CARSTEN DAHL: IN THE MOMENT OF INNOVATON

Nordic INNOVATION, page 18 og 19. Fall 2011

Carsten Dahl started out as a drummer. He is still a percussionist: “I did not decide to stop playing drums. In fact I still play them, but turned my focus to the piano, because I wanted to be more in charge of harmonies and melodies in my music”. Carsten’s background as a drummer has a many ways influenced his style of playing the piano. It is a unique style which has helped to mould him into a unique creative force on the piano. Carsten has played and recorded many albums, most as part of the Carsten Dahl trio, the Dahl/Andersen/Heral trio and Carsten Dahl – Lennart Ginman – Thomas Blachman trio. He has also created few solo albums. Carsten is one of the most sought-after Jazz pianists today and he has worked/recorded with Ed Thigpen, Lars Danielsson, Arild Andersen, Ulf Wakenius, Bent Jædig, Miroslav Vitous, John Tchicai, Marc Ducret, Ray Anderson and Randy Brecker, Joe Lovano, Hugo Rasmussen and Bob Rockwell among others. Carsten explains his inspiration: “My first real and big influence in Jazz was when I heard the Oscar Peterson trio with Ray Brown and Ed Thigpen. My love and admiration for this art-form in music started when I heard the trios CD-Night Train. It was also through his music that Ed Thigpen became a major source of inspiration in my life musically and spiritually.”

MUSIC IS THE ORGANIC INTERCONNECTOR

“I think that music in general speaks to mankind’s fundamental and humane desire to express emotions that cannot be put into words. An emotion that describes the indescribable – a free and atonal, lyrical language of tone. Music is the most direct art form especially when we speak of improvisation. If you look at music as a big tree with uncountable roots. The roots are individual but are all interconnected. In that sense – music to me is divine and organic in the way that it speaks to people because we are all interconnected. Music communicates directly to the human cells and bind cultures together.”

CREATION IS IN THE MOMENT

“I create on impulses of life. Sometimes it can be a rhythm and/or a feeling. Everything around me inspires med and touches me in different ways, which I try to express through my music. There is not a set creative process other than it happens in the moment. Once that moment of creation happens – I go with the flow and tap into the emotions that I want the music to express.”

IT TAKES COURAGE TO IMPROVISE AND INNOVATE

“Improvisation only becomes interesting, when the person playing becomes completely available to the music that he or she is playing. In my opinion – a good improviser is a musician that is able to be one with the music and the moment. Someone who has the versatility and musical and human capacity to contain the many inputs and aspects of life – describe them – show courage and not be afraid to allow the music flow unfiltered. It is the one who is able and willing to interpret the musical impulses and create one’s own tone and language. It is an honest flow, which also allows silence – just being in the music. Being a good imitator does not make one an innovator. There is a big difference there.

BE THE UNEXPECTED – BE TRUE TO THE MOMENT

“Every day present a new beginning, and with it the possibility of breaking free from the box. I think that it is a human trait to create a box, a shelter, which we live in – in order to protect ourselves – but we can be free and live outside the box. It presents a daily challenge, and I try to stay focused on the truth that lies in the moment. That is what I try to do in my music, but it is harder to translate that into my private life. We are our own worst enemies.
In music and life – I like to dig into gray zones – the things that are unspoken but still so very real. It is about the things that lie between the lines. And if people expect one type of music – I play another. We need room to grow – alone – into a higher state of love and humility to stress the importance of the moment.”

TOGETHER WE ARE A CREATIVE FORCE

“All the great musicians that created a new sound, and created a new direction that happened right on time have been an inspiration. They were innovative in their way of not wanting to compromise the moment’s potential. The social interaction with others allows growth individually and collectively. In that sense I think that working with and around other musicians is extremely important and inspirational.
When I play, I like to create a space and room, where the audience function as co-composers, without knowing it. They don’t affect me in terms of what kind of music I am going to play, but the audience does affect me energy wise. I like to bring the audience in a state of curiosity and a higher state of love and humility to stress the importance of the moment – the moment of life.”

BE TRUE TO THE INNOVATIVE YOU

“My sound is not one dimensional – it is multidimensional. I like different types of music, which has probably devoted my style of playing toward a free and atonal lyrical linguistic tone. Each person’s perception and experience of music is an individual experience, but I think that people recognise my sound and way of playing through way of singing through and in the tone.

Innovation is pure and present in every child – every living being. What limits us as artist and humans is our desire to please. Pleasing others is a must, but not if it compromises who we are. So in a way I think that we all start out as pure innovators, but struggle in life to stay tuned into the innovation that lies within us all. In a way – I would say that Innovation itself is not what is most interesting but more our journey in fulfilling our greatest and purest potential as humans and musicians.”

BE THE DISCOVERY

“ The sound of innovation is just BEING, and having the courage to transform what we already know into something that we have not discovered yet. Something waiting to be discovered. Something destined. For the intense sound of the fifth dimension.”