WALLACE RONEY

I was 7 years old when I first heard Wallace Roney’s playing on Herbie Hancock’s “Dis Is Da Drum”, a record that has over the years remained very important to me.

I was always drawing to people that respect (and draw their inspiration from) the masters that came before them. Wallace was somebody who went all the way. Where some only deal with the surface, the cliché, the easy way out, Wallace went deep and found his own stuff. And this is why he was taken on by the masters. I mean – Miles’ ONLY student? Come on! When Herbie, Wayne, Ron & Tony could have chosen every trumpet player on earth, they chose him. And he was somebody who didn’t keep his gained knowledge from those masters to himself. He shared it with others. That’s a big lesson, right?

To me, inspiration is like a trampoline. If you only jump into it with little energy and conviction, the jump will not be significant and likely not memorable. But if you go ALL THE WAY, jump into it with all you have, it will catapult you into heights where you’ll be able to see differently, see things more clearly. Plus, it will bring you away from the inital source of inspiration…. and then back again with a new perspective!! I think that’s what Wallace did over and over again with all the music he loved. Listening to him I can hear so much love for his idols, but he didn’t stop there. He took those lessons and applied them to his music.

When I released my first interview of this series, my conversation with Wayne Shorter, Wallace Roney was one of the first people to send me a nice message via Facebook Messenger congratulating me on interviewing Wayne. I was really taken by that gesture, kept in touch with him after that and finally in 2019 I asked him if he’d like to do an interview with me as well. I’m so happy that we got to do this and I learned so much during this conversation. Yet, at the same time I’m really sad that we didn’t get to finish it. You’ll hear a pretty aprupt ending of our conversation which was due to a bad interview connection (hence this interview is audio-only) .

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We decided to finish it some other time and sadly we didn’t get around to it after all. However, I think there’s enough that we all can learn from the things Wallace has shared during this conversation. He will be missed by many. Thank you for all the inspiration and wisdom, Maestro Wallace!

Supported by NICA artist development, a program funded by AK_Kultur und Wissenschaft_Farbig_CMYK_englisch

Achim Kaufmann

This episode is in German. The video version has English subtitles.

My story with Achim Kaufmann started when I discovered Paul Heller’s great albums “Kaleidoscope” & “Little Songs” as a teenager. I listened to them a lot, and Achim played piano on both. I really liked his playing, so I started to check out his own stuff. I started with his first album “Weave” — and it changed me forever! To this day it is one of my top 5 piano trio albums and I still listen to it quite regularly. The compositions, Achim’s chemistry with bassist Ingmar Heller & drummer Jochen Rückert, their playing, the sound — this record has inspired generations of musicians since it came out in 1998.

To understand his journey better, I worked my way through Achim’s records in the order they were recorded. Next up were the amazing quartet records “Double Exposure” & “Gueuledeloup” . I got obsessed with them and totally loved the music but had some difficulties following it. I couldn’t tell what was improvised and what was written. So I got in touch with Achim to take a lesson. I asked him lots of questions about these records and he graciously explained his process to me, showing me the leadsheets while listening to the music together. He showed me other records that I didn’t know before and we played together a little bit, me on piano and Achim on Wurlitzer. After this lesson I was full of inspiration!!

In the follow-up to that we exchanged e-mails and I asked Achim how he dealt with writers-block… I still look at his advice whenever I don’t feel inspired or I’m at a loss for ideas.

When I l finally left my hometown Hagen to study in Cologne, I went to see Achim whenever he played in town. Every time I was in awe and I always tried to talk to him after the gigs, to ask him what he was working on or listening to lately.

Many years later, after I started this series of interviews, Achim sent me a nice note, telling me that he enjoyed watching them. Naturally asked him if he would be interested in participating. Today I’m happy to share our conversation with you. Hope you enjoy!

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… OK, now I feel bad for not mentioning some other records that have been very influental to me so here’s another list:

Achim’s Kyrill, VerivyrLater, Mnemon

Peter Bolte – Trio & Keeping

Christian Lillinger’s Grund – Second Reason & Grund & COR

Christian Weidner – Dream Boogie & Every Hour of Light and Dark

Common Ground

Robert Landfermann – Topaz

all the records with Grünen

“Furthermore” “Nothing Something” & “Something Nothing” with Michael Moore

Marc Johnson

Marc Johnson — one of my favorite bassists of all time. I was always drawn to his warm sound and fluid way of playing, always taking risks, always propelling the music forward. The first time I saw him live was in 2004 during a concert of the John Abercrombie Quartet at the Domicil in Dortmund — a night I’ll never forget! I often go back to my memories of this particular concert. It was a great pleasure for me to finally talk to him and I’m excited to share our conversation with you.