Hugo Rasmussen

Posted on 02/09/2015

The great jazz double bassist Hugo Rasmussen from Denmark has passed away… He’s been active since the 60’s making great records in a multitude of styles, but like most people of my generation (born in Denmark in the 70’s) I know him best from the many children’s records and TV shows he performed on in the 70’s and 80’s. I think the subliminal influence on Danish kids from his playing, as well as the other great musicians working on those projects, is something to acknowledge. He definately put a groove to the soundtrack of my childhood way before I even had an idea about what that means.

Adamo in ICP

Posted on 17/06/2015

I’m on the train back from another great stay at ICP studios in Brussels, the music-making paradise. This time it was for Salvatore Adamo, my third disc with this elegant gentleman, who has a remarkable 50-year long career and has sold over 100 million records. Not bad. This time I got the opportunity to work for the first time with some great people around flemish producer Jo Francken, whose many successful projects include Milow’s international hit cover of “Ayo Technology”. One of the things I really love about music is how easy you can develop meaningful relationships with people in only a few days. People making music really do form a worldwide community, and it’s a great thing to be part of.

You should check out the solo projects of some of these guys: arranger Koen Renders has a cool, 60’s vibe band called Spencer the Rover and the incredible guitarist Tom Vanstiphout has a nice solo career as a singer-songwriter.



Posted on 25/05/2015

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Last night in New Caledonia, the piano at the venue was in a very poor condition. Pianos are hard to come across on this island, and this one has spent most of its life in a hotel lobby. It had only been temporarily removed from the hotel for our concert. The piano tuner spent most of the afternoon taking the piano apart to try to get the mechanics working at least half-reliably. It was a tiny baby grand, which makes for some very short bass strings, which results in a pretty strange sound in the lower register. Everyone seemed concerned about how it would perform, but to my own surprise I wasn’t that worried. And the concert went down very well. I guess there are several reasons why performing on a less than perfect instrument doesn’t have to be a negative experience.

First of all, it depends on your focus. One image that comes to mind is that of legendary pianist and conductor Daniel Barenboim performing in a run-down community hall in Ramallah, Palestine. I remember him performing the Moonlight Sonata by Beethoven on a ragged, old, uneven piano. This is a man who spends his life in the most prestigious concert halls in the world, playing the most pristine, sublime, expensive pianos you can imagine. Yet he didn’t seem to mind the quality of the old piano in Ramallah. The concert had such an enormous symbolic value: a musical legend of his caliber coming to this troubled part of the world, playing in a neighborhood where people of his status normally wouldn’t even set foot, let alone give a concert. From that point of view, who cares about the quality of the piano? I believe that even if you aren’t playing in Ramallah, and even if you’re not Barenboim, if your focus is on sharing music with people, about trying to bring forth that unique social experience that a concert can be, where people gather around music and temporarily leave their everyday struggles behind them, and somehow manage to connect in a dimension beyond language and divisions, the quality of the instrument isn’t all that important. At least it shouldn’t be your main concern.

Another reason is that limitations can be quite inspiring. Keith Jarrett, besides being one of the greatest musicians alive, is known for being extremely, almost hysterically demanding, including regarding the choice of his piano in any given venue. He’ll usually have two or three Steinways delivered at soundcheck to choose from. But when he was in Rio a few years ago for one of his improvised solo concerts, he was stuck with an old piano that had spent many years in Brazil, in less than optimal conditions for preserving an instrument. This imperfect, unique instrument inspired him to perform an absolutely magical concert, working around the shortcomings of the instrument and highlighting it’s qualities. He was himself so overwhelmed, that he called his label manager, Manfred Eicher of ECM records, the next morning from the airport and said: “Forget about everything we have planned, we have to release a live album of last night’s concert.”

The city of New Orleans also comes to mind. This place has one of the most humid climates you can imagine, it’s extremely hot, and it seems like one of the worst places in the world to have a piano, especially in a world pre-aircondition. Yet surprisingly, it’s one of the piano capitals of the world. People like Professor Longhair, Dr. John, Allen Toussaint and many more have invented a style of playing that is a wonderful mix of Caribbean, African, and Western influences, and that is perfectly suited to these climatically challenged pianos. Like Keith Jarrett, these people brilliantly managed to find the unique voices of the instruments and build around them, instead of being frustrated by their limitations.

On a broader level, working with limitations is a well-established and mature creative concept. Brian Eno has put a lot of thought into this. He has even made a deck of cards with rules on them, and if you ever find yourself stuck in your creative process, you pull a card and submit yourself to whatever the card dictates. “Work at a different speed”, “Use an old idea”, “Honor thy error as a hidden intention”, things like that. I don’t know if using a less-than-perfect instrument is on one of the cards, but it definitely could be.

This approach works really well in recording studios, as well. If you try to use whatever instruments are lying around, even if they have shortcomings or are dysfunctional in some way, it’s always an interesting process to see what idea you can get out of whatever the instrument has to offer. And it’s a guaranteed way of not repeating yourself, since you’re responding to something that is unique to the place and the context you’re in.

Why not even apply this philosophy to people, relationships, situations? Things are never entirely perfect. But if you accept this fact, and focus on trying to build around the unique qualities that any given individual, place or situation has to offer, and not get destabilized by whatever imperfections there might be, beautiful things could happen. It’s definitely a way to improve the odds.


Posted on 21/05/2015


The world has definitely come a long way since Phileas Fogg. What you see above is my itinerary for the next ten days or so. We have a few concerts with Nolwenn Leroy on the other side of the planet (New Caledonia and Tahiti), and it still doesn’t really seem normal to me that humans casually do this sort of thing. I wonder if there will be concerts in space somewhere down the line. Seems like a question of “when” more than “if”.


Posted on 15/05/2015

I’ve been trying to hold back on the eulogy posts recently, but B. B. King…. this man changed music so profoundly by moving the blues into the mainstream, and pretty much invented electric guitar playing. Hate so see him go, but what a beautiful legacy he leaves behind. He was bringing the music to the people for hundreds of concerts a year, even when he was well into his 80’s.

By the way, Calep Emphrey, the drummer in this clip, is a seriously overlooked musician. His groove, musicality and dynamics are out of this world.

One Wing

Posted on 06/05/2015

The New York based duo BeaĆ» that I worked with last summer with producer Al O’Connell are starting to prepare the release of their album, with an EP coming out today and a video. Click here to go to iTunes and check out the EP. I think the album should be out sometime in the fall. A previous posts about this project here: Beau in London.


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