We covered experimental jazz musician Emil de Waal in a recent article in our print edition, and we found his take on music composition fascinating. Below, read excerpts from the interview we conducted with de Waal a few weeks back.

The computer, and its music-making capabilities, is integral to your compositions and performances. In what ways do you find working with a computer limiting?
I actually don't find it limiting in any way. If I have to say something negative, it would be that the possibilities are so vast that you have to be very selective to be sure to make the right artistic choices in connection with working with the computer. And sometimes I just have know when to leave the computer in a live situation and concentrate on playing the drums, my main instrument.

By the same token, in what ways can (and does) it enhance your creativity and creative process?
I am using the computer for many different purposes. Both as an instrument using the possibilities of looping and twisting sounds, as a recording/editing/mixing tool and as an old fashioned tape recorder playing back my tunes, some melodies, solos or other tracks to play along with in the live situation. In any way used, I think it enhances my creativity if I use it with care as an extra limb for my creativity.

For composing it gives me the the possibility of writing the music the way I like it to sound even though I can't really play instruments other than drums well. That is because the computer has so many creative possibilities and great sounds. If I use the computer creatively, I can pretty much make music out of everything.

For the live situation, the computer gives me the possibility to influence on the melodic and harmonic parts of the music and play drums at the same time. I really like that.

For my recordings, the computer gives me the possibility of having the creativity going on after the recording as well and making new music out of the recordings. For example, I sometimes take a solo part that I like from one tune and create a new melody upon it.

You have a rather ambitious and inventive way to approach music making. Tell me a little about your creative process.

I always try to make my compositions so open and simple that it makes space for every musician’s creativity. My goal is to make space for the inspiration of the moment. I love to play specific parts playing in other bands. But that is not the purpose of this band. This band is open in all musical terms I can think of. Especially stylistically and artistically.

How did you first become involved in experimental electronic jazz and avant-garde music?
I always liked contemporary and avantgarde jazz along with rock and pop music. I grew up with Miles Davis´ electric bands and Weather Report, so I think electronic music comes out of that naturally for me, as I have been wanting to play drums as long as I remember. As a matter of fact, it is very important for me to not be into stylistic boundaries. To me, music is just music.

You've come to China a few times already now. Do you find that there is a particularly receptive ear for your sound here? If so (or if not), why do you think that is?
I think the Chinese listeners are very much into energy, a thing that means a lot to me and that I am very much into sharing when I am playing music. At the same time they do not seem to be very controlled by stylistic boundaries. If they like the music, they don´t seem too interested in defining if they are listening to jazz, avantgarde, electronica or rock. That is right up my musical alley and I think I that is where my music meets the Chinese audience well. I think that the fact that rhythmic music is still rather new to the Chinese listeners, might make them open to difference in styles and sounds in a way that I really love!

DETAILS
Emil de Waal performs Friday, May 22, at the Forbidden City Concert Hall as part of the Nine Gates Jazz Festival. He also performs Saturday, May 23, with Bandapart at 2 Kolegas.