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Peter Williams

Bassist, Composer based in Denmark. linktr.ee/PW.music

About Me

Peter Williams is an English-born bassist and composer based in Copenhagen, Denmark. His musical career began on bass guitar, performing with rock, funk, and blues artists in Liverpool and Sheffield, alongside studies in engineering. After relocating to London, he worked as a session musician, recording with artists including Urban DK and breakbeat producer Jim Eliot, and performing extensively on the live circuit. During this period he worked regularly with drummer Manny Elias (Tears for Fears) and was a core member of several R&B and covers projects. Over time, Peter’s focus shifted increasingly toward jazz and acoustic music. He is currently a full-time member of the Paul Harrison Traditional Jazz Band and remains an active gigging musician, collaborating with a wide range of artists. His work spans styles from jazz-funk and bebop to gypsy jazz and other acoustic string-based traditions. Alongside his work as a performer and composer, Peter has a strong background as a producer. His 2008 string-swing project Swing 41 achieved international recognition when a track was selected by Woody Allen for inclusion in Midnight in Paris, whose soundtrack went on to win the Grammy Award for Best Compilation Soundtrack. In parallel with his musical career, Peter runs an HCI prototyping lab at Aalborg University, where he develops augmented musical instruments and explores novel approaches to musical interaction. This research-led practice continues to inform his work as a musician, bridging performance, technology, and instrument design. Based in Denmark and committed to a full-time academic role, Peter remains open to selected collaborations and performance projects.

Contact Me

Playlist

Theme Song

My Jazz Story

I was first drawn to jazz at a Gil Scott-Heron concert while I was at university. Looking back, I realise I’d already been absorbing it unconsciously through Prince’s music, with its jazz-informed sense of harmony, groove, and freedom. From there, artists like Miles Davis, John McLaughlin, and The Crusaders followed quickly and helped open the door more fully. I love jazz because it allows for a kind of conversation where no one has to wait their turn, and where it’s possible to listen to everyone at the same time. It’s a music built on collective awareness, trust, and responsiveness in the moment. The shows that stay with me most are often the ones where I’m on stage myself, but certain performances remain vivid: Gil Scott-Heron, Prince, James Taylor, the P-Funk All Stars, and Bobby McFerrin all left lasting impressions in very different ways. For anyone coming to jazz as a listener, my advice is simple: don’t overthink it. If it doesn’t hit you in the body and soul, what’s the point?

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