Pablo Held Investigates

What a pleasure it was to talk to composer/arranger/pianist/accordionist Gil Goldstein! I’ve been in awe of his work with Michael Brecker, Milton Nascimento, Jim Hall, Wallace Roney and of course his own music (check out his album “Under Rouseau’s Moon”). Furthermore, his book “Jazz Composer’s Companion” was a great help to me, especially because of the interviews that Gil himself conducted with some of my biggest heroes – he’s basically an investigator himself Gil and me share a deep affinity for Gil Evans, so naturally I had to ask him about the process of his late mentor. These accounts are a nice counterpart to my conversation with Maria Schneider with whom I also talked about Gil Evans’ music. Enjoy the two of us hanging/nerding out.

Sometimes you can’t predict in which direction an interview will go. When I spoke with Laura Mvula we didn’t nerd out about theoretical stuff. In the beginning you can notice me wanting to go in this direction. But instead we get something much deeper and more meaningful: Laura opened up about her life as an artist, the constant challenge to stay present and to reach what she calls “the freest place”. We touch on how she deals with expectations and how that helps her to be even more honest in her work. I felt like I really got to know Laura and I’m thankful for her honesty and generosity.

Ralph Towner is my hero. He’s a musical pioneer, a poetic and lyrical storyteller, always searching for something new, a giant of jazz & improvised music. I have childhood memories of listening to his records in my parents collection — His duo recording with Gary Peacock “Oracle” always comes to mind. So do his solo recordings, his work with Oregon, Weather Report, Azimuth and much more. After many years of loving and studying his music I got to meet him for the first time in 2017 after an incredible solo gig of his in Wuppertal. The promoter managed to sneak me into the dinner and somehow I ended up sitting next to Ralph. Naturally I asked him many questions all night! An interview, only without the camera. Later on Ralph was not only kind enough to write liner notes to a trio album of mine, he also accepted to play a couple of gigs with us in 2018. A dream come true, and an unforgettable experience. This conversation took place in late 2021, before the soundcheck for our gig at Cologne Philharmonic Hall. I’m so happy that Ralph agreed to do this with me, because I’ve been wanting to interview him properly for a long time. Ralph shows and demonstrates a lot of things on the guitar, giving us a rare insight into his process. I always dreamed to be in that seat: right next to my hero, asking him about his compositions and seeing him up close coming up with all those beautiful sounds. We also talk about Bill Evans’ influence on his music, playing with Jimmy Garrison and Elvin Jones, how his piano playing influenced his approach to the guitar and much more. Hope you enjoy this as much as I did.

Scott Colley is an amazing musician. He always serves the music in a very engaging and creative way, never letting his incredible facility on the instrument getting the best of him. This is one of the many things I admire about him, so naturally I am glad I could talk to him about that. We also cover his longtime relationships with Herbie Hancock, Andrew Hill, Jim Hall and Chris Potter, as well as the special occasion when Scott subbed in the Wayne Shorter quartet. We listen to a track from “Empire” together, my favorite Scott Colley album. Scott reacts spontaneously to what we hears, which is something I always like. And he shares his memories of studying with Charlie Haden and Fred Tinsley, working with drummers Bill Stewart & Brian Blade and gives great insights into his compositional process and musical mindset. I’m glad to share this with all of you now. Enjoy! If you like this series, please consider supporting me on Patreon.

I heard about Mike Gibbs through my good friend Sebastian Gille, who invited Mike to arrange his music for a special project with the NDR Bigband. I was amazed by Mike’s writing right away. Everything he does sounds so rich and full yet very open at the same time. He’s a true master who has worked with so many of my personal heroes: Joni Mitchell, Jaco Pastorius, John Scofield, Kenny Wheeler, John Taylor, Bill Frisell, John McLaughlin, Steve Swallow and so many more. After a while we got in touch and we embarked on a deep exchange via email, talking a lot about our shared love of Gil Evans’ writing, sending each other music to listen to and exchanging lots of sheet music. I asked him so many questions about all of his encounters with the great masters and he always took his time to answer very thoroughly. On the other hand he seemed very interested in my trio and our way of playing together, asking for lead sheets of my tunes and commenting in depth about our newest recordings. He even turned up out of the blue on a trio gig at the Vortex in London and after that followed the trio to Almeria, Spain where we hung out for three days. It’s very inspiring to see him staying that interested in the current scene, eager on learning more and deeply immersing himself in the music all the time. I want to be like that when I’m at his age!

When Larry Goldings told me that “we should do another podcast where we talk about our classical influences”, I was beyond excited. In this 3-hour conversation about our musical upbringings and influences we also play a lot of piano for each other. As you can imagine, this is exactly what I was dreaming of all my life: talk to my heroes about their process and have them show me what they’re doing. This is why I started this podcast in the first place. Join me and Larry, talking about music, playing piano and hanging out.

Pablo Held talking about the creation of his solo album “Embracing You”. Supported by NICA artist development, a program funded by

Percussionist & composer Marilyn Mazur is like a magician. Through her imaginative playing and her rich palette of sounds she casts spells on the music, her bandmates and us as listeners. When I listen to her I feel transported into places that I didn’t know existed and that’s something I’m fascinated by. How does one do that? I’m so happy I got to talk to her about her process, leading a band, composing, finding her way in the bands of Miles Davis & Wayne Shorter, my late teacher John Taylor, Norma Winstone and much more.

Kevin Hays is one of my absolute favorite piano players, period! The first time I saw him live was in 1996 on a concert of John Scofield‘s Quiet Band and this made a deep impression on me. I’ve been following Kevin’s playing very closely since then. Out of his own records “Andalucia”, “Seventh Sense”,“El Matador” and “For Heaven’s Sake” are my personal favorites, but I do love all the other ones, too! If those records would have been LPs I think I would have worn them all out a couple of times by now. I’ve studied Kevin’s work with Chris Potter, Al Foster, Bill Stewart, Bob Belden, Seamus Blake and many more. He’s outstanding as a soloist as well as an accompanist, a complete musician! In our conversation we talk about his work with John Scofield, Sonny Rollins and Roy Haynes, his touch, rhythmic variety in his playing, going for a personal approach on standards and a lot more. However, the main theme throughout seemed to be finding one’s own voice. Hope you enjoy!

Master drummer Peter Erskine is on so many of my all-time favorite recordings that it’s almost ridiculous! I love everything that he’s done with Weather Report, Jaco Pastorius, Joni Mitchell, John Abercrombie, Joe Henderson, Marc Johnson, Vince Mendoza, Kenny Wheeler, Michael Brecker and SO many more! Of course, let’s not forget his own records!! Especially “You never know” with Palle Danielsson and my late teacher John Taylor is one of my absolute favorite piano trio recordings! I also highly recommend his fantastic book “No Beethoven: An Autobiography & Chronicle of Weather Report” check it out if you don’t know it yet! I’m very happy he accepted to do this interview with me, it was a real pleasure to talk to him. Enjoy!

Sam Amidon is one of the most open minded artists I know. Right away I was struck not only by his beautiful music, I was also amazed by the vast range of things he welcomes into his world. Every Sam Amidon album is a winner. They build on top of each other and yet each one stands on its own. There’s a very specific Amidon-vibe. A vibe that nobody else but Sam can create, and he doesn’t even have to do much to create it. It is just there, from the moment he starts a song — effortless. When I wrote to Sam to tell him how much I liked his music, I was surprised to hear that he’d been checking out my podcast for a while. He even became my supporter on Patreon! We kept in touch and made plans to do an interview in the future. When in the summer of 2021 Sam spent a couple of days in Cologne, I was so happy that we could do the interview in person and hang out at my place… and play! Thanks for doing this with me Sam!

My dear friend and trio colleague Jonas Burgwinkel and I went into the studio to talk about the recording process of my first-ever album Forest Of Oblivion. It was pure time-travel and I stayed in nostalgia-mode for the following days, reminiscing about the past and our journey as a trio. As I often tell, it’s like looking at old photographs of yourself… it’s sometimes hard, often funny but in the end — it’s you! Anyways, I hope you enjoy this one! Supported by NICA artist development, a program funded by

I had been following Johanna’s playing for quite a while, ever since my buddy Robert Landfermann told me to check her out. – If you don’t know Johanna’s music yet, a great place to start is her album “Schumann Kaleidoskop” , where she interprets Robert Schumann’s music in her very own adventurous ways. To me Johanna is an excitingly unique voice on the piano and a fearless improviser. This interview was in fact the first time we really hung out and also (spoiler alert) played a bit, as you will see at the end of the episode. Playing duo with Johanna felt so great that I immediately invited her to play with me again as part of my concert series “Pablo Held Meets”. You can still check out the whole concert here.

This interview with bassist Doug Weiss took place after our first concert together in June 2020 at the Green Room in Köln. Such cool way to get to know each other: After a rehearsal and dinner, we played a concert and had this conversation in front of a live audience. Right from the start I found it very easy to connect with Doug. That’s one of his many talents: to quickly connect with anyone around him and to make them feel at ease. Always in service of the music. Always on point. Much to learn here! It was a big pleasure to get to talk to him about his process and his musical relationships with my heroes like Al Foster, Brian Blade, Kevin Hays, or Bill Stewart. Thank you Doug! Supported by NICA artist development, a program funded by

Marcus Gilmore is one of the most influential drummers of our time. The first time I heard him was on Gonzalo Rubalcaba’s “Avatar” record and I was drawn to his rhythmical world right away. I got to play with Marcus in Chris Potter’s quartet back in 2015 and the feeling of playing with him is something I’ll never forget. He keeps you on your toes, that’s for sure. In the kindest way he makes you listen and reach for new stuff. Highly challenging and inspiring. Since I started this series I always wanted to interview Marcus and it finally happened a couple of months ago. We talked about his time with Gonzalo Rubalcaba, learning from Zakir Hussain, his approach to the drums, his grandfather Roy Haynes and much more. Hope you enjoy.

I first heard Chris Potter’s music sometime in my teenage years. I immediately became a fan, trying to get all his records as a leader and as a sideman. There’s always something to learn from Chris’ playing… in a way I always feel encouraged to work on something after I’ve listened to him. Especially his records “Gratitude”, “Lift: Live at the Village Vanguard”, “Traveling Mercies”, “Unspoken” and “Presenting Chris Potter” were deep sources of inspiration for me. Moreover I loved his playing on records of Dave Holland, Paul Motian, Steve Swallow, Kenny Wheeler, Alex Sipiagin, Adam Rogers, Antonio Farao, Scott Colley, Billy Drummond, John Patitucci (oh yes – “Now” was a big one for me!) and on lots of bootlegs as well. I heard Chris live very often, but a particularly amazing concert I saw was John Scofield‘s quartet with Chris, Dennis Irwin and Bill Stewart at the Stadtgarten in Cologne. I’ll always remember this! In 2013 I’ve had the great fortune of playing with Chris Potter on a short tour as a featured guest of my trio and later on in 2016 I went on tour through Europe with his own quartet. I had been following his music closely, so getting to play with him was not only a dream come true but also a deep learning experience for me, to say the least! Now, I’m really happy I got to include Chris in this series of interviews. We talk about his impeccable ear-brain-instrument connection, composing, leading a band, working with Paul Motian, Dave Holland and Herbie Hancock, how to overcome periods of self-doubt and much more.

I found out about Robert Stillman‘s unique musical world through my friend Kit Downes. (Whenever Kit recommends something I listen very closely) So when my first sitting with Robert’s debut “Horses” was over, I had to listen to it again right away. Everybody on the record played their butts off, but it was the songs and a distinctive vibe that caught my attention. I thought to myself: here’s somebody who likes to invent his own musical world, regardless of what is considered on vogue at the moment. Personal music. No bullshit, just honesty. And that feeling didn’t stop with the next record I checked out (Rainbow) – it only intensified! It has been beautiful to see how Robert’s musical journey is progressing and growing with each new release. I like to reach out to the people whose music I’m listening to. To say thank you. We as artists want to move people with the things we put out. So it’s nice to report back and tell them it really worked. I did this with Robert as well and got to know him through that, eventually we played together in Köln at my concert series which was a great pleasure. In this first meeting I noticed how wide his musical horizon actually is. Really inspiring. The perfect interview guest, as you’ll see in a moment. Enjoy!

As I tell Jeff Ballard in the beginning of our conversation, every time I hear him I’m amazed by the lively sound and feel he gets out of the drums. I think that’s something we as musicians all strive for: to have our sounds (and the music in general) be reflective of life itself, to transcend the notes, the rhythms, the general parameters of the music and make others (and ourselves) feel something and connect with each other. It was a big pleasure for me to connect with Jeff during our talk. Right from the start it felt like I had known him forever! He was really ready to share his experiences in a candid and honest way. We touched on many subjects, including his time feel, drastically changing his physical approach to playing the drums, his experience of playing with Chick Corea, books, his relationship with Larry Grenadier, what he’s looking for in a bassist, his admiration for Donald Bailey and much more.

Maria Schneider is one of the most important composers & arrangers of our time. A singular voice who is always recognizeable. To me, Maria is a pioneer, always finding new ways of ensemble writing that inspire her musicians to really engage with the music, and not just play their part. In the tradition of Duke Ellington or Gil Evans, she really writes for individuals and you can hear that in the unique sound that she gets out of her orchestra. I was so excited to get to pick her brain about her process, my favorite albums of hers like “Concert in the garden” or “Allegresse”, about learning from Gil Evans and much more. Maria was on fire during the whole conversation. It felt to me like we were hanging out. I hope you enjoy this as much as I did.

(This episode is available only in German) Das etwas andere Interview mit Antoine Burtz eröffnete mir einen tiefen Einblick in den kreativen Geist dieses besonderen Künstlers. Antoine spracht mit mir über die Entwicklung seines Rap-Flows  von “Lohn Isch Da” bis hinzu “Deutschland Isch Stabil”, sein Unterrichtskonzept im Rahmen der Rapskill School, die Erwartungen an Mitmusiker*innen, Stimmübungen, seinen Umgang mit Selbstzweifeln und vieles mehr. Eine echte Evaluation eben.

My dear friend Jonas Burgwinkel was the one who told me about Blake Mills first, hipping me to his album “Heigh Ho”. I liked it right away. But it was Blake’s “Mutable Set” that completely turned me around. It really hit me and I somehow became addicted to it, listening to it all the time. It’s probably the record I listened to the most during 2020. I love to get lost in music like that. Blake actually changed the way I listen to music, making me more aware of the impact of great production on a record. And there’s a patience and honesty in his music that really moves me: Being a killer guitarist while having total restraint, never showing off — that’s rare. To me, Blake is of this singular breed of artists that are totally unpredictable, where you never know what they’ll do next. I mean, I couldn’t have predicted “Look” after “Heigh Ho” or “Notes with Attachments” after “Mutable Set”. Can’t wait to hear what he’ll come up with next. But I already know that I’ll be listening closely. A few notes about the story behind this interview: Chris Weisman helped me get in touch with Blake. Our inverview went great, we talked a lot about “Mutable Set” and I was super excited to share it as soon as possible. However, when the first single of the Blake Mills/Pino Palladino record was released soon after, I knew I needed to talk to him once more. There would have been no point in releasing the interview without addressing this new music. I’m so grateful that Blake agreed on another talk with me. In our second conversation we went through every song on the new album and Blake offered incredible insights into the process behind it.

Interview in German, the video version has English subtitles. SALOMEA is one of the most exciting bands that has emerged from Cologne scene in the last years. Singer & founder Rebekka Salomea Ziegler and her trusty comrades Yannis Anft (keys), Oliver Lutz (bass) & Leif Berger (drums) are good friends of mine and I’ve been following their music and their individual projects with great interest and admiration. I’m thankful I could get a glimpse into their process and share it with you. Enjoy! SALOMEA released their eponymous debut-record on KLAENGrecords in 2018 and now they’re busy producing a much-awaited second album. I’m thankful I could get a glimpse into their process and share it with you*. Enjoy!

This is the second album of my trio, recorded in 2009 and released in 2010 on Pirouet Records. Going back to this album was like stepping into a time machine. I talk about how we applied our live concept into the studio situation on some of the tunes. I also talk about how my trio mates were responsible for a few of the (questionable) song titles on the album, our use of musical cues, strategies on trio interplay and other memories from the recording sessions.

Marilyn Crispell is a master improviser, a musician of the highest order. To me she embodies focus, presence and selflessness. And I just love the way she plays the piano! Here are some of my favorite records of Marilyn’s: AmaryllisNothing Ever Was, Anyway: The Music of Annette PeacockVignettesFor ColtranePianosolo – A Concert In BerlinLive In Zürich We talk about her ability to focus, the communal spirit of group interaction, leaving space, teaching, Annette Peacock’s music, working with Paul Motian & Gary Peacock, composition and so much more. Enjoy!

The first time I became aware of Marc Copland was when a good friend of mine showed me the album “Softly…”. I was immediately drawn to Marc’s personal approach to harmony and his ability to tell a story on the piano. To this day this album remains one of my favorites of his. Discovering Marc’s music really matched with some of my other interests during that time, i.e. the music of Bill Carrothers, Bill Stewart, Hubert Nuss – all these guys share a deep sensibility for colors in the music. A few years after that I wound up on the same label as Marc: Pirouet Records. Pirouet’s artistic director Jason Seizer was the one that put us in touch when he brought Marc to a gig of mine. I still remember the stories Marc told me that evening as they have been incredibly helpful to me. As you will see in this conversation, Marc is really great at telling stories and he’s ready to share, inspire and hip you to things.

If you like this series, please consider supporting me on Patreon. I first heard Vince Mendoza‘s music through my parents, who had albums of his collaborations with Joni Mitchell. Then around 2003 I discovered his wonderful album “Epiphany” which I then listened to for a whole summer. I was blown away by the music and all my heroes were on that record: my late teacher John Taylor, Marc Johnson, Peter Erskine, John Abercrombie, Kenny Wheeler, Joe Lovano and Michael Brecker! After that I checked out as much as I could from Vince’s writing, digging his own records, but also his work for Björk, Jim Beard, John Scofield, Herbie Hancock, Peter Erskine, Larry Goldings and much more. In this conversation we talk about his collaborations with Herbie Hancock & Joni Mitchell, transcribing, his writing process and “Epiphany”.

If you like this series, please consider supporting me on Patreon. “This guy will change your life!” That’s how Larry Goldings hipped me to Chris Weisman. Well, Larry was right. Chris has such a vast output… eclectic, yet always unique. A singular songsmith of the highest order – nobody does what he does.At first I was overwhelmed by the sheer amount of music he has out. But that changed after I found the right entry point. For me, it was his album “Play Sharp To Me”. Soon I couldn’t stop checking more of his albums, deeply immersing myself in his catalogue. I got so inspired that I wrote a song for him. In the credits to each of Chris’ albums on bandcamp it says “Write me”. So I did and send him my song. This was how his reply started: This is SO SURREAL. I became very into your podcast literally in the last two days. We started having long email conversations, hipping each other to various things. Naturally I felt the urge to get him on the podcast. Having read that he didn’t really do interviews I was hesitant to ask. But he was already sharing all this interesting stuff about his process, and somehow I felt we were already in it… Finally I asked him and he said he would be happy to do it! For the next stage of preparation, Chris sent me ALL of his albums plus early demos. I usually know a lot of the music of the guys that I’m interviewing… but this never happened before! So when the actual day of the interview came I felt so weismaned-up … And what a great experience it was to connect with Chris. I think of this conversation as a celebration of his music and a gateway into his creative mind.

pianist Bill Carrothers interviewed by Pablo HeldIf you like this series, please consider supporting me on Patreon. Bill Carrothers has been a big influence on me since my teenage years. I first heard him on Bill Stewart‘s classic record “Telepathy” which completely turned me around. From then on I tried to find as much recordings of Bill that I could. I remember finding lots of help and inspiration in a transcript a lesson that he gave. (you can find this on his website). As I tell Bill right in the beginning of this interview, anyone who’s serious about harmony and this music in general should listen to him. Hearing his music changed me forever. We talked for a long time and Bill was very generous, giving lots of insights into his process + he even plays a couple of things at the piano during our conversation! I hope you enjoy!!

Descent is the follow-up EP to my record Ascent and features the same line up: my trio buddies Robert Landfermann & Jonas Burgwinkel, guitarist Nelson Veras and me. Four previously unreleased tracks from the initial recording session. In this audio commentary I talk about the composition & recording process behind this music.

If you like this series, please consider supporting me on Patreon. I got into Jakob Bro‘s music through my friend Moritz Baumgärtner. He showed he a couple of tracks sometime in 2009 and I immediately fell in love with the sounds I heard. “Balladeering”, “Time” and “Pearl River” are the records I’ve listened to the most, but I also love his recent works for ECM with Joey Baron, Thomas Morgan, Palle Mikkelborg and Jon Christensen. But there’s also so many treasures to be found in his earlier works, in his collaboration project BRO/KNAK and his recordings as a sideman with Tomasz Stanko, Paul Motian, Jakob Buchanan, Jonas Westergaard and many more. Furthermore, I’m a big fan of the documentary “Weightless” about the recording of the “Balladeering” album – to see how this music was created is priceless! I secretly wish that a film like this one would exist for all of my favorite records… In this conversation we talk about how Jakob came to fulfill his lifelong dream to play in Paul Motian’s group, his relationship with Thomas Morgan, composing, practicing, putting together a band, finding a personal approach to the guitar and much more. Being a longtime admirer of Jakob Bro, it was really great for me to get to talk to him. I hope you enjoy our conversation as much as I did.

If you like this series, please consider supporting me on Patreon. Billy Hart. What can I say? This guy has given us all so much through his music, his playing, his energy and wisdom. It would take forever to list all my favorite recordings of him, so I’ll spare you that. In 2019 my dream came true and I got to work with him in the studio. Let me tell you, I have never experienced anything like it before — feeling his beat up close is otherworldly! During the breaks I kept asking him questions and he took his time answering all of them in great detail. I was struck by his humility and honesty. We kept in touch after that and also talked about doing an interview. One day in September of 2020 I called him up to ask him if we could schedule a date for it. His reply was: “Well, how about NOW?” That wasn’t exactly what I had expected, but I told him I needed to bring my kids to bed and then I would call him. Normally, when I’m about to interview somebody, I spend days listening to that artist exclusively. Reading interviews & books, watching videos, going back to my favorite albums and also discovering new ones – all that is part of my process. Well, this time was different. But I had to remind myself that I have been preparing for this interview for all my life. I still remember those moments when my father played “Crossings” for me for the first time…

Niels Klein, Jonas Burgwinkel & Robert Landfermann join me in the studio to talk about my ninth record GLOW II. It was fun to dwell on our memories from the recording sessions and share our individual perspectives on how we dealt with the music. This album was released in 2018 on Pirouet Records and it features big ensemble configurations consisting of outstanding musicians like Hubert Nuss, Ronny Graupe, John Schröder, Christian Weidner, Philipp Gropper, Niels Klein, Henning Sieverts, Claus Stötter, Robert Landfermann & Jonas Burgwinkel.

If you like this series, please consider supporting me on Patreon. Terri Lyne Carrington’s energetic & fluid way of playing deeply resonates with me. It has a searching quality which always moves the music forward. She always keeps me engaged and wondering what’s going to happen next. When I first saw her live in 1999 with Herbie Hancock’s “Gershwin’s World” project. I still remember that magical feeling of really digging the music, yet having no clue what they were doing. To this day I can still tap into how that felt. That says something about an artist: if their art can sustain a feeling over decades – that’s powerful! It was a pleasure to finally get to talk to her and I’m excited to share our conversation with you now!

If you like this series, please consider supporting me on Patreon. When my dear friend and trio comrade Jonas Burgwinkel showed my Ben Monder’s incredible album “Excavation” sometime in 2005 my musical world got turned upside down. Ben’s music has had a major impact on me and my writing. When I look at certain compositions of mine I can clearly see his influence ( i.e. “Meta”). Whenever there was a rumor of an upcoming Ben Monder record I awaited each one with great excitement and checked it out as soon as it came out. I’d say I’ve spent the most time with his own records “Excavation”, “Oceana”, “Flux” and “Hydra”. Though I also listened quite a bit to his records with Theo Bleckmann like “No Boat”, “At Night” or “Origami“. I also love his sideman work on records by Jochen Rückert, Paul Motian, Maria Schneider, Bill McHenry, or Tony Malaby. In this conversation we talk about his process of finding new harmonies, composing, influences, working with Paul Motian, his relationship with Theo Bleckmann, memories of special concerts he attended when he was coming up and much more. I was very excited to talk to Ben and I’m happy I can share this with all of you here.

Sullivan Fortner never ceases to amaze me. Whenever I listen to him I feel really inspired. It was around 2011 when my friend Can Olgun hipped me to Sullivan and I’ve been following him ever since. I love his work with Cécile McLorin Salvant, Peter Bernstein, Roy Hargrove, Lage Lund, Guilhem Flouzat and of course his own stuff. Right from the get-go, I noticed that Sullivan’s persona is quite similar to how his playing always sounded to me: honest, open, humorous, deep, creative, spontaneous and full of ideas. I’m very happy to share our conversation now with all of you!

My friend Till Kammertöns hipped me to the music of Gabriel Kahane sometime in September 2018 and I immediately got hooked. I couldn’t stop listening to his wonderful album “Book of Travelers” for a month. While checking out all of his other wonderful works I noticed an urge to interview him for this series. I was really happy that he accepted my invitation. Great to talk to him about his music and his process. Enjoy!

(German only – english subtitles available on YouTube) I got to know harpist Kathrin Pechlof sometime in 2008 when she moved to Cologne, we quickly became friends and started playing together in various groups. I was very fortunate to have her on my album GLOW which we recorded in 2010 for Pirouet Records. Furthermore we played together in Niels Klein’s project LOOM and with the EOS Kammerorchester. In recent years Kathrin has done wonderful things with the Kathrin Pechlof Trio (with Robert Landfermann and Christian Weidner). They just released their second trio album  “Toward The Unknown” on Pirouet Records. (Highly recommended!) Kathrin constantly pushes the envelop of what a harpist can do in Jazz & Improvised music. In a way there’s no precedent for what she’s doing, Kathrin is a true musical pioneer! I deeply admire her music and I’m very thankful to include her in this interview series.

Kris Davis was on my radar ever since I heard her on Tony Malaby’s “Novela” in 2011. I was blown away by Kris’ arrangements and playing on that album and started to check out more of her work. She’s one of my absolute favorite pianists out there and every time I listen to her I get inspired. When I started doing interviews, Kris was on the top of my list. I’m so happy that we finally got to talk. Enjoy our conversation!

Joey Baron has been one of my biggest heroes since my teenage years. I saw him live for the first time in 2004 with John Abercrombie’s quartet at the Domicil in Dortmund and I’ll never forget this concert! During that time I was listening a lot to Abercrombie’s quartet album “Class Trip” and John Taylor’s record “Rosslyn” (my favorite JT album). There are so many records I love that feature his infectious drumming… too many to name them all. Also, I went to see Joey’s fantastic band “Killer Joey” lots of times when they came to play in Cologne, which was always a memorable experience, to say the least. He’s one of my all time favorite musicians for sure!! I was amazed of how open Joey was to share all of his memories and to give insights into his process. And he was so generous with this time: After two hours of talking to him I said: “I hope you know that you don’t HAVE to keep talking to me! We can stop if you like, OK?” He just smiled and see “No it’s fine, I made time for this” – we kept on talking for another two hours!!

This conversation took place one day after Skúli Sverrisson’s group SERIA appeared at KLAENG Festival in Köln in November of 2019. I hope I’ll never forget what I felt when I heard Skúli’s music that night. As I tell him in the beginning of our talk, this concert reminded me what I love about music. As a longtime fan of Skúli, it was great talk to him about about his work with Allan Holdsworth, Ben Monder, Oskar Gudjonsson, his compositional process, the recording process of his own records and much more. Hope you enjoy our conversation as much as I did. Supported by NICA artist development, a program funded by

My third album GLOW was my first time leading a bigger ensemble with my longstanding trio at its core. Recorded in 2010, it featured multiple harmonic instruments (Kathrin Pechlof on harp & Hubert Nuss on harmonium & celesta and me on piano), multiple basses (Robert Landfermann, Henning Sieverts & Dietmar Fuhr) and multiple horns (Niels Klein & Sebastian Gille on woodwinds and Menzel Mutzke on trumpet & flügelhorn) and Jonas Burgwinkel on drums . For these musicians I wrote little sketches to be explored freely by their creative minds. Collectively we came up with stuff that I could have never imagined on my own. Another lesson in the power of the communal spirit. Playing and recording with this group of people was an important stage of my development. I’m happy to share some memories of the process with you. Enjoy!

I grew up listening to John Scofield through my parents who are big fans of his music. So each time we’d go on holidays or just went for a little trip in the car there’d be a cassette with Sco’s music playing at some point during the journey. “Still Warm”, “Hand Jive”, “What We Do”, “I Can See Your House from Here”, “Quiet” and also his records with Miles Davis like “Decoy” or “You’re Under Arrest” are are deeply ingrained in my childhood memories. When I was ten years old my parents took me to see John Scofield for the first time. He was touring with a great quintet (Seamus Blake, Kevin Hays, Larry Grenadier & Bill Stewart) playing the music from the “Quiet” album. This was an unforgettable experience to say the least. Since then I’ve seen him live countless other times, collecting his records, looking for bootlegs, reading his interviews and transcribing lots of his songs. In 2014 my trio got the chance to invite a special guest for a concert at Philharmonie Köln. We expressed our desire to play with Sco and to our surprise he accepted! That first concert became a record (The Trio Meets John Scofield on Pirouet Records) and after the release John asked us to come on tour with him through Europe in 2015. You can imagine how surreal all this felt, but getting to know John, playing and hanging with him has been one of the greatest experience of my life. He’s the nicest guy you can imagine, a musician of the highest order and I’m thankful to call him a friend.

This is my conversation with the great sound engineer Rob Griffin. He worked with so many incredible artists: Wayne Shorter, Herbie Hancock, Michael Brecker, Paco De Lucia, Chick Corea… and he also mastered my last album „Ascent“. Rob is one of a kind and I think that really comes across in this conversation. He is full of enthusiasm, he loves to learn and always searching for new and better ways to capture and enhance the music, and he really enjoys to pass on his memories of all those tours with Wayne, Herbie and all my other heroes. We talk about his approach to mixing and recording, his unique up-close insights into how some of my most favorite bands, like the Wayne Shorter Quartet, work on and off stage. And above all else: his deep love for the music.

I enjoyed recording the audio commentary to my latest record “Ascent” so much that I made the plan to do this for each one of my albums. This time I’m talking about my record “The Trio Meets John Scofield” which was released on Pirouet Records back in 2014. It features my trio buddies Robert Landfermann & Jonas Burgwinkel + our hero John Scofield and it was recorded live at the Philharmonic Hall in Köln. When we got offered to play a concert featuring a special guest, Sco was at the top of our list and to our surprise he accepted to play with us! After 2 days of hanging and rehearsing we went on stage with our hero, in a packed Philharmonic Hall in our home town — a night I’ll never forget! We initially recorded it just for our own remembrance, but in the following weeks, Sco and me kept getting back to it and finally decided to put it out. It was nice to revisit this experience and share my memories and feelings about the music. I hope you enjoy it, too.

Talking to master bassist Ben Street was a great experience for me. Right from the start I felt a connection with him, which allowed for a very candid and in-depth exploration of Ben’s musical process and experiences. He also asked me a couple of questions, including some about previous episodes and the process behind this interview series. Our conversation went on for about 4 hours and it felt like it wouldn’t have been a problem for us to go on even longer. For days I was busy processing all the inspiration I got from him, and I guess I still am. It has been 2 years since I started doing these interviews. Together with my producer Till Moses Kammertöns we decided this would be an ideal celebratory episode for the 2nd anniversary. Here’s to many more! If you feel like supporting “Pablo Held Investigates” please consider becoming a member

I’m happy to share my interview with the great Aaron Parks. I first heard him sometime 2004 on Terence Blanchard’s “Bounce” album. Being very impressed by his playing I began to investigate more and came across lots of recordings that featured his playing. Too many to list here, but I’ll say that especially during that time “Bounce” and “Flow” by Terence Blanchard, Gretchen Parlato’s eponymous record and lots of bootlegs of Kurt Rosenwinkel’s bands with Aaron were particularly inspiring for me. I’ve closely followed Aaron’s music every since. As I tell him at some point during the interivew, I really think that Aaron introduced a fresh new approach to the piano that wasn’t there before he came on the scene. We also talk about what he’s working on at the moment, his relationship with Thomas Morgan and Ben Street, the different approaches in his trios with Ben Street & Billy Hart vs. Thomas Morgan & RJ Miller, finding a personal approach on the piano, different piano players who are on the scene today, his process of strengthening his musical foundation, listening habits, and daily practices… lots of things! It’s always great to talk to Aaron. I’m happy he agreed to do this interview and that we can share it with all of you. Enjoy!

I first heard about Lau Noah in a podcast with Larry Goldings where he talked about how much admiration he had for her work. (I always listen very closely when my heroes talk about music that they’re checking out. This was no exception.) I’ve been following Lau Noah’s music since back then. She has such a unique songwriting style and a very personal approach to accompanying herself. Hear for yourself: her Tiny Desk concert is a great documentation of her beautiful music. We first met when she performed at our KLAENG festival in Köln in 2019 and this conversation happened a a couple of months later. I’m glad I got to talk to her. Hope you enjoy our conversation!

I first became aware of Lionel Loueke’s playing on records by Gretchen Parlato, Terence Blanchard and of course through closely following everything that Herbie Hancock was up to. I was completely blown away and wanted to know more about him. That led me to check out his own record “Virgin Forest” and then when it came out I obsessed over “Karibu”– I still go back to that album regularly! All of the stuff he’s done since is amazing. In fact, his new album is released today! I really admire his unique approach to the guitar and his musicality in general. Lionel is doing things I never heard anybody else do – he’s a true innovator! I was very excited to talk to him. Hope you enjoy this conversation!

This episode is in German, for English subtitles please watch the video version. I’m excited to include Christian Lillinger, one of the most individual voices on the drumset in music today, in this series of interviews. Christian is a role model for me on a lot of levels. His no-bullshit/no-compromise attitude is admirable and I think it results in a crystal clear vision of a singular artist. As a leader & sideman he’s been involved with a lot of my favorite groups today: GRUND, Open Form For Society, GRÜNEN, Dell/Lillinger/Westergaard, Amok Amor, Ronny Graupe’s SPOOM and Gropper/Graupe/Lillinger, to name a few. Also, Christian runs an incredible label called PLAIST MUSIC, where he releases genre-free music by himself and other cutting edge artists. I have know Christian for a long time. We came up more or less at the same time and throughout the years I’ve have had the great pleasure of playing with him on different occasions*. I’m happy to share our interview which by the way features a little cameo (totally unplanned, although it looks staged) by a frequent collaborator of Christian’s. Enjoy!

Bill Frisell was on the top my list right from the start of this interview series. Through the help of Mike Gibbs, I finally got in touch with Bill and we had a lovely conversation. What is there to say about Bill Frisell’s music that hasn’t been said yet? I mean, I don’t know anyone who knows about his music and doesn’t like it – everybody loves Bill Frisell! Maybe it’s because he’s so eclectic, so there’s something in there for everybody? Or because of his unique approach to the guitar? Or maybe because he enriches every musical setting? Because of his great tunes? His many different bands? The classic recordings he contributed to as a sideman? I really don’t know… there are so many things to love about him, his playing and his music. OK maybe I should stop rambling… You have a 2 hour conversation ahead of you, and you’re in for a ride. Enjoy! For further listening, here are some of my favorite recordings with Bill: • In Line, Bill Frisell with Dave Holland & Elvin Jones, Sign Of Life, Gone Just like a Train, Where in the World?, Hemisphere’s (with Jim Hall), Quartet, Bill Frisell/Ron Carter/Paul Motian/, Have a Little Faith, Small Town & Epistrophy (with Thomas Morgan), Songs we know (with Fred Hersch) ALL albums by Paul Motian w/ BillALL albums by Jakob Bro w/ BillKenny Wheeler – Angel SongAmarcord Nino RotaMarc Johnson – Bass Desires / The Sound Of Summer RunningLyle Mays – Lyle Mays / Street DreamsPaul Bley – FragmentsJohn Scofield – Grace under Pressure / This meets ThatMike Gibbs – A Bill Frisell Set ListJoey Baron – Down HomeTony Scherr – Come AroundRon Miles – I Am A Man / QuiverScott Colley – EmpireAndrew Cyrille – The Declaration of Musical Independence