An interview with Bugge Wesseltoft
At the end of November this year, I was honoured, and privileged to spend more than an hour with one of Europe’s most uniquely prolific jazz piano players, Bugge Wesseltoft. His albums have been reviewed extensively over the past few years in The Ear, and his latest release has become one of three albums on constant replay on my system. One can only hope that the warmth, energy, humour, and profound humility exhibited by Bugge Wesseltoft can be felt in the lines below.
Reuben Klein (RK): Do you have specific “seasons” or periods of music that you enjoy before venturing into something else? Is it born out of opportunity? You have been involved in an astonishing variety of collaborations with artists as diverse as Sidsel Endresen and Mari Boine. How does it all come about?
Bugge Wesseltoft (BW): Yeah, it’s almost problematic, I think, because I like so many different types of music. My idea is that getting inspired and trying to learn something from all these styles will also help my own music. What I’m hoping to achieve is to find a “red thread”—a commonality—so that I remain recognizable across all these genres.
Somehow, I feel that the albums I’ve released under my own name have a relevance and a progression that you can follow. I come from jazz; I grew up with it because my father is a jazz musician.
RK: Oh, so it’s not by accident that you’re playing jazz?
BW: Of course not! Jazz is a constant in my music; it follows me. In every project I partake in, I try to place improvisation at the forefront. One of the reasons I consider myself a jazz musician is that I find the most alluring factor to be the manner in which music is made in the moment, in front of a live audience.
The audience is invited to join the journey of creation, which is very different from most other musical experiences. It is vital for me to try to grab the actual energy that exists in that room—with the audience, with me on stage, with the sound—and to be fully aware and present in that moment. That is always a key goal.
Wes and Jimmy
I grew up listening to my dad’s favourite music—Wes Montgomery and all that—which is fantastic. I even tried to play like Jimmy Smith on an organ and got fairly good at it. But one day I thought, “I’m never going to be as good as Jimmy Smith anyway because this is his music.” I had to find my own. If you can’t manifest music from within yourself and your own background, it won’t feel important; your message and creed will be lost.
RK: I suspect that one of the reasons people come to see you live and purchase your records is that they know the music is a genuine, original expression. It hasn’t been formalized or manufactured to be replicated, which makes the occasion all the more rewarding. Whether in your live sessions or your recorded music, it sounds to me like you’re exposing a bit of your soul through the keyboard.
BW: I absolutely do.
RK: If I had to describe you to someone else, I would say you as a formidable instrumentalist and pianist. You seem to like accompanying yourself when playing solo; you sample your own percussion and harmonies. The vast musical tapestry you weave is what makes listening to you so exciting. It is a variety that spans everything from ‘modern baroque’ to jazz. It doesn’t feel manufactured by a producer.
For example, one of my all-time favourite pieces of yours is Valiant (from the 2014 album Trialogue). In parts, it resembles a religious hymn, modernised and fashioned into a piece that I suspect I will return to frequently. You also launched a world music album (OK World) and others dedicated to rhythms resembling rave music (Moving).
Getting inspired
BW: Yes, as I mentioned, I really like so many different types of music. Getting inspired and trying to learn from these styles helps my own work; that is the motivation behind working with different artists.
I try to stay acquainted with their music and then bring in guests I would love to play with. Additionally, I produce for others. Often, someone calls me to discuss the possibility of producing an album. That is how Mari Boine ended up on my IM (2007) album—she asked me to produce a duo album with her. On OK World (2014), I worked with an Indian-British bass player called Shri Sriram. We discovered a creative synergy that led to the creation of that album. I have also produced music for Palestinian and Iranian vocalists.
People who approach me energize my creations. When I hear something fantastic, I want to work with them. It’s an amazing privilege. The more people I meet and the more music I learn from, the better musician I will be.
RK: That is an amazing statement. You are truly too modest.
BW: I’m just hoping to achieve that thread so I am recognizable regardless of the style. I feel the albums under my own name have a progression you can follow.
RK: Do you have a favourite venue for acoustics? For example, Ronnie Scott’s—a place I’ve been to often—sometimes leaves much to be desired acoustically. Is there a place, whether playing with Rymden or solo, that makes you exclaim, “this is nice,” when you hear your piano?
Elevating the music
BW: There are many nice venues. Kings Place in London comes to mind; the acoustics there are amazing. It’s a beautifully designed space, particularly for acoustic music. Someone chose to really spend money and energy on building something to elevate the music, and that is a fantastic thing.
RK: Is there a preferred number of musicians you view as optimal for an ensemble?
BW: That’s hard to decide. A trio can be fun, like the gig yesterday where I played with bass and percussion. For jazz or improvised music, a trio is perfect because the three of us can communicate and create synergy. A large ensemble can be very complicated.
RK: Regarding instruments, do you prefer an upright, a grand piano, or an electric keyboard? Which are you most comfortable with?
BW: Another good question, because I actually grew up without a piano.
RK: What?
BW: Yes! I had a small Yamaha organ at home, and then I bought a Fender Rhodes and my first synth. I didn’t buy a piano until I was 22. I actually struggled with the piano at first. Later, I bought a grand piano. I love it so much; it is my favourite sound.
To me, an electric piano or a synthesizer is a bit of an “artificial” sound. If I am to play a melody or something personal, I want to do that on an acoustic piano. It took time to feel confident and learn its limitations and possibilities. That said, I really do like the world of sounds that electronic instruments can create.
Duo
RK: You created an album of such music with Henrik Schwarz (Duo, 2011), for example, which is a big favourite of mine.
BW: Combining the sound of a piano with electronic atmospheres creates a type of contrast and dissonance that makes the interaction more interesting. There is a fascination in combining the “steady machine” feel of a sequence or drum beat with the live playing of an acoustic instrument.
RK: If you were to release a new Rymden album, I’ll be paying extra attention to the piano.
Breaking news
BW: Oh yeah! I just came from rehearsal; we are recording a new album in January.
RK: That is breaking news of the happiest kind! The reason I mentioned Rymden is that I have three of your albums, and each has its own very distinctive style.
BW: The new album is entertaining. It’s not an album that will “challenge” listeners to the point where they say, “Oh my God, it’s too much.”
RK: Do you use pianos on all the Rymden albums?
BW: Absolutely! We are basically a piano trio, but all of us use electronics. Magnus Öström runs his drums through effects, as does Dan Berglund with his bass. Though I play piano, I also use effects and synthesizers.
RK: Speaking of pianos… when you hear a recording of your music, do you feel you have control over the outcome? Pianos are notoriously difficult to reproduce faithfully. Do you ever listen back and want to go back to the studio to tell the engineer to place the microphones correctly?
Endless struggle
BW: Well, unfortunately, that falls on me because most of my albums are recorded in my own studio with me acting as the engineer. I’m never quite happy with it; it’s an endless struggle to get the sound I really want.
But I’m getting better. I am currently fairly happy with my setup and microphones. I think I am now recording the best piano sound I’ve ever produced. Software is getting better, too, but it ultimately comes down to microphone technique and placement.
RK: When you record, what quality do you prefer? 24-bit/96kHz? Is that a key concern?
BW: It is, but I’m not a “Hi-Fi freak.” Nevertheless, I record everything at 24/96. As I don’t have the best hearing, I don’t always hear the difference. I can hear the jump from 16-bit to 24-bit, and from 44.1 to 48.
RK: I agree; it’s a massive difference.
BW: Beyond 48, I don’t really hear a difference, to be honest. I can’t detect if it’s 48 or 96.
RK: It depends. On a good system, when you play 24-bit, everything opens up. 96kHz adds a dimension of transparency and space. I tend to upsample to 24-bit whenever I can.
BW: And does it help?
RK: It creates a massive difference.
BW: That’s really interesting. I have a very nerdy friend from NY, François Kevorkian; he also upsamples to 24-bit and makes very high-quality analogue recordings.
RK: For example, I captured your Live from Baklengs Nerver Session Youtube set for a friend and upsampled it to 24-bit; the audio quality was greatly improved.
Brain destroying format
BW: It can all get much worse, of course, if played as an MP3, which can “destroy your brain.” You try to explain to people that they are hearing less than 50% of what the artist intended.
On the other hand, I am following how AI offers new opportunities. Non-musicians who know little about music can now use software to design their own music or write lyrics to fit notes. I feel we’re heading into a world where people may not be willing to pay for music in the near future. I hope that musicians like me can offer experiences that help people rediscover something original and unique.
RK: I think the future for talents such as yours is secure, Bugge.
BW: There is new energy. Yesterday we met a young band from Norway—three girls playing totally acoustic (accordion, piano, and vocals). They are one of the biggest acts in Norway now because it’s pure and real. And last night at Ronnie Scott’s, it was standing room only.
RK: Sadly, musicians like yourself and the members of Rymden are a rarity in the UK. Many great artists never cross the Channel. Now, for the ‘silly questions’ – what pets do you have at home?
BW: Dogs, but our dog died in August. She was 14 years old. She was so beautiful; I loved her.
RK: It is as difficult as losing a human family member.
BW: Yes, absolutely. We just had the one dog. She was originally our daughter’s, but she didn’t have time for her anymore, so my wife and I took over. We loved that dog so much. She was very large.
RK: Have your children been affected by your art? Have they chosen to play instruments, or were they influenced by the fact that their dad is a famous musician?
BW: Well, my son is involved in some aspects of music, but it isn’t his profession. He is working on music for films. He’s very clever.
RK: If I were to barge unannounced into your living room, what music would I hear?
BW: I listen to so much—classical, African, Asian, contemporary, and 60s soul. I’ve spent most of my life listening to all kinds of music to learn from it. I listen every day. Social media is fantastic for that; you have people recommending music and so many sources for discovery.
Most people want music as a “cozy companion” to make life pleasant, and music has a fantastic ability to do that. It transports you in ways that very few other activities can.
RK: Will there be lots of Christmas music at home? I ask because of your latest album (It’s Still Snowing on My Piano Live). It was a pleasant surprise with unique interpretations—a homage to jazz that Bach never imagined possible. There’s a very sweet part that sounds like a homage to Dave Brubeck on one of the tracks.
BW: Thank you. Yes, I listened to an enormous amount of American jazz players because of my father’s influence. They are fantastic musicians, all of them.
Reuben’s review of It’s Still Snowing on My Piano Live is here.