Interview with Matthias Spillmann: I’d like to add a third one: the physical side of music: Video

Jazz Interview with jazz trumpeter Matthias Spillmann. An interview by email in writing.

JazzBluesNews.com: – First let’s start with where you grew up, and what got you interested in music?

Matthias Spillmann: – I grew up near Zurich, Switzerland and my parents had a farm, which is probably not a very typical background for a jazz musician. I started out playing trumpet in the local wind band. In high school, we had a great band, it was like a “golden generation”: most of the guys (unfortunately and surprisingly there were no girls) from that band chose a career in music later on. With three other friends, we formed like an inner circle, hanging out together all the time, exchanging records and jamming (besides doing those other things, more typical for adolescents…)

JBN: – How did your sound evolve over time? What did you do to find and develop your sound?

MS: – I learned to let go any expectations about how I am supposed to sound. The sounds I produce are a result of the situation I’m in at a particular moment. When I can surprise myself, I can grow my confidence in the music, my fellow musicians, my instrument and my body.

JBN: – What practice routine or exercise have you developed to maintain and improve your current musical ability especially pertaining to rhythm?

MS: – There is one exercise I do quite often, playing subdivisions (2-16) on very slow tempos (20-40 bpm). It helps me focus. Besides learning the music I have to play, I mainly play long tones.

JBN: – Which harmonies and harmonic patterns do you prefer now? You’re playing is very sensitive, deft, it’s smooth, and I’d say you drift more toward harmony than dissonance. There is some dissonance there, but you use it judiciously. Is that a conscious decision or again, is it just an output of what goes in?

MS: – The concept of a harmonic pattern doesn’t really matter for me. My perception of music is melodic and rhythmic. Sometimes a sound or a rhythm can be present for a long time. This can be interesting if you want to summon a certain spirit. When he enters the room, that’s harmony.

JBN: – How to prevent disparate influences from coloring what you’re doing?

MS: – There is nothing to prevent there. I like colorful music and I hope mine is, too.

JBN: – What’s the balance in music between intellect and soul?

MS: – I don’t see much of a contradiction between the two and I’d like to add a third one: the physical side of music. As long as you don’t oversee or forget any one of those aspects, the music itself will guide you to a perfect balance.

JBN: – There’s a two-way relationship between audience and artist; you’re okay with giving the people what they want?

MS: – Beware of those who pretend to know “what people want”! We’re all individuals, also the people in the audience. But I guess people that listen to music have in general the same goal as those playing it: sharing a moment of eternity. I like the idea, that we’re all in the same boat.

JBN: – Please any memories from gigs, jams, open acts and studio sessions which you’d like to share with us?

MS: – I have to say, any time I played in South Africa was really special for me! People there (especially black folks or colored) have such a deep knowledge and understanding of jazz, more than in America or any other place I’ve been to. And it has such a meaning to them, since jazz played such an important role in the fight against the unjust and violent apartheid system and the birth of the nation. I am very thankful for having made this experience.

JBN: – How can we get young people interested in jazz when most of the standard tunes are half a century old?

MS: – I think, the only way to get to understand this music is to hear and see it live or, even better, play it yourself. Then, it doesn’t matter if you play an old song like Summertime or an original composition or a song by Beyoncé or whatever. As long as the music is honest and dedicated, you take whatever material serves you best to express yourself. In my experience, younger people get this concept much easier than older ones.

JBN: – John Coltrane said that music was his spirit. How do you understand the spirit and the meaning of life?

MS: – What could I add to the masters words? Maybe that the spirit is not to be understood but to be praised and worshipped.

JBN: – If you could change one thing in the musical world and it would become a reality, what would that be?

MS: – Maybe have more woman playing jazz (or any music) and multiply the jazz audience by 10.

JBN: – Who do you find yourself listening to these days?

MS: – I often buy new releases on bandcamp from people who are on the forefront of our music. Latest acquisitions include releases from Thyshawn Sorey, Trio Heinz Herbert, Bill McHenry and others. But I also have some classics to come back to all the time: Kenny Dorham, Wayne, Ornette, Monk, Milton Nascimento are some of my all time heroes.

JBN: – What is the message you choose to bring through your music?

Because I can’t put it into words, I chose music as a medium.

JBN: – Let’s take a trip with a time machine, so where and why would you really wanna go?

MS: – I don’t think, I’d use such a thing.

JBN: – I have been asking you so far, now may I have a question from yourself…

MS: – I always like to find out, what people hear in my music and what they see in me?

JBN: – Thanks for answers. Nothing personal 🙂

JBN: – So putting that all together, how are you able to harness that now?

MS: – Jazz means doing it.

Interview by Simon Sargsyan