,Linley Marthe, Dawda Jobarteh, Thomas Fonnesbech, Mariane Bitran, Xavier Desandre, Mario Canonge, Tony Rabeson, Irio Junior, André Queiroz. Also member of Art Ensemble Syd (DK), with Michael Gregory Jackson
soon convincing me that I should become a saxophonist. I got an alto (rented) for my 15th birthday.
Your sound and approach to music:
It was always my idea to work on having a recognizable sound and develop my own ideas. On both soprano and tenor I like to explore the lower register. Generally my approach to music is quite intuitive.
Your teaching approach:
Each student is different, I try to find the best way to give them a taste for both creativity and regular work on the craft.
In ensemble teaching (which I do most), the focus is very much on the internal and external communication, sense of the musical whole, responsibility, energy, consciousness of form, duration, contrast. I usually use my own material; often we work out the forms and details of the arrangements together.
Your dream band:
I already have several ideal bands, some of them could play more often.
What do you think is the most important thing you are contributing musically?
A personal mix of things that I like, creating little surprises. In my compositions I would for instance use a straight-ahead 32-bar A-A-B-A form, but with not very bebop-ish scales and melodic turn; just an example.
These mixes are not done on purpose but pop up as the writing/playing goes along.
Having more or less started out with free jazz and later moved to modern jazz/bebop and experiences with Brazilian, Turkish, West African music etc., the possibilities of crossings are numerous. At the same time I try to keep the writing coherent and clear.
Did you know...
I am also a painter, mainly oil and gouache, and have had quite a few exhibitions during the last 12 years. Some main-influences: Klee, Miró, Picasso, COBRA, African and Oceanic art.