Interview with Simon Spang-Hanssen: Music iscreates vibrations between people: Video

Interview with a bad musician, as if saxophonist, problematic person Simon Spang-Hanssen. An interview by email in writing. The interview with this complete stupid has a long background. Imagine that you have dealt with dirt that is smeared on your hands and it stinks. An abominable person, from whom people shake their heads when he will die even in his own Denmark. I wrote about this scum, and everyone confirmed that he is disgusting and miles away from jazz. And you can see how stupid and idiot he is while writing our questionnaire. There is no one listening to this even on YouTube, but we are publishing the interview, because the scum need to be recognized face to face and name by name and expelled from the noblest music like jazz.

JazzBluesNews.com: – First, let’s start out with where you grew up, and what got you interested in music.  How exactly did your adventure take off? When did you realize that this was a passion you could make a living out of?

Simon Spang-Hanssen: – My first interest in music was the Beatles; I was nine when I bought “I wanna Hold Your Hand” in a local record-store in Copenhagen.Things came quickly and I did making a living from playing jazz (in a large sense) from the age of 23.

JBN: – How has your sound evolved over time? What have you been doing to find and develop your own sound?

SSH: – Finding my own sound was important from the beginning…. The sonority and developing my own ideas.

JBN: – What routine practices or exercises have you developed to maintain and improve your current musical proficiency, in terms of both rhythm and harmony?

SSH: – Among many others I work on all kinds of scales in many different patterns; and also on using them on specific changes.

JBN: – Have you changed through the years? Any charges or overall evolution? And if so why?

SSH: – My soprano-sound has gotten rounder and I am still finding new motifs and patterns for improvising.

There could be talk or advertising about your CD

JBN: – In your opinion, what’s the balance in music between intellect and soul?

SSH: – I would say 30 to 70 ….maybe 40 to 60… Intuition and the willingness to take chances are very important.

JBN: – There’s a two-way relationship between audience and artist; are you okay with delivering people the emotion they long for?

SSH: – Yes, completely. I would never try to calculate an effect, but I am very happy when the audience responds… it’s beautiful.

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

SSH: – Many of the good ones are more than half a century old, the important is how you play them. I mostly write my own material, and as a sideman I often participate in projects with original music.

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

SSH: – Music is important, it creates vibrations between people and between us and the universe…

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

SSH: – More exposure in medias of a greater variety of musics.

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

SSH: – Mulatu Astatké, Hamilton de Hollande, Mario Canonge, Elis Regina.

Interview by Simon Sarg