Meet Torben Waldorff: Born and raised in Denmark. Went to Berklee for four years. Have two CDs out on Swedish label LJ-Records. Signed with ArtistShare in New York 2006, with three CDs outBrilliance, Afterburn and American Rock Beauty, all with saxophonist Donny McCaslin
Recent performances include JazzBaltica, Rochester Jazzfestival, Aarhus International Jazzfestival and a long list of clubs in Canada, US, Scandinavia etc. 55Bar, Cornelia Street Café, in New York, Chris Jazz Café in Philly, Empty Bottle, Chicago, Tulas and Earshot Jazz, Seattle, The Rex, Dieze Once, Upstairs, The Cellar in Canada, Paradise Jazz in Cope, Fasching, Nefetiti, Glenn Miller Café in Sweden, and many more great clubs, with Ingrid Jensen
Torben's music has excellent reviews in international jazz media, including All About Jazz, JazzTimes, Downbeat, Vintage Guitar, JazzInside NY, Jazzreview, JazzWeekly, Ottawa Citizen, Timeout NY, AllMusic, "Voice Choice" in The Village Voice, and, in Europe, Jazzman (F) (Choc review), Jazzmagazine (F), Jazzpodium (DE), JazzDimensions (DE), Lira (S), Orkester journalen (S), Irish Times, Jazzmozaiek (NL), Jazzntzaz (G), jazzSpecial (DK), and many newspapers. Interviews in JazzImprov Magazine, Jason Crane's JazzSession.
Article on ArtistShare projects in Musica Jazz (I). Afterburn and American Rock Beauty appeared on "Best CD of" 2008 and 2010 in many countries, incl. Jazz.pt (PT), Something Else Reviews (US), Montreal Gazette (CA), No Depression (US), Jazzman (F), Weekendavisen (DK).
Teachers and/or influences? For influential teachers, I'd say that my two years studying with Herb Pomeroy
at Berklee and two years with Charlie Banacos in Magnolia MA. They left me with never-ending inspiration, unafraid to go to work and approach this music from the atoms as well as from the bigger picture. Extremely demanding in the studies of sound, both these men had such a deep humanistic vibe about all of it and it's such a fertile mix. Best ever. Sometimes when I hear Duke Ellington
, until some hippies in the neighborhood gave me an electric guitar and my mother's new man moved in with a Vox AC15 amp. It got loud; I still have the poor thing. Sometimes I can't believe I'm still doing exactly the same thing.
Your sound and approach to music: My sound..I love to connect my beautiful Sadowsky guitar to pedals and great amps and play with people. Time, sound, harmonies, lines, melodies. It's so intense.
When I come up with music for my projects it's mostly by some sort of (elaborate) accident. It comes from feeling, and more often than not the melodies seem like they were there all the time, I just have to get myself to a place where I can reel them in. Sometimes I think it's not much effort, but getting to the position in life is, for sure. Sometimes my tunes take me in a different direction than I thought I mightand would likebut I don't care.
Your teaching approach: In teaching I would really aspire to have some of what Herb and Charlie Banacos had. A humanistic thing that becomes a lasting inspiration and help, somehow coupled to the details of the music. And being the boss of a musical situation is for somebody else's band; I instill for both students and co-musicians to figure out what to do in the music. Sometimes that makes people confused for awhile. Everybody's full attention and engagement is a good sound.
Road story: Your best or worst experience: 10 years ago, me and Ingrid Jensen, Mattias Welin, PA Tollbom, on tour in US, I had a gig as the closing act of some sort of mini-festival at the C-Note in the East Village. When we arrived, which nearly cost Mattias the head of his bass from sticking out cab window, we could see the place wasn't all that packed, no-one was there to receive us, and the band, a rock trio, announced this was the last tune for tonight's program. With seven people in the crowd, we took off to a restaurant.