Jazz interview with jazz a bad musician, and a idiot person Ole Amund Gjersvik. An interview by email in writing.
JazzBluesNews.Space: – First let’s start with where you grew up, and what got you interested in music?
Ole Amund Gjersvik: – I grew up at Os outside of Bergen at the West Coast of Norway.
JBN.S: – What got you interested in picking up the your musical instrument? What teacher or teachers helped you progress to the level of playing you have today? What made you choose the your musical instrument?
OAG: – I started to play violin when I was eight years old. When I heard The Beatles, I got very inspired by Paul McCartney and switched to play bass guitar. After a while I started to play jazz and then I picked up the double bass. I studied classical double bass at The Grieg Academy In Bergen, with Bjørn Ianke, Knut Erik Sundquist and Mathias Weber. I also had jazz lessons with Kåre Garnes, Bjørn Kjellemyr, Terje Venaas and Marc Johnson.
JBN.S: – How did your sound evolve over time? What did you do to find and develop your sound?
OAG: – I usually practice the double bass without amplifier. When I use amplifiers, I try to get the sound as close to the acoustic sound as possible. I use a Realist Life Line microphone combined with a DPA microphone on my double bass. When I play electric bass, I prefer to play passive basses, because their response to dynamics. I prefer Markbass amplifiers and speakers! Usually I don’t use effect pedals.
JBN.S: – What practice routine or exercise have you developed to maintain and improve your current musical ability especially pertaining to rhythm?
OAG: – For the time being I practice a lot on Cuban Salsa music. If I have spare time, I use “The Latin Bass Book a practical guide” by Oscar Stagnaro & Chuck Cher. I rehearse till I’m familiar with the rhythm pattern, and after a while, I don’t need to count the rhythm any more.
JBN.S: – Which harmonies and harmonic patterns do you prefer now?
OAG: – I enjoy all kinds of chords and rhythm patterns.
JBN.S: – Which are the best jazz albums for you of 2017 year?
OAG: – Into The Beast (Marita Moe Sandven and Ole Amund Gjersvik): Twelve Tracks Of Our Ghost To Come.
JBN.S: – What’s the balance in music between intellect and soul?
OAG: – The best balance between intellect and soul is when the composition hits the heart and soul in away that make the mind float away like in a dream!
JBN.S: – Please any memories from gigs, jams, open acts and studio sessions which you’d like to share with us?
OAG: – During the studio session of “Duo Improvisations” by Ole Amund Gjersvik & Marius Neset, released in 2011, we had planned to play a couple of composistions. When the sound test started, we started to play free improvised music. We listened to what we had recorded, and ended up recording a whole album (and mixing it) in four hours, containing only free improvised music.
JBN.S: – Which collaboration have been the most important experiences for you?
OAG: – When I was young and inexperienced, I got the chance to play with Olav Dale (RIP) on sax and Per Jørgensen on trumpet. They were experienced jazz musicians, and they started to play together with youngsters Helge Lilletvedt (p), Yours Sincerely (b) on and Stein Inge Brækus (dr). We called the group Chippie (named after the Ornette Coleman composition). I learned a lot of each and every one of these musicians!
JBN.S: – How can we get young people interested in jazz when most of the standard tunes are half a century old?
OAG: – We can invite them to listen to jazz and all kinds of good music with an open heart! It is important to invite them to jazz concerts before they get to old and have their mind set. In the same time, we can open our mind to what they have to offer, instead of always telling them what to do…
JBN.S: – John Coltrane said that music was his spirit. How do you understand the spirit and the meaning of life?
OAG: – For me, music is the spirit, the meaning and the driving force of life!
JBN.S: – If you could change one thing in the musical world and it would become a reality, what would that be?
OAG: – That musicians and composers get well paid for all their work!
JBN.S: – Are there any similarities between jazz and world music, including folk music?
OAG: – In my opinion, these boundaries are often melting together. When I compose, I can get inspiration from different genres and melt it all together. When I play, I try to play within these boundaries, but I enjoy crossing these imaginary boundaries too!
JBN.S: – Who do you find yourself listening to these days?
OAG: – Ornette Coleman Quartet, The Beatles, Old And New Dreams, Keith Jarrett Trio, Fleetwood Mac (with Peter Green) and Buena Vista Social Club.
JBN.S: – Let’s take a trip with a time machine, so where and why would you really wanna go?
OAG: – If I could jump back in time I would like to be in New York City in the sixties!
JBN.S: – I have been asking you so far, now may I have a question from yourself…
OAG: – Do you know any jazz musicians from Norway?
JBN.S: – Thank you for answers. Yes, of course, now please only three names: Tord Gustavsen, Arild Andersen, Silje Nergaard … Many jazz musicians, please you search in our website names, who you know …
Interview by Simon Sargsyan