JON FÄLT - INTERVIEW FROM JAZZNYTT, 2014
The career of Swedish drummer Jon Fält (35) has already gone straight through the roof, all the way to the bottom, and back up again.
Øyvind: I know that at one point you almost completely stopped playing. What happened?
Jon: It was a combination of putting too high demands on myself, and too much work. I played in 20 bands. At its worst I couldn't even lift my arms. That's when I left Stockholm and moved into the countryside. It was the start of a very rewarding journey.
Øyvind: From a very young age you have been playing with likes of Bobo Stenson, Fredrik Ljungkvist and Tomasz Stanko. Like that wasn't enough, you were awarded Best Young Artist in 2004, you were awarded the Alice Babs stipend in 2007, and you've received the Swedish Jazzkatt award in the "Jazz Group of the Year" a total of four times. Has it affected your playing being known at such an early age?
Jon: In any case it was a boost for my confidence to be allowed to play with Fredrik, Bobo and Anders Jormin so early. Fantastic that they like what I do, I thought, and that made me dare to show more of myself. In that same period I met my current girlfriend Lisa (Rydberg, baroque violinist and folk musician). Being in love and doing music is a very nice combination!
Øyvind: If I were to describe you with one word, I would say playful. This is something I'm concerned with myself, and an area where you have inspired me. But do you ever feel that sometimes there almost a demand from the audience to be a little bit crazy? Is there a limitation in having a reputation as a unpredictable musician that people like to watch because all kinds of stuff might happen? I struggle with this sometimes.
Jon: Yes, when I feel demands I can not create music. But the demands always come from within, and usually it starts with me thinking that someone expects something specific from me, or I find it hard to feel valuable just that day. Then there is resistance. Best case, a concert starts from the beginning, with no desire to get to a specific thing, like an expidition into the unknown.
Øyvind: I know you are a periodician - you get hung up on one thing at a time. The first time I met you, you were very passionate about coffee. After that brewing beer, then carpentry, perma culture, sound, sound equipment. What are you into these days?
Jon: Sound, time - a book on time that is, (Marshall Rosenberg's) Non-Violent Communication, nature wine, making a good burger, and so on. I think it's a way for me to excersice the brain, and combined with physical activity it gets even nicer.
Øyvind: You are very conscious about sound, on all levels. I'll never forget the time you played in Bergen, and not only did you bring your own cymbals and snare drum, but also your own monitors. What are you looking for soundwise?
Jon: If it's impossible to play completely acoustic, the situation demands sound equipment that is correct in time, and that have a correct balance and also high resolution - like a screen with very many pixels. Very few concert venues have gear that handles this, and that's why I bring my own monitors.
Øyvind: Does this mean you have a ton of different drums at home?
Jon: I have one complete drum kit, a Tama Superstar from th 80s. Calf skin on everything. And then I have a yellow kit which is bigger than the Tamas, but that one isn't finished yet. I'm putting calf skin on it. Recently I'm having a 20" travel bass drum built, that you can split in the middle, and I intend to bring that instead of a suitcase.
Øyvind: Wait a second, you mean to put clothes and your toothbrush inside it, and then play it in the evening?
Jon: Yes, exactly! It has calf skin heads and a very think shell, which gives it a lot of warmth and makes it very dynamic. The brand is Tobias (Swedish custom builder).
Øyvind: Your ride cymbal... You said that it's falling apart, and I've seen that it has been getting smaller and smaller for every year, as more and more of the metal falls off along the edge. To my ears, just that cymbal has so much personality, and is an important part of your sound. What is one to do when the instrument one have been using for years dies?
Jon: I don't really know... Do you have any advice? I'm looking for a new cymbal and if anyone finds on they think would fit me, they are welcome to get in touch!
Øyvind: I've heard you state that you are done with technique. Can you please elaborate?
Jon: To express oneself, you don't need to know particularly much. I don't really want to get better. When I said that I was done with technique, I might have meant that then and there I didn't think technique made my life any better. And it feels so liberating to let go of all the restrictions you might have, and go for it from where you are at. In that perspective I was done with technique at that point. But right now, I'm actually eager to work at it again, especially hand and foot technique.
Øyvind: I read a book on Paul Bley. He said that you should envision yourself in 5 years, and start working towards that. Where are you in 5 years?
Jon: No idea. I don't want to know either. Right now I want to excersice more. Both physically - yoga, and on the drums.
Øyvind: I know that at one point you almost completely stopped playing. What happened?
Jon: It was a combination of putting too high demands on myself, and too much work. I played in 20 bands. At its worst I couldn't even lift my arms. That's when I left Stockholm and moved into the countryside. It was the start of a very rewarding journey.
Øyvind: From a very young age you have been playing with likes of Bobo Stenson, Fredrik Ljungkvist and Tomasz Stanko. Like that wasn't enough, you were awarded Best Young Artist in 2004, you were awarded the Alice Babs stipend in 2007, and you've received the Swedish Jazzkatt award in the "Jazz Group of the Year" a total of four times. Has it affected your playing being known at such an early age?
Jon: In any case it was a boost for my confidence to be allowed to play with Fredrik, Bobo and Anders Jormin so early. Fantastic that they like what I do, I thought, and that made me dare to show more of myself. In that same period I met my current girlfriend Lisa (Rydberg, baroque violinist and folk musician). Being in love and doing music is a very nice combination!
Øyvind: If I were to describe you with one word, I would say playful. This is something I'm concerned with myself, and an area where you have inspired me. But do you ever feel that sometimes there almost a demand from the audience to be a little bit crazy? Is there a limitation in having a reputation as a unpredictable musician that people like to watch because all kinds of stuff might happen? I struggle with this sometimes.
Jon: Yes, when I feel demands I can not create music. But the demands always come from within, and usually it starts with me thinking that someone expects something specific from me, or I find it hard to feel valuable just that day. Then there is resistance. Best case, a concert starts from the beginning, with no desire to get to a specific thing, like an expidition into the unknown.
Øyvind: I know you are a periodician - you get hung up on one thing at a time. The first time I met you, you were very passionate about coffee. After that brewing beer, then carpentry, perma culture, sound, sound equipment. What are you into these days?
Jon: Sound, time - a book on time that is, (Marshall Rosenberg's) Non-Violent Communication, nature wine, making a good burger, and so on. I think it's a way for me to excersice the brain, and combined with physical activity it gets even nicer.
Øyvind: You are very conscious about sound, on all levels. I'll never forget the time you played in Bergen, and not only did you bring your own cymbals and snare drum, but also your own monitors. What are you looking for soundwise?
Jon: If it's impossible to play completely acoustic, the situation demands sound equipment that is correct in time, and that have a correct balance and also high resolution - like a screen with very many pixels. Very few concert venues have gear that handles this, and that's why I bring my own monitors.
Øyvind: Does this mean you have a ton of different drums at home?
Jon: I have one complete drum kit, a Tama Superstar from th 80s. Calf skin on everything. And then I have a yellow kit which is bigger than the Tamas, but that one isn't finished yet. I'm putting calf skin on it. Recently I'm having a 20" travel bass drum built, that you can split in the middle, and I intend to bring that instead of a suitcase.
Øyvind: Wait a second, you mean to put clothes and your toothbrush inside it, and then play it in the evening?
Jon: Yes, exactly! It has calf skin heads and a very think shell, which gives it a lot of warmth and makes it very dynamic. The brand is Tobias (Swedish custom builder).
Øyvind: Your ride cymbal... You said that it's falling apart, and I've seen that it has been getting smaller and smaller for every year, as more and more of the metal falls off along the edge. To my ears, just that cymbal has so much personality, and is an important part of your sound. What is one to do when the instrument one have been using for years dies?
Jon: I don't really know... Do you have any advice? I'm looking for a new cymbal and if anyone finds on they think would fit me, they are welcome to get in touch!
Øyvind: I've heard you state that you are done with technique. Can you please elaborate?
Jon: To express oneself, you don't need to know particularly much. I don't really want to get better. When I said that I was done with technique, I might have meant that then and there I didn't think technique made my life any better. And it feels so liberating to let go of all the restrictions you might have, and go for it from where you are at. In that perspective I was done with technique at that point. But right now, I'm actually eager to work at it again, especially hand and foot technique.
Øyvind: I read a book on Paul Bley. He said that you should envision yourself in 5 years, and start working towards that. Where are you in 5 years?
Jon: No idea. I don't want to know either. Right now I want to excersice more. Both physically - yoga, and on the drums.
