INGAR ZACH - INTERVIEW FROM ØYVIND JAZZFORUM MAGAZINE 2007
ØYVIND: What motivates you to play the music you do?
INGAR: The motivation is always to create something. To create something personal, something new, that can push me further as a performing artist.
ØYVIND: Thomas Dahl said that during your studies at the Trondheim Jazz Conservatory, you played very much like Peter Erskine, and that you were very good at it as well. How did you discover the direction you are following now?
INGAR: Those are Thomas' words. I did listen to a lot of Peter Erskine and Jack DeJohnette while studying, but I didn't start figuring things out until I met Raymond Strid in Stockholm in 1997. I was very fascinated by his expression and way of working, and when I played with him for the first time I came in touch with something within myself I had never experienced before. The period that followed was quite dogmatic for me. I was only concerned with so-called free improv. In hindsight I realise that this was a turning point for me as a performing artist, and a natural starting point for the new direction and to where I am today.
ØYVIND: Thinking about instrumentation, what made you give up your feet? The last few years I haven't seen you use either bass drum or hi-hat.
INGAR: Throughout the years I have given a lot of thought to what should be focused on, and without a doubt the focus should be on the music - not how you're used to play, or what instrument you play. Sometimes it feels natural for me to use my feet, and sometimes it doesn't. It depends on who I'm playing with and what function I want to fill within the context. It's a conscious decision to eliminate everything that relates to cymbals. I don't think I have used cymbals for 5 years. That being said, I'm contemplating a solo piece for only cymbals. All in due time, and cymbals need space in my opinion.
ØYVIND: I've read that you have a new solo album ready, and you've already released two. What makes you decide it's time to record new material? I guess this question relates to all the projects you're involved with.
INGAR: I work on solo material continuously, and record ideas on a steady basis. I have been lucky enough to get a deal with the Swedish label Kning Disk to do three solo records. Part one of this trilogy, "IN", came last year and I'm working on the second one now. This deal is also one of the reasons I'm doing so much solo work these days. It's really fun and vert enrichening.
ØYVIND: How much time to you spend on booking and organizing to be able to make a living from music?
INGAR: More than enough. I am my own employer, so being a freelance musician is a 24/7 job.
ØVYIND: Has moving to Madrid made doing this simpler or harder?
INGAR: I haven't really noticed any difference.
ØYVIND: I can envision that it is harder to apply for certain Norwegian grants and funds now, like with Fund for Performing Artists, don't you have to be based in Norway to get anything from them?
INGAR: No, I'm still apllying and have also received funding. A lot of my activity is still in Norway, I have many Norwegian projects, and I still pay my taxes to Norway.
ØYVIND: I have been told that you and Ivar Grydeland, among others, are clever users of TONO (Norwegian copyright organization). How important is this for your income?
INGAR: Well, we are users of TONO, yes, whether we're clever or not I do not know. But we register our compositions and concerts just like everyone else.
ØYVIND: Fixed groups or ad hoc constellations. Any one you prefer?
INGAR: Fixed groups. I'm more concerned with that than ad hoc-groupings. Ad hoc can be fun, but working with a steady constellation over time is what matetrs the most to me.
ØYVIND: You tracked down the legendary improv guitarist Derek Bailey and makde to records with him. What was that like?
INGAR: We did three concerts and two CDs together. We were supposed to do more concerts, but they were cancelled due to illness. He will always be a great musician, and I regard him very highly as a person. It's hard to explain what it was like to play with him, but it sort of worked it self out. It was hard and easy at the same time.
ØYVIND: The band Huntsville has had a very positive reception. How much is decided in this band? I've seen you twice live and listened a lot to the album. I sense there are song structures that are set. Like when I saw you live, there have been sections with the tabla machine, the double bass repeating one note in a different tempo, and brushes on top of that - not unlike the first track on the record. How much is planned?
INGAR: You are absolutely right, there are compositions, and we work with very concise ideas, both from the album and also new material. What is improvised is the form of the concert, and that all the ingredients are mixed in a different fashion in all our concerts.
ØYVIND: At the Kongsberg Jazz festival, Huntsville did a show featuring Nels Cline and Glenn Kotche from Wilco. To me, some of the minimalist touch disappeared with the bigger group. What did you think?
INGAR: The collaboration with Nels and Glenn was super in all regards, and obviously when there are more people more holes will be filled. But we see it as a different project, and it seems like Huntsville will go in that direction too... We're constantly changing.
ØYVIND: How do you prepare to a solo concert like the one you're about to do in Bergen?
INGAR: Basically the same way as with Huntsville. I have my material and my estetique. The exciting part it whether I am able to shape the concert in a way that is musically interesting.
ØYVIND: Do you have any advice for people who might not be used to this kind of music? How should they relate to it? What should they be listening for?
INGAR: My best advice is to be open and critical at the same time. There are no definite ways to listen.
INGAR: The motivation is always to create something. To create something personal, something new, that can push me further as a performing artist.
ØYVIND: Thomas Dahl said that during your studies at the Trondheim Jazz Conservatory, you played very much like Peter Erskine, and that you were very good at it as well. How did you discover the direction you are following now?
INGAR: Those are Thomas' words. I did listen to a lot of Peter Erskine and Jack DeJohnette while studying, but I didn't start figuring things out until I met Raymond Strid in Stockholm in 1997. I was very fascinated by his expression and way of working, and when I played with him for the first time I came in touch with something within myself I had never experienced before. The period that followed was quite dogmatic for me. I was only concerned with so-called free improv. In hindsight I realise that this was a turning point for me as a performing artist, and a natural starting point for the new direction and to where I am today.
ØYVIND: Thinking about instrumentation, what made you give up your feet? The last few years I haven't seen you use either bass drum or hi-hat.
INGAR: Throughout the years I have given a lot of thought to what should be focused on, and without a doubt the focus should be on the music - not how you're used to play, or what instrument you play. Sometimes it feels natural for me to use my feet, and sometimes it doesn't. It depends on who I'm playing with and what function I want to fill within the context. It's a conscious decision to eliminate everything that relates to cymbals. I don't think I have used cymbals for 5 years. That being said, I'm contemplating a solo piece for only cymbals. All in due time, and cymbals need space in my opinion.
ØYVIND: I've read that you have a new solo album ready, and you've already released two. What makes you decide it's time to record new material? I guess this question relates to all the projects you're involved with.
INGAR: I work on solo material continuously, and record ideas on a steady basis. I have been lucky enough to get a deal with the Swedish label Kning Disk to do three solo records. Part one of this trilogy, "IN", came last year and I'm working on the second one now. This deal is also one of the reasons I'm doing so much solo work these days. It's really fun and vert enrichening.
ØYVIND: How much time to you spend on booking and organizing to be able to make a living from music?
INGAR: More than enough. I am my own employer, so being a freelance musician is a 24/7 job.
ØVYIND: Has moving to Madrid made doing this simpler or harder?
INGAR: I haven't really noticed any difference.
ØYVIND: I can envision that it is harder to apply for certain Norwegian grants and funds now, like with Fund for Performing Artists, don't you have to be based in Norway to get anything from them?
INGAR: No, I'm still apllying and have also received funding. A lot of my activity is still in Norway, I have many Norwegian projects, and I still pay my taxes to Norway.
ØYVIND: I have been told that you and Ivar Grydeland, among others, are clever users of TONO (Norwegian copyright organization). How important is this for your income?
INGAR: Well, we are users of TONO, yes, whether we're clever or not I do not know. But we register our compositions and concerts just like everyone else.
ØYVIND: Fixed groups or ad hoc constellations. Any one you prefer?
INGAR: Fixed groups. I'm more concerned with that than ad hoc-groupings. Ad hoc can be fun, but working with a steady constellation over time is what matetrs the most to me.
ØYVIND: You tracked down the legendary improv guitarist Derek Bailey and makde to records with him. What was that like?
INGAR: We did three concerts and two CDs together. We were supposed to do more concerts, but they were cancelled due to illness. He will always be a great musician, and I regard him very highly as a person. It's hard to explain what it was like to play with him, but it sort of worked it self out. It was hard and easy at the same time.
ØYVIND: The band Huntsville has had a very positive reception. How much is decided in this band? I've seen you twice live and listened a lot to the album. I sense there are song structures that are set. Like when I saw you live, there have been sections with the tabla machine, the double bass repeating one note in a different tempo, and brushes on top of that - not unlike the first track on the record. How much is planned?
INGAR: You are absolutely right, there are compositions, and we work with very concise ideas, both from the album and also new material. What is improvised is the form of the concert, and that all the ingredients are mixed in a different fashion in all our concerts.
ØYVIND: At the Kongsberg Jazz festival, Huntsville did a show featuring Nels Cline and Glenn Kotche from Wilco. To me, some of the minimalist touch disappeared with the bigger group. What did you think?
INGAR: The collaboration with Nels and Glenn was super in all regards, and obviously when there are more people more holes will be filled. But we see it as a different project, and it seems like Huntsville will go in that direction too... We're constantly changing.
ØYVIND: How do you prepare to a solo concert like the one you're about to do in Bergen?
INGAR: Basically the same way as with Huntsville. I have my material and my estetique. The exciting part it whether I am able to shape the concert in a way that is musically interesting.
ØYVIND: Do you have any advice for people who might not be used to this kind of music? How should they relate to it? What should they be listening for?
INGAR: My best advice is to be open and critical at the same time. There are no definite ways to listen.
