficult
because it’s just like this is the third note in the scale and then the third of
that one and three and this gets complicated but if you just play by ear
and it’s a simple melody then you can’t hear it so you kind of try to learn to
play simple melodies through the scale and I do that all 12 Keys different
things and and yeah you can check out that video if you want to see some other
things that I do it’s all like try parents and setteth go pick your
patterns and stuff like that do you remember the name of the title of the
video for our listeners my keytar practice routine 2017 awesome it’s
what’s called so so I’ll do that and then for the rest and now of course I do
this sort of with with a metronome on some too and for slope sitting usually
and then I’ll just play songs essentially don’t just sit down and just
play a song it’s like especially that song I’m working on and for the rest
yeah just trying to and take some some tune try and play on it whatever I feel
like I’m working I’m working on these thing with triads or mess around with
that what I also spend a lot is that I’ll put the metronome on
something strange so maybe not strange but maybe on the Doric worn out on the
two ends or something just just to to work with a put that as well and then
that’s really what I do of course if I’m working really intensely on something
that’s difficult with the Triads or something like that then I won’t do like
really crazy miserable stuff it’s like somebody needs new yeah I think that’s
incredibly incredibly helpful for people to hear like a very structured practice
session and start to incorporate that into their own you’re practicing and you
can you know you can practice less and get more out of it if you’re smart about
how you practice yeah I think for me at least the whole thing about being sort
of open-ended about a technique that you don’t always do the same has been been
really useful also that you’re just always trying to just change things up a
bit it’s like caves on this a million times
this is that eating out or something and that that I definitely could recommend
to anybody so do you have any big big concerts coming up you are actually
practicing specifically for not really I have I still have to get the date but I
have a dual recording with a singer where I need to practice some stuff but
it’s mostly gonna be like standards but I still because it’s too old and I still
have to play soloist then I have to practice but I think it’s just gonna be
some pretty sort of basic songs like how do you zero shine
gentle rain and I forgot I still need to start work on we have it’s a few weeks
from now probably we need to fix the date thank you that’s that’s the biggest
thing I have coming up right now so it’s time I mean this is the first of
September and tomorrow the conservatory starts so I mean meetings all week so
that’s that’s the first thing I need to get through what are the biggest venues
that you have played a-any what is the most meaningful show
you’ve ever played well we played there are a few bigger jazz venues in Holland
or in vanilla lands the biggest ones in Amsterdam is big marriage and then
there’s one that’s of a similar size called Anton Finster Rotterdam and when
we presented our third CD with my band Toby
then we did that mountain on Finster and that was that was a sort of a big moment
in that way and it was a really comfortable gig to play because we’d
spend a long time on the record and we already kind of toured with the
repertoire also so we could really it really felt like we could show whatever
sound I sometimes I don’t know how how that feels but for a lot of I mean yes
is not really produced so the music grows when you play and very often when
you hear recordings they didn’t first tour the material which was to some
degree also true for for a lot of stuff that we did but we did try it out of it
what we needed to do that but but you have this thing that you listen to the
record and then when you hear them live it’s evolved so much that it’s just
always going to be ten times as good yeah and and that was how that failed to
do that concert so that was that was a huge moment for me I think and I think
another for my for me another sort of big moment was when when I was still in
school and my breaker was giving a masterclass and missing then I play a
concert with him that was also a big thing at the time was because it was for
a Jess concert with like 500 people but that’s big so is there anywhere you
would like to play you know dream gig no not so much actually I mean I played in
game house or playing on some stuff so the big venues and stuff it could be fun
to play in in sort of the big venue in Copenhagen because it okay there you
know with cooking jazz house but but I played I
mean I played on also the bigger festivals and coping we did with with my
band we did a tour in Canada by now it’s like six years ago five years ago
so we tried some of that as well we’ve done a lot of throwing around Europe
also and yeah I mean then we’ve we’ve tried a lot of things with that so in
that way it’s not so much thinking I think the there’s a video of us playing
playing one of my songs for a television show also in a year in Holland which was
which was a huge experience but maybe not necessarily a very positive
experience I mean it’s because it’s very stressful eventually and also because
they were it was not live it was its recorded live obviously but it was not
live on television and but the act before us were having trouble so they
took two to three times as long which meant that we had like one shows and
that that was the they told us that also and afterwards the the guy who had the
TV shows it’s a program about music is very serious program but he interviewed
me about the ROM album like we really just released an album and then he
interviewed me about the music for the previous novel it’s very strange
with I know I want to be respectful of your time but before we do and I do want
to ask cuz you’ve mentioned a couple times albums and your band and whatnot
like that and to me I’m a studio rat I love the idea of the studio could you
talk to us a little bit about your well first of all your band because I’m I am
very interested in the band and and what you guys do and your albums but at the
same time the studio end and really the composition and how you guys
create the songs and how that process goes and how you specifically come up
with ideas and and and what how you bring that to the band yeah so that’s I
mean with the bands of my band is called tubbing and it’s essentially it’s a
quartet so it’s tenor saxophone guitar bass and
drums and I write 90-95 cousin of the music so I write almost everything and I
think the way I write music is probably that I will have a really clear idea
about the melody and how I want to play it and then the next thing I’ll try to
imagine is probably what the drums needs you and then in between that idea so I
have only about what I need to tell the drummer for me the drummer is in that
respect the connection between me in the drummer is the most important thing so
that’s how I bring that to the band and then essentially what they get is very
close to just like a lead sheet what you will find in that because it’s just a
melody and some course and it doesn’t really make too much sense like the
guitar part will probably be a lot more elaborate but it doesn’t really make
give them any information to have that so I’ll just give them the melody in the
course and then then we take it from there maybe I’ll have a written bassline
I sometimes do that as well but and then and then we just play I mean when
involve on it because with yes of course there is even though I bring in a song
there’s always going to be an element of them interpreting that and finding and
it’s very important that you find the people who can interpret so in the right
way and have an idea about how you work with it I think but I think actually
that must be true for any kind of music I mean yeah I mean so so that’s that’s
basically how it is and how that works and then I mean recording it it’s really
just a live recording yeah and then
sometimes you’ll go in and you can of course fix stuff if there’s something
that went wrong but in most cases with the kind of budget that we work with we
don’t really have time to do it we have like one or two days in the studio and
then they’ll be done right so we might do a bit of that with with timing we’ve
made three albums and they’re very different because the first one is an
album with a lot of Scandinavian folk music that I arranged and then the
second album is more like it’s mostly my compositions and then it’s more like a
modern jazz thing to the mainstream on and yes and then the third album is in a
period where I was messing around with mixing some more rock influences into it
and trying to get get that in there and that’s some different kind of
composition also because the the second album has all the extended chords and
all the Wayne Shorter harmony modal thing happening and that is there on the
third one as well but a lot of it is triads and a lot more riff based and
sometimes it doesn’t have harmony in that way it will have just a riff or
a B string or so so that’s a little different yeah that way in that way
though the three albums are quite different and with the third album
because we were working with that and the guy who worked with who recorded it
he also said well you should consider doubling up on some of the riff paths
and also we pride we actually also try to double up the saxophone path
someplace where that sounds so strange but because it’s also and because those
where it still has to be it still has to be live and then that means that
sometimes the soul of this source I have solos on all albums that every date and
it’s really funny when you then have people going like man that’s my favorite
so yeah you know that and also of course it’s like you know it’s like music and
the good thing about jazz is it’s even if it’s on a record
it’s just a moment and you have to remember that it’s just a moment and
then sometimes stuff doesn’t work out the way you wanted to but and of course
sometimes you will also cook you can go in and change things as well we did I
think I have done on the last album I did do one solo over also just like this
needs to be different to get this role because the rest of the band is playing
better if I fix this solo so that I’m more happy with it the whole thing is
better but in general because yeah the interaction is so important and that was
especially how I interact with the drummer it’s really important it’s
difficult to do another take and get the interaction right where it doesn’t flash
and actually with the solo that I did over the engineer was really like amazed
at how that still managed to work between Ian but I have a really really
good connection with this draw so that’s the I think I knew that we’d and also we
just played a lot together that’s fantastic especially when you put
so much emphasis on the drummer that you know it’s important that you have that
relationship with them yeah definitely yeah very but I think it’s a it’s a
dynamics thing when you play jazz music then the the way at least the way that
I’m mostly played also the music that I listen to
we of course have a soloist who’s showing on top of something but what is
happening under the soloist is the combination of how the chord instrument
and the drummer decide that the dynamics and the Mingus and whether it has to be
open whether it has to be a group of course the bass players in there as well
but usually for my feeling it’s it’s me connecting with the drummer and it’s
also what as if I listen to two piano players I think actually for that I get
most of my inspiration from piano players more than I get from guitar
players so if you have Herbie Hancock and Tony Williams or if you have a
curtain or any other known so to take sort of the huge giants of this kind of
playing and that’s where that happens you know for you we really have that
connection with that they well especially with with heard me and Tony
ones you can really hear how they will take a song
we’ll have all sorts of stories happening throughout the rendition of
Stella by starlight it’ll go from Bella two-three-four to double time to
quadruple time and back within a solo and then the next solo gets a different
kind of thing and that’s that’s really where we’re coming from
you don’t really hear that so much on the records but you will hear that live
yeah and you can also hear it I think there are places we can hear it also on
live videos from us that we really do try to change the mood in the field and
that’s about that connection that you have the possibility to go in different
places that all of a sudden the beginning of my solo which is really
like on our walls it’s a hip-hop piece because the drummer can change it into
that and we can still figure out where we are hopefully and what about a fourth
album that’s right now it’s been so that both me and the second player I’ve been
really busy with like I’ve been busy with the online thing yeah and I was
working more the conservatory so I haven’t been doing so I’ve written quite
a lot of music and then I’m hoping that time to start working on it too so I
haven’t I haven’t been been really trying to to work with it yes so the
fourth album is still gonna be like a good one on a half year we all right and
when you win you so when you actually sit down and when you say a year and a
half away so let’s just say this time next year when you actually sit down to
come up call with concepts or ideas with for an album what is your process look
like how do you how do you come up with your ideas do you do you specifically go
after a certain sound or do you rely more on inspiration or maybe just kind
of just the shoot and the dark and go after it yeah that’s a good question I
think I mean I think I think I really just rely on what I’m busy with and then
it probably turns out that most the time when I’m writing music if I write the
same in the music in one period I’m gonna be into the same thing it’s gonna
be related like that and then of course you always have mom you
than what you record and in that process you just can’t throw away the stuff that
doesn’t work and I also on that yes album it should you are you have a wide
range of possibilities I think you you can allow yourself to go in many
directions and actually have a really sort of wide range of different kinds of
pieces also so so it doesn’t have to be the same in that way but but I think I
just rely on ideas that I caught with and and it’s good also because live it’s
good that everything is there are different things like we had a piece of
the third album which strictly that the title piece called looking at the storm
where the melody that means X from player playing is in a way the
accompaniment for the solo of the bass player and the drummer while we just
play melon so we had this we shall turn to the whole the whole thing around and
then we had saw this really sort of slow atmospheric melody with with sort of
open moves to it and then then we had all this chaos and sounds under it and
lots of dynamics and stuff that’s just a nice song to also have in thus it
because it’s just always a change of whatever you play before it’s never like
that because there’s always gonna be a tempo or that’s always gonna be there’s
a time on that one but it’s always like spelled out groove or something so I
think I’ve started thinking more in terms of lives it’s actually to not have
the same song all the time and also just to make it interesting for the audience
that we are always changing things up right do you have any things that you do
outside of music like I know you have kids do you have do you cook or have any
other Corky hobbies that you’d be willing to share with the world I mean
since I have kids then I don’t have so much time anymore I have sort of a
Danish emphasis on food so so food is a part of my culture so so in that way
cooking is another especially good cook but I do cook and I do take that car
seriously
and then for the race I used to watch a lot of horror movies but I don’t really
get around to me anymore so so when I have time I’ll watch it
horrible but it used to be something that I would also just do with with with
my friends like the the I guess there’s also like a connection between the metal
and the horror somehow because my Swedish friend that the drummer was also
like really a horror connoisseur so he also had all the important core moves
and another friend of mine also was into this so we just watched a lot hormones
together but now we’re like kind of spread out across Europe so if you don’t
read it anymore but I still I mean I stole a watch a good movie much but
that’s about it for the rest I’m I’m I’m mostly just working but what is Danish
food like what would be a couple dishes that if someone was to want to eat
Danish food what would be the main couple dishes you’d recommend well I
think the Danish so the Danish food in itself is not that especially
interesting I think that’s more about similar to the Italian fruit that you’re
just trying to make it make the food yourself that you’re using good raw
materials so you need to me just make sure you get some if it’s meet you it
could mean you need to get good basic stuff for the rest is just similar to to
German food with medium potatoes and it’s really middle of the road in many
ways it’s just but again it’s also like the kind of thing where you can do that
what you can you can do even simple things well
and also just not buy everything ready-made I think in Holland there is a
much more of a tradition not to listen but there’s tendency to just go much
more out to eat and also get much a lot of ready-made food and we don’t yeah I
try to teach my kids to us a little bit how to cook I think it I think actually
I think is healthy also I think there’s it’s always gonna be a bunch of stuff
and stuff you buy that’s already arranged preservatives in yeah yeah but
I don’t I mean I don’t really have I think I don’t really have too much in
terms of hobbies I get to go the kinky is of course that I made my hobby my job
so I get to do that I just worked with you those but I like working and that’s
that’s cool that’s great and it shows on camera oh well thank you so much for
coming this has been wonderful do you have any
final questions there no I’m this has been great I’ve had a ball yes thank you
so much for coming on fret buzzing podcast it’s it’s been great well thanks
for having me Oh shares up to to my to my falling and
the you will have further hopefully some new listeners at least because I’ve been
checking out quite a lot of use your stuff is over there’s some really nice
so discussion and also you just let it flow you know the questions get to go in
different places and you really call a llama would you like to plug your
website your
I think I mean if you all know what I do and what people know me for then it’s
the YouTube channel that’s essentially just against laughs and youtube.com
slash games laughing if I remember correctly although I was just search for
aliens laughing thank you yeah yeah thanks guys
yeah absolutely that you do

Leave a Reply

Your email address will not be published. Required fields are marked *