How did the trio adapt from your usual live performances to working with an orchestra?

Undoubtedly, a symphony orchestra is quite a beast. It’s acoustic in its nature, and to balance its sound in a room is something they really master. As a trio primarily accustomed to amplified venues, we had to adapt. Nevertheless, we’ve always strived for acoustic balance in our sound. This came in handy in this project.

One of the most challenging aspects, in my opinion, of blending classical and jazz elements lies in the delicate balance of the drummer’s cymbals. The customary ride cymbal patterns in jazz can sometimes obscure orchestral intricacies. However, Audun Kleive, in this instance, demonstrated true mastery in achieving balance. His acute listening skills and delicate touch artfully glued it all together.

Another consideration is the definition of the improvised ideas. My experience with orchestras and larger ensembles has taught me the importance of precision and clarity in conveying musical concepts. This refinement is always beneficial, and really something to strive for. At the same time, when we as jazz musicians are playing with classical musicians, we often have a choice – either to be the stranger in the room, or to try to meet musically on their terms. The latter could sometimes lead to an overly controlled way of playing, and a lack of spontaneity and freshness. We don’t want that. So, the answer in our case was to aim for something in between.

How do you approach the orchestration of this music? Do you see the orchestra as one part of two (with the trio) or as one of four voices (piano, bass, drums) or further broken down by brass, wind and strings?

Orchestration holds a significant fascination for me and remains an integral part of my creative journey, irrespective of the ensemble or format. I approach the piano as an orchestra in itself. Within some compositions, the trio engages in a dialogue with the orchestra, while in others, it seamlessly merges into the overarching motion and direction. This project marked my inaugural venture into arranging music for a symphony orchestra on a professional level. While I sought advice from peers during the process, ultimately, one must rely on intuition and accumulated experience. Every piece is different, and they often have an intention of their own. It’s a matter of giving justice to that intention.

Your music has often bridged a gap between Jazz, classical and improvised music. Are you conscious of that when writing?

Yes, so I’ve heard. It’s quite interesting, since I’ve never studied classical piano. Genre itself isn’t inherently part of the creative process; rather, it’s about exploring different moods, vibes, and emotions. I consistently seek out a distinct character in my ideas, whether it’s embodied by a fictional persona or an emotional essence. Each of my compositions aims to convey a specific character, with some possessing a sense of fluidity while others adhere to stricter structures. My goal is to create music that strikes a chord, whether it resonates with the sound I envision, a particular individual, a place, or a situation. Complicating matters further, some ideas seem to have a life of their own, resonating in ways I hadn’t anticipated.

The intricate sound of a skilled classical pianist has always captivated me. I aspire to emulate the diversity of color and touch inherent in that way of playing the piano. The ongoing challenge of merging orchestral or classical techniques with the spontaneity and groove-based patterns of jazz has been a personal endeavor of mine. Each production, album, and composition bring me closer to achieving this fusion, yet I sense that the journey will continue indefinitely. I’m not there yet!

Ultimately, the essence lies in crafting music that resonates with someone or something. Each composition possesses its own unique character, sometimes characterized by looseness, other times by a more rigid structure. Nevertheless, certain ideas surprise me by resonating in unforeseen ways. It’s about capturing diverse emotions, atmospheres, and sentiments, ultimately creating something that strikes a chord on a profound level.

Harmonically, your music seems to suit string writing very naturally and you’ve recently written a piano concerto with chamber string orchestra. Have you been writing for strings for a long time? Do you play any string instruments?

Yes, I’ve always been fond of strings. At the age of 16, I composed my first piece, a three-movement work for string orchestra with a piano soloist. Although it never saw a live performance, we recorded it professionally in a studio – a deeply inspiring experience that redirected my ambitions as a composer. Even though we had good notation software at that time, I remember choosing to write the score and all parts by hand to be ‘closer to the music’. It was hard work, but hey, 16 year old kids have lots of energy.
Later on, I delved further into the art of string arranging, a field rich with discoveries waiting to be made. Incorporating score reading and analysis into my weekly routine, I find myself continuously uncovering new insights. String players possess a unique ability that I, as a pianist, admire greatly: the capacity to shape and develop a note or harmony beyond its initial strike. I really envy this skill, and I’m often experimenting with string patches or organ patches on the keyboard, both triggering something different. And, different is always better. Some things must be unpredictable or surprising in the creative process.

I wish I could play a string instrument, preferably the cello. But, I can’t.

There’s a cinematic or soundtrack quality to the orchestration – is that a conscious decision or influence?

Oo, that’s wonderful to hear. Imagery plays a significant role in my music, as I always strive to convey mental images. These images don’t necessarily have to be explicitly clear or concrete; rather, they should contain elements that stir the listener’s inner vision and imagination.

What conversations do you have as a trio that change your approach to performance both as you develop as a trio and working with a wider sound palette.

Our music’s sound palette, apart from the composition, is a thing that mostly unfolds in the moment. It’s improvised. I’ve made it a practice to record nearly every concert we do in multitrack and have taken the time to listen back to some of these recordings. When listening back, a striking thing is how different the interpretations are. The sound in the room, the audience’s reactions, the piano, and probably lots of other factors play a part in this. Some tunes that are meant to be up-tempo could suddenly turn out as a ballad. I like that.

This attitude keeps us on our toes, and we must be flexible and humble towards the ‘community’ a trio really is. At the same time, I try to encourage space for different opinions, and we’re not afraid to be verbal about the music if needed.

This music covers material from a variety of trio albums – how did you approach this music differently compared to the original recordings?

When we were planning the project, it was a collaborative effort involving both the producer from the Norwegian Radio Orchestra and myself. We exchanged suggestions for previously released music, with input from all parties involved. Additionally, there were discussions with the conductor, Miho Hazama, throughout the planning process. While I arranged half of the songs, other arrangers handled the remainder, including two arrangements by Miho herself—a truly inspiring collaboration. She played a crucial role in making this thing work as it did, and she is a master both in arranging and conducting that speaks both languages; the written and the improvised.

The recording took place during a live concert at national broadcaster NRK, and was subsequently broadcasted on TV and radio. However, when it came time to select tracks for the album release, we faced the challenge of fitting everything within the constraints of the format. Naturally, this was a difficult task, as crafting a concert and curating an album require different approaches. For the album, we aimed for a more cohesive sound, whereas a concert allows for greater diversity in repertoire and presentation.

Reflecting on previous releases, do you hear them differently, with a different perspective, after they have taken new life through live performance.

Oh yes, this happens all the time. Once a track or tune is released, it sets out on a new journey, evolving with each performance. What felt crucial during the recording process may no longer hold the same significance later on. Different interpretations emerge, with variations in tone, tempo, or expression. The possibilities are endless, and all options should be considered in a live performance setting.

I’ve noticed in myself a tendency to compose with a stricter approach than necessary. However, performing live with Audun and Per requires a greater degree of freedom and flexibility in the material. What may have seemed essential in a composition beforehand can sometimes become irrelevant after a rehearsal. I find this aspect quite refreshing—it underscores the importance of remaining humble, both towards the music itself and towards the ideas and musical visions of my bandmates. It’s a continuous process of adaptation and growth, allowing the music to breathe and evolve organically.

Do you like listening back to old recordings?

I rarely do. It’s not that I’m dissatisfied with my past recordings or that I don’t enjoy them, but rather, my focus is heavily invested in my current projects. When composing the music, I spend a lot of time listening to my own demos and recordings of rehearsals and improvisation. I try to be ‘in’ the music and to live with while it’s created. After a studio session, the same goes for listening to takes and choosing just the right one. It’s a demanding process, but also one that offers a lot of opportunities for growth and learning.

Once the album is sent off for mastering, I move on. The chapter closes. The music lives on, but takes another form – how to play the music live? A studio production and a live situation can require that the band highlights different qualities in the music. Even though we usually make the recording as alive as possible in terms of spontaneity and dynamics, a recording is surely a different format than on stage. Some kind of sobriety in terms of mood and overall ‘vibe’ is a quality I appreciate when listening to albums, and I strive to maintain that perspective throughout the production process.