En åben snak med Bassist Jette Schandorf om hendes passion for musik .
En åben snak med Bassist Jette Schandorf om hendes passion for musik .
Music. Welcome to the Museo Locale Podcast. My name is Peter Visti and I have been a musician for my entire life and I have lived my entire life of music in one or the other way. I am a musician and I have been a very young person who has been on the phone with my head and listened to music during my entire night sleep, something I actually still practice. Music is my passion, my drive, my mood and daily forms change music. Music has a unique ability to express feelings and connect people in different cultures. My goal is to find out how different people experience love for music and how it varies their lives. What is the purpose of the new guest? To talk about their relationship to music and how they live and influence music, insect inspiration and, hopefully, some fun and exciting surprises. Welcome to Museo Locale Podcast. Music, my drive. Welcome to Iate Shandorf.
Speaker 3:And thank you for coming.
Speaker 2:I am so glad that you are here. It is so fantastic. We know each other. No, I follow you on Instagram and we have been friends on Facebook. It is so great, but for me, you are the first and foremost. You were the first one we sat on when we saw Eldorado. I was sat on that is what we wanted to do.
Speaker 3:We sat on and listened to music. We sat on and listened to the.
Speaker 2:TV show and you stood there and played bass in all the big Danish bands from the start of the 80s.
Speaker 3:Just 20 summers 20 summers.
Speaker 2:Were you only 20 summers this time? No, just 20. How?
Speaker 3:did you start playing bass? I played bass. I started playing bass in a fun way. I am from a big family. My father was a classical pianist. He loved music in a very passionate way. It was a big deal. The music was great. He was also a music critic. He was a journalist at the time. He signed classical concerts. When my father signed the records he went home. He heard music in a low high. That is where the music came from.
Speaker 2:It was like that it was in the body.
Speaker 3:I was especially fond of classical music, but that was what I liked. When you have a passionate person around you, it is a waste. He got me to play violin. I didn't play it. I was out of a big child's club. My brothers didn't play it. I was 6 or 7 years old. I was a little bit of a father. Some people would try to get a good mood.
Speaker 2:You got that chance.
Speaker 3:I did. My father wanted me to play violin. I did what my father said, but he was very good at learning to play. He made notes that were red and blue and green. It was a great way to get into the child's club.
Speaker 2:You got interested.
Speaker 3:Yes, definitely. I listened to this low, high and the piano. It was great. It was so good. That is my history. I started to listen to music, but it wasn't the music that touched me the most, it was just that. I didn't tell my father that it wasn't fun.
Speaker 2:So you got to play violin I was practically a grad.
Speaker 3:I can read something before I go to school. I can read something before I read a book. I think it's nice. I'm not a mega talent, but I can touch it right away. The only problem is that it's hard. Have you ever been in a violin club.
Speaker 2:No, I can't. I can hear it. My father was a block flute player. I was pinched by a classmate.
Speaker 3:And you.
Speaker 2:Yes, me too. It wasn't something to say, I was quite willing to play it.
Speaker 3:I was at least listening to music in a way.
Speaker 1:And that's what happened to me.
Speaker 3:My brothers are a completely different place. It's jazz, it's rock, it's pop, it's jimmy.
Speaker 2:They're all old-fashioned.
Speaker 3:My father was a master in violin. We had a little private world. That's what we heard.
Speaker 2:That's cool.
Speaker 3:I didn't want to play violin, so I just got pinched. And you got to know, and my little brother started playing drums and my sister played guitar. At first I was 16. Then I said to my father I don't want to play violin. I thought it was hard, but now I don't want to play violin.
Speaker 2:You're tired of playing the violin? Yes, and.
Speaker 3:I'm happy he enjoyed it. The problem was that he was a little up in the league. I wasn't close to him. He had a Michael Petrie music teacher. He was a white child, he could do anything and then he came home and I could feel that he was a little. It's not something he's thought about. He was a boy at the age of 78. He could do anything he could just do something. I could feel that I couldn't get him to get his hands on the table. It wouldn't happen.
Speaker 2:It's a person who feels like he's sitting with his hands on the table.
Speaker 3:The problem was that, as a music critic, he was also in the leg. He didn't put his hands in the middle, he wasn't pink, but he was fantastic. And you know what he said you have a kidney problem. You can be a future violinist. He said that I think he thinks that a violinist is as cool as a lot of others, but do you think I want to be a violinist.
Speaker 2:You can be number two, I don't.
Speaker 3:I don't want to be in the wrong way. I don't want to be in the wrong way. When I was 15 or 16, I told myself I don't want to be a violinist.
Speaker 2:I don't want to be a violinist.
Speaker 3:My brother is in the middle. He's a violinist. There's Ekebaker on the way and also the drummer, gibson electric guitar. So he's been to the city. He bought a bass. It's 5,000 SEK. I'm 15, 16, 17.
Speaker 3:I don't remember the number he says you can play with the four strings. You have to play bass, we have to make a band, we make a trio and the first thing I learn is to play bass. And I scream bass. I mean, I'm holding a huge piece of cake. It's just basic music Plus. There's a bass on the piano. You don't have to play it straight.
Speaker 2:You have a small piece you can play.
Speaker 3:I don't want to be a violinist. Of course I have to play bass.
Speaker 2:You're getting used to it again. No, because it's just fun.
Speaker 3:Now I think it was fun. And what I don't understand is that bass goes into my body instantly. Okay, it does. I can feel the discontent. It's completely in the background and the vibration is there, especially when you start playing together. But drum sounds the whole rhythmic element. That's what.
Speaker 1:I did.
Speaker 2:Fantastic.
Speaker 3:I couldn't understand what was going on there, so I had to play the violin. I could have played the saxophone for a while, for example the Wehrleburg. I couldn't do it, but it just interested me. I could go down and go up. It's so cool.
Speaker 1:I love it and.
Speaker 2:I didn't know that. But you're updating it or you're doing it.
Speaker 3:I'm updating it, and it wasn't me who saw it.
Speaker 2:No, you actually got it stuck in your hand. Your brother said we need this Play. Yes.
Speaker 3:But no, and I haven't stopped playing it, I was just saying it's been a whole life.
Speaker 2:Yes, the Dome with Bass.
Speaker 3:Dome with Bass Four strings. Yes, it's just like that.
Speaker 2:How did you get on with playing with your brother? Because you're You're debuting. As you said at the beginning, you're only 20 years old.
Speaker 3:Yes, but it's very difficult.
Speaker 2:And you're already moving forward?
Speaker 3:Yes, but it's quite difficult, because now we're talking about I'm maybe 17. When I start playing this bass, I'm thinking about it. So it's been half a year. My brother is going to play jazz. Yes, the Valle-Kill-Hit. It's the old days. Now it's moved to Valle, it's called Brandpia, and then there's Rock and everything possible, and I'm Genuinely, I'm blu-fair. It's nature. I can't just show myself and show myself no, every time. In a way, I love playing.
Speaker 3:Yes, I love classical music. Yes, and I can't improvise. I can't sit like all the other rock musicians I know and take it to the higher notes.
Speaker 1:So you can play it, I just need to have it on something or something else.
Speaker 3:It's a puzzling start to the Rhythmic Universe. Yes, if I'm going to play it now and then give me the keys, put them up, ah, I can learn it quickly. But I can't hear it in the same way, because it's discipline. No In classical music, no. Then you read the notes. You don't hear music, is it?
Speaker 2:a theoretical part?
Speaker 3:Yes, it's like you're saying, bo, you can't tell the story before you read it. No, when you understand the story, yes, it's in there. Yes, and I've been a little bit worried about being in this Rhythmic Universe and not just be able to play all the Beatles songs.
Speaker 1:I haven't played them, yet no.
Speaker 3:But give me the keys yes. So what's happening on this jazz stage? I'll do it briefly.
Speaker 2:You can't do that all the time.
Speaker 3:I don't dare to be on the same level as I usually do, but it's the best. I take the big band with tons of music, give it to me so I'm safe zone, but it's really fun.
Speaker 2:It's fun where we all have chosen the song, or you just come there and say You're a ding dong Exactly.
Speaker 3:You chose the hardest part, I just wanted to have that one, because then I'm like, yes, and you just don't have to go far. No, then I can't go. No, then it's not like that. So I play. After I've maybe just played bass for a year, I'm sitting down on a jazz stage and I was 17 years old and I was completely nervous to play with Chad Jones Big Band. Wow, but fine. Yes, that was fine. For me, it's just that I'm dry, and then you're busy.
Speaker 2:Yes, I'm busy, why I've played in symphony, orchestras and orchestra quartet.
Speaker 3:I don't know what, where we sit in a connection. It was my natural.
Speaker 2:It was your safe zone.
Speaker 1:Yes, it was my safe zone.
Speaker 3:So that's why I could sit and play a theme.
Speaker 1:Yes.
Speaker 3:You could play a little bit, a little bit, a little bit, instead of playing bass. Yes, exactly, but it's not a problem here, no, but what it does is that people down there and teachers what do we have here? They think I'm a bad boy.
Speaker 1:Yes.
Speaker 3:So I quickly came along in a lot of bands yes Blast, where there's a funk-big band called Salsona Mavar, where you had some good.
Speaker 2:Blast, maybe one of our very big what is it called? But very, very dry music, so Blast orchestrated funk-big bands.
Speaker 3:Yes, that's one of the first things that I'm asked to be involved in, because Bjarnet Tanning, who was the trumpet player down there at the. Bambiadstevenet. He had seen me there with the John's Big Band and thought she's there.
Speaker 2:She's there, she's there, she's there. We love her.
Speaker 3:Yes, but because it's a funk-big band, I'm very lucky because it's this bass. So it's been 21 years, Wow. So that means that Salsona Mavar is also a band that I love. Cuban music.
Speaker 1:Yes.
Speaker 3:And I also came along because there was also a little something, and I started with standing in a studio. I played with them. I've never been in a studio before. I've played in two.
Speaker 2:Yes. And how did you end up going to school? Did you do something else or did you go straight to music? I'm a rocker. Yes.
Speaker 3:I'm very quiet, but I can't go to school.
Speaker 1:No.
Speaker 3:I shop around at seven different places I can't do that well, no, but I can't do that well, no.
Speaker 2:I mean, I'm not that you just have to give your price that you have to take care of yourself.
Speaker 3:Yes, yes, yes, but inside there's a little bandit.
Speaker 2:You know you're good at things that you just and get over it.
Speaker 3:You just let it go. Yes, for sure, and that's what I play so much. It's a passion. Yes, I love music and playing bass. It's good, as I said, all my body what it sounds like and playing together with someone. I don't have to be soloist, I don't say that much, but that's what we play together, that we feel after each other and don't think about my feelings.
Speaker 1:I mean, I have the best space and it doesn't make any noise no.
Speaker 3:And if I play with a drum player, which I'm not necessarily a person, but I can play together with him for a minute or two, yes, of course, and if we can, it's like having sex, yes, I mean in a completely beautiful way, fantastic. It's a little bit under, but it's not like having sex in that way. It's erotic, yes, it's intense, yes, and if the rest of the band is playing together.
Speaker 1:Yes.
Speaker 3:Not everyone can. No, no and not everyone can find out about playing together because we are different, but now it's a success and I think all the musicians know that, yes, you do, then you're a little bit in heaven, yes.
Speaker 2:Yes, but it's all about playing together. I've never been so good at playing together. So no, it's a feeling, yes, but it's like it can be well known when I've made music and things like that. You can feel that there's something there, there's something even better than everything else. Exactly, yes, it's clear, and then you have to get through it too, yes, and it's about being open at once yes absolutely.
Speaker 3:And that's not something I'm proud of. It helps when you're proud, you can take it as a higher level. Can you say yes, exactly, but you have to be fundamental to be free and to be a channel-wanderer right? Yes, if you understand.
Speaker 2:Yes absolutely, and there are some skillsets because you start playing with brass and they're Cuban things. But you also meet a man, at a time when you come to play with him, who has gained a little meaning in your life, as you say here after a few years.
Speaker 3:I'm very much in love with the musicians, especially in rhythmical music, who can just play without any sense of something. In any case, I think that's it. So when I want to play because I play a lot I have to play to Jazz Festival with SoulBand, so the guitarist can't play that day, so he's released. His name is Paul Halberg.
Speaker 1:Yes, how did you hear about?
Speaker 3:Paul. Paul is something I haven't heard about at the time, as everyone else knows who he is. He's a nice new when he's just like, ok, fine. But what I'm really interested in is that this solo artist, who's just so nice, has a great mappe with 460 numbers we play with him.
Speaker 3:We have to play with him the day before, who knows, not enough. So we mark the notes. We have to have a new guitarist with us. Paul comes down to the stage, he gets the mappe and he has no more room. No, no, no. But he cools the mappe down in his ear because he can't use anything. And then we start playing and he asks what does he do? He just plays all the numbers because he can hear where they're going? He doesn't know the numbers, fuck.
Speaker 2:He plays them Motherfucker. So it's an absolute opposite. Yes, I think so.
Speaker 3:But also a surprise is to be able to know, and to know what's in such a crazy flow.
Speaker 2:We always see the one who can do what we can't, who can't do what we can't. It can be good.
Speaker 3:Yes, so I'm going to be well, now I know what it is. Passion I've grown up with a crazy passionate father. I'm passionate, that's what you mean.
Speaker 2:You can't underestimate that, if you feel like you're in your shoes, Passion is a big thing.
Speaker 3:He's the one who goes down and plays to an exercise. We mark. He marks Fuck, never we play. Not the show, we just play. So when there's a solo in these numbers, we take the legs and then we go to the rehearsal and you're like no, no, we play just the numbers.
Speaker 3:We play just the numbers Okay you get the guitar solo there and he plays so incredibly cool man, that's a fucking day. So I get a big pulse for 30 seconds. And he has that push-and-run feeling that when he starts his solo he's so much to the point that he never drops out. He doesn't know what to think. He doesn't have to show off the thing I just left yesterday.
Speaker 2:No, he plays with it.
Speaker 3:He plays with the feelings there and I just keep it up. And then he has so much power he's 20 years old and he can do it in a way that I think it's a power.
Speaker 2:What is it for?
Speaker 3:And I'm being flippered over like the other dissos. He's under with the guitar soloist and he's trying to play the funk Shit.
Speaker 2:That's how it is Fantastic. And you're going to be in the oppa from that day to still that day today, right?
Speaker 3:Yes, we're getting closer to that summer, yeah, yeah.
Speaker 2:Was it because of the bass?
Speaker 3:He gets mad at me. I can't believe that. No, it's not true. Yes, he's a very sensitive man and that's not to be seen here, but he's very stubborn. He doesn't have the words in his power, he doesn't use the words, but he lives in his music and he's very sincere. So when he wants me to play with him, it's not because I have blue eyes, so it must be because he cares about what he hears.
Speaker 2:No, he thinks about it.
Speaker 3:He's been chosen by several things and I would say that in the half-bass where I come with him it's not him who chooses it. Whereas I'm chosen by him. There's no bassist. I'm a little bit there and smile and think that now it's. Now it's me Look at him and say, no, it's not going to be you, because it's wrong, because I like to take my love with me.
Speaker 2:I'm like I'm like Yoko Ono. Then you split it all.
Speaker 3:No, so I get a little nervous, but that's it. But his keyboard player, so-called Jörg Kaufman, is aware that I'm found and he says to Borgs I don't want to be with you Now, it's a game, you have to be with me. He plays the piano, and then he says, OK if the acceptor comes out of it, it's not like him who has you know, I don't think it's conscious. But that's how it was.
Speaker 3:So in that way I'm actually coming with him it's not like that, it's not like that, it was not the game at all.
Speaker 2:It was fun. You have something. I played music and bass and I can just remember that it's you who plays on the air. Yes, yes, and then I can just hear something. It's very fun because you tell before you play solo, instead of just saying boom, boom, because I think you do that.
Speaker 3:It has a certain theme. Yes, you play themes.
Speaker 2:Yes, you have a whole different life in that. I think Exactly that number.
Speaker 3:You can say it makes a basic quid you do, you do, you do. It's so long, isn't it?
Speaker 2:But you also play more tones than in the original.
Speaker 3:And my fingers have been in place since I was little, so they pierced me.
Speaker 2:They want to go down, they want to go down.
Speaker 3:So, and this little less, I had the feeling that I would never have sat and been raised as all the others did. I was surrounded by. It made me think that I didn't think I could do anything, but hold on, I've got the phones there.
Speaker 2:Yes, yes, that's it.
Speaker 3:It's fun you're sitting there saying that you couldn't do anything. I can't care less if you just can't afford it. All the others sit and play.
Speaker 2:It's hard work, even if you're a layman.
Speaker 3:Yes, but I also play a lot.
Speaker 2:And it also gives you some experience.
Speaker 3:I play so much that I don't understand it.
Speaker 2:It gives you more than it does to exercise.
Speaker 3:It gives you a double.
Speaker 2:But I think it's been a sign of your. I've heard a lot of things you've played on your news. It's a sign of your bass playing. I know that there are many themes in your bass. Do you know what? Now I'm really happy for you, because what I?
Speaker 3:remember and what I've been known for is that I can play the couture. What does that mean? We played that a lot in the 80's. Yes, yes, yes.
Speaker 1:The S-Björhavn.
Speaker 3:I played that a lot if you listen to LP from that time. So the feeling I actually love the bass.
Speaker 2:But you build on it, you get the theme built in and it's stable.
Speaker 3:Thank you.
Speaker 2:I've noticed that with your bass playing On a lot of releases.
Speaker 3:It's also nice that you're producing the number You're just being played in. We'd like to know I'm not going to be the second master, they just have to stop. And then I'll say you have to do that, but they still love it.
Speaker 2:And have you been good at doing what? They want, or have you been good at trying to get your own ideas? Now I'm thinking that you should play on a bass that you weren't on, but as a studio musician.
Speaker 3:You get a lot of ideas when you're being played and I'm not a live-run-dear. I don't really see myself as that, I'm just who I am. But I also hope that when I get in, it's because it's me that they want and not just a bass, because I might have my little impression of it.
Speaker 2:You have your little impression of it.
Speaker 3:So it's a nice mix of what they say, because I'm sweet, and then it develops and I start saying do what you want, and then it's me that gets into it. I want that one.
Speaker 2:Yes, yes, yes, take that one, then I'm in, but you've come to deliver what they want To make the father happy.
Speaker 3:That's the best thing I've ever done. But it's a bit. There's a lot of music that lives on. You know live-run music, young and old music.
Speaker 2:Have you ever felt like you're in the foreground?
Speaker 3:No, no, no, that's not what I'm saying.
Speaker 2:No, You've been good at being the team player that keeps the rhythm with the drum teacher. He said that.
Speaker 3:Yes, but what you can say is that it's the same thing, it's the current, with others. That's what I'm saying, because then I get bigger than this, and I won't be able to play solo. I'm not soloist, and those who are are what must be allowed.
Speaker 2:And what is it? And you have to be good to give space to yes or.
Speaker 3:I supply all the time I can say that he plays a lot with the ball, which is solid. I give him. That is kept. He does not allow to stand there. No, so you can play with it.
Speaker 2:Yes, and how is it that you come into it? Because we are talking about. You are 21 years old, that you are just standing in this mega of all the music that is so big. Can you say that there are not many women standing there and I am just the last?
Speaker 3:No, but I am out of a hippie time and I am out of a time where women played many more instruments than you might think they should have played drums, guitars, trombones, saxophones. There were many women playing in the 80s, but I am touching the pop scene and that is where it gets crazy.
Speaker 2:But that is what I mean. I am sure there are a lot of hippie orchestras.
Speaker 3:There were many women playing. There are not so many who got to know.
Speaker 2:No, I do not think there are so many who have been so advanced as women's bassist, who have played pop for so many years and have been on the field and have been on the tour and have been in the big stages. It is more than what I think.
Speaker 3:I have been privileged and I have been really grateful to the people who have recognized me. Yes, is it out of my mind? I have been missing the trust, and that is true.
Speaker 2:Yes, it is it does not matter and you are afraid to say that I am good. I have never said that, no, but that would be nice to say that you are. You can use it for whatever you want, I will take it.
Speaker 3:Yes, you should do that.
Speaker 2:I think it is quite interesting that the music world and the whole world is almost not exactly the same. But I am a little younger, but in 1994 and 1995, there has been a place in music industry and in music industry there has been a lot of violence for many women. Can we see here, with what Mii2 said and what there is to be and what there is to be and what there is to be? But you have of course had Paul all the way through, as you say. Has it been a big help to not get into a lot of stupid situations?
Speaker 3:Yes, but I have always been self-driving. It really should not be, I do not think that I have been in a stable house.
Speaker 2:No, that was the main point.
Speaker 3:I have grown up with women who could themselves. I have also seen the over-examination that I can do everything, so there is no one who has to help me here. I am so engineered type and maybe not want to be a soloist. That is something else, but that is why I am also allowed to be here. I can actually be allowed to be, me and now I am saying back Mii2 is over-examining and the power of the demonstration.
Speaker 2:I think it is more about the power of the environment than the women.
Speaker 3:And that is not something I personally have experienced. There is no one who has been after me in that way, so I cannot refer to the fact that I have felt very bad and stupidly offended, but you have probably been more successful in the man world.
Speaker 2:I have just been over-examined.
Speaker 3:Yes, but I have never had a problem with it. So the only thing I think has been a little bit of a lie is that I am so music nerd. I love music, I love talking, I love going into details. It touches me Me too. So I am not going to admit that I am a woman, just music. I am me. I cannot be a nerd.
Speaker 2:No, it does not matter.
Speaker 3:But there are really many who would like to talk to me in the future and make interviews and say how it is to be a woman musician in such a man dominated world and blah blah, and I can be interested in what I am talking about. Can we talk about music, for example?
Speaker 3:So I would like to talk to you, but that is just what I have been allowed to be me and I play as I want and I do not feel focused on it, or have you fucking know? I stand there and play you have not noticed that.
Speaker 2:No.
Speaker 3:And I hope that I am allowed to play because I am a woman.
Speaker 2:Yes, it is my touch. Yes, exactly, and so it is. I have been allowed to play.
Speaker 3:So I have been allowed to say and tell you how it is to be a fucking woman musician. I am a musician, I am not. No, it is not for you. No, it is for you, but I can not deny that I have had it under control.
Speaker 2:Yes, I have been privileged. And a fantastic, long career From the start. Four such, for example, with record recordings until now we are in 2024. And the only outbreak that has been in music is what we all had with corona.
Speaker 3:Yes, that was a short outbreak. Yes, what is happening there, jette? Yes, it is good that this is not with pictures on.
Speaker 2:Yes, we take it back afterwards.
Speaker 3:Yes, but then it happens under corona. What exactly is it? Yes, it is actually, then I will be allowed to play for one day until the other, or we all do it. Yes, and I will be isolated because I think that I know that with it, suddenly, we all had corona. Yes, yes. Or maybe soon next.
Speaker 2:Yes, exactly Then we should not be together. Maybe we just got cold all the time At that point.
Speaker 3:Yes, he was very aware of that. But I am out of a big family and have never been alone or either sought it so I suddenly get isolated. So it is in there three weeks, yes, where I have to, and I have not been corona.
Speaker 1:No.
Speaker 3:And then I come to. I say hold on, there is keff and I think it's nice to be all alone.
Speaker 2:Yes, so you are alone for the first time.
Speaker 3:Yes, but I can just play music when I want. I can be with and buy in a lot, and then I will have everyone else. Just have it nice. Yes, I do not have to do anything else. No, and that is also a beautiful thing. Yes, and so I am a light person.
Speaker 1:Yes.
Speaker 3:I have such a good mood, yes, and I love dancing, I love music and music, and so I just sit there full of noise on the floor, and I can remember that I lived in a house where there are some relatively big windows and the sun was shining in there in March and April. Yes, so I was just going to the toilet and then I went around the table and then I thought it was nice to be free.
Speaker 3:I was not someone who should see no, and then there started a journey for me that I had never seen before. Never in a house.
Speaker 2:And we should just say that you are 60 years old, I am 60 years old.
Speaker 3:Yes, I think that now I will be old, I am a little over-wintered when we are going to break the wall here. Yes, and in some fun places I have been up and down with my body and I have never been happy with it and it was very, very bad. And suddenly I danced around in the chairs, yes, and then something completely went wrong.
Speaker 2:You would like to?
Speaker 1:hear it, if you could tell yes it is part of you.
Speaker 2:I think it is part of the music and part of what you will probably continue in the future.
Speaker 3:What happens is that I will, at random, start to do up with my body. Yes, ok, I want to see it in a new way. I give it a chance.
Speaker 2:It's fantastic.
Speaker 1:It's so much fun.
Speaker 3:I start taking pictures of it myself. I have a mobile camera that I can use in a selfie function. I have 10 seconds to take pictures. I use those 10 seconds to look into my screen. I just split the pictures. I make a picture of myself. I don't just take pictures of myself. I have two children and now I'm 30 years old, it's okay. That's not what I am. I want to make a poetic expression.
Speaker 2:I want a beautiful expression you don't want to be special about your body.
Speaker 1:It's been stupid.
Speaker 3:I don't want to give it a lot of attention.
Speaker 2:It will be under Corona.
Speaker 3:It will be under Corona. I will get a new attitude to see it. It could be beautiful, in my opinion. I will help with this technique.
Speaker 2:I will take a full picture of it.
Speaker 3:I can't take pictures of it.
Speaker 1:I can't take pictures of it.
Speaker 3:I can't take pictures of it. I am so tired. I have good friends with my body. I can feel the electric current. I can feel the boost of my body. I have always been erotic with music. When I take the bass off, it's not like that Then it's a little bit more practical.
Speaker 2:It's a little more practical. It's always a word.
Speaker 3:But suddenly I start to feel it and notice what it does. Well, I can't choose.
Speaker 2:I don't think there is any. It will be for myself.
Speaker 3:But you will be friends with your body.
Speaker 2:That's what I have now I have never had. I am very tired of my body. I am completely happy. I am also happy If we go to a party. I always end up in a hurry.
Speaker 3:It's 100% true. It's not a good story.
Speaker 2:I think it's fun. I have never been tired of it. It's fun because my 12 year old is in the bathroom. It's the most important thing in the bathroom. It's not that my parents come to the city. I don't go to the city because I take a bath as if the next generation you have heard a little about the hippie generation, but you have had one thing with the body that is released you have been here for 60 years.
Speaker 3:I grew up with the fact that we were young, we were teenagers.
Speaker 1:It was a different time.
Speaker 3:The childhood was a different issue. It was a different thing.
Speaker 2:It was just a natural thing.
Speaker 3:It was something we were. I think that's what has been in me. It's natural and satisfying to be friends with your body. Everything was there In the late 90's. We had all the money we had. We had to sleep all the time we had to hit the floor with everything Otherwise we would be sad.
Speaker 3:I let you go. I had scared my kids. I could feel that they didn't care. I was happy. When I was in the bathroom, I could see that I was like Kevin, we are going to get in. When I was on the beach, I was scared. I was like I can't just stay here. I'm not going to go, of course. I'm not going to go.
Speaker 2:It has been a whole new experience.
Speaker 3:You don't have to go.
Speaker 2:You have to make the right decision.
Speaker 3:You have to do what your father thinks. It was a bit funny.
Speaker 1:I was a psychologist.
Speaker 2:I was like I can't play the violin. I was happy to play bass. I can't have my toy.
Speaker 3:You want to let it go. It's funny, it's so funny. You have to figure out how to play the violin. You have to make a bow with eyes. You have to tell me how you came to be friends with your body.
Speaker 2:I had teased you. We never talk again.
Speaker 3:We have to talk. I didn't see that coming.
Speaker 2:You had to give a bow with eyes. You had to play three times. How was it?
Speaker 3:Ten seconds. It was my dream. I have no one to picture. It's my challenge, it's my creative project.
Speaker 2:It's funny. I think it's funny to hear that there are some parallels. You have to play the violin.
Speaker 1:You don't have a baton.
Speaker 2:There is a country that comes in late. It's a free and special time. We live in it now.
Speaker 3:I think you have to have a promise to do what you want.
Speaker 2:Of course. You don't have to give it a bow.
Speaker 3:If you have a love message, I have a love message to be nice and wise, you have to share it. If you have the chance, it's up to you. It's a woman's breast. You don't have to show that it's so unfair. I think it's a burden, it's a completely wrong thing, it's a different time to live in.
Speaker 2:It's a dream.
Speaker 3:You play with.
Speaker 2:Paul in your childhood In your childhood In Halberg and Friends In your childhood. I know some of the pieces in the band. I know Heidi. I was on tour for 25 years. I know Gorm.
Speaker 3:Gorm.
Speaker 2:I play keyboard, I feel a little bit with him, I can say that I play all the time. I'm friends with Heidi and Gorm on Facebook. How is it worth playing after the corona? Have you seen your bow? Have you helped the audience or someone else is watching?
Speaker 3:I can't say that, but I want to say that there is a lot of money. People are watching the other way.
Speaker 2:They are talking about it. I want to say that you were afraid that there might be a reaction. It's been very quiet.
Speaker 3:It's been very quiet. I can't talk on the table, but it's very quiet. We don't talk much about it. I'm totally happy. I'm more excited than ever. It's funny that I'm free. I'm not happy to be overshadowed by personal limitations. I have a lot of things to do.
Speaker 2:How do you look?
Speaker 3:I've overcome some limits. I've done it in a good way. I've made a gigantic accept that I'm okay, that I'm playing on the bass.
Speaker 2:I'm not going to have any problems.
Speaker 3:I'm not going to have any problems.
Speaker 2:It's very nice to show what we can do.
Speaker 3:You can go down to what you thought you could and can't do when you're motivated. There's been a reaction from me.
Speaker 2:I walk here and there.
Speaker 3:It's been a great pleasure.
Speaker 2:I'm happy.
Speaker 3:It's spread out in music and in my surroundings. I can only recommend being happy.
Speaker 2:I'm not saying it's a good day, but I'm happy.
Speaker 3:You seem very happy.
Speaker 2:I'm very happy, but I also had my day.
Speaker 3:I'm not. It's a forced positive.
Speaker 2:No, I'm not. I'm happy too. We're sitting here. You have two children. Yes, there is Paul. How do you pray when you are so musical and play in the biggest bands for so many years? Do you pray your children with music?
Speaker 3:Yes, I thought my children would have the most beautiful world, because I have had the sad list.
Speaker 2:Violin which two.
Speaker 3:No, no, they should go to the band also. Yes, and we lived in the neighborhood and I got them up and it was nice and there are no other war places and music and culture personalities that are all around. Yes, and the funny thing is that Paul and I are playing all the time. We don't press our children to do something. I know that you don't hear that, but if the son of a guitar was a show bang then he stood there A guitar.
Speaker 3:If he was perhaps the son of a guitarist, then he was a guitarist, but my daughter died with the son of a guitarist. Oh, we only had the chance. But we have two children who are so considerate and have no need for the work of the show or the performance of all the music that they enjoy, love music, but they should not be exposed.
Speaker 2:It's funny because you have talked about another one that you also had. It was Lars Rante. You know actors, lars Rante. Yes, he also said that my eldest. He produces music today and is going to the tournament in the north with some American artists and such things. But he doesn't need to understand that I have created myself with the play he always plays. It's like he's sitting back and playing the guitar over there and it's fine for him or not fine, but that's what he loves about it. He said he's sitting there and he's not going to look up, just like I am. They are in the front. They are two there. It's okay if we don't stand there. Do you think it's a bit of their own fault, just like you yourself have had with your parents?
Speaker 3:I would say I have been. I think I have been a little calm here. I have been quite good at letting my kid be who they are and also, yes, and to be able to make the way. They think I have understood them if they can notice at their time that they are sitting in the right place or not, it's a joke, yes, okay.
Speaker 3:Also, if they have to find out what they are going to do, then they have to correct it. Is there something that makes you think, wow, I can't be with you, then you have to do it.
Speaker 2:Yes, exactly.
Speaker 3:And whether it's music or what I want, my son is a physicist. Yes, it's a sat-down hammer-stead, isn't?
Speaker 1:it.
Speaker 3:Yes, and my daughter is a multitasker just yes, and I am a school teacher. I take pictures and listen to music and everything, and I have the pleasure of doing it.
Speaker 2:That's important.
Speaker 3:As she thinks is the best, and they hear a lot of music all the time. Yes, but it wasn't fun enough because my son, when he was at the kindergarten, we called him yes, yes, so it's a school year. It's a school year, yes, so you sit in the middle of the family and then he gets his shoes on and it's 12 years and you say now, thomas, what's your worst fear, or your worst fear in school? It's such a small feeling.
Speaker 1:Yes, yes.
Speaker 3:And then at the same time he says I hate music and that's because they always had to perform. Yes, Just because they could play a little peter and come up with one finger and they would perform. Yes, and he can't perform for three years. And especially if it's something he doesn't really know. It's a bit scary. So it was very ambivalent to have a kid who went there and had music.
Speaker 2:Yes, yes, you can say that too. But you have such a big passion, both you and your husband. But he loves music.
Speaker 3:But he just Music is called music. Yes, the name of the song is not called music. But if they have to suck, it's called suck.
Speaker 2:Yes, yes, and food, so it's food, yes, yes.
Speaker 3:So he doesn't hate food. But he probably had a workshop where we teach and make food.
Speaker 2:Yes, yes, yes.
Speaker 3:He was a big fan of music. Yes, I understand. I'm not interested in the competition anymore.
Speaker 2:No, exactly, he has seen his parents perform really well. Yes, but just let me be yes, yes, yes. What can happen in the future? You are playing on live music. Is there any big interesting show?
Speaker 3:Big show, I mean, or just, exciting things.
Speaker 3:It's not that big, no, but the good thing is that I play a rock band that is inspired by something old, something old syrupy rock that we were inspired by. That we were young and there Paul and Beke Günder started making some new numbers themselves in that age, which we have completely changed with his play. Really, it's pretty cool. Yes, it's fun Turn it off and then we play his song. Yes, in many different constellations they actually live a pretty special life because there are many who know his song. They didn't really know it was him who made them. No, no, but you often connect a song with the singer the singer in it?
Speaker 3:Yes, but we all play what he has done. Did you make the song? No, I didn't. I have made it bass, is that right?
Speaker 2:And you never wanted to write a song in it.
Speaker 3:No, I could find a book. Write some lyrics.
Speaker 2:Yes, and you have written some lyrics.
Speaker 3:Yes, I just go out with it, but no, I have had it.
Speaker 2:It's been a long time since you've been in music and you've been playing some songs and now you want to write a song yes.
Speaker 3:It's just a pleasure to play with someone else. It's been a whole life. I have fallen into the tone of music. Yes, I haven't been out. It can be. You have just been out, but I want to say it's about being in a house with a man sitting down and playing, and playing the song in split seconds.
Speaker 2:It can be like it's sitting down on the floor.
Speaker 3:It's sitting down on the floor he's so much better. He's been playing the song all the time.
Speaker 2:But he's really a very good singer. You have to say that. He's proven that more and more times.
Speaker 3:So maybe he doesn't want to hear me. No.
Speaker 2:But, I don't feel like it's. It's not about being a bass. I have to keep my father. He's so good.
Speaker 3:No it's not really about that. I have everything for me, the whole room to make a thousand things, so I'm not sitting there, you're actually playing. Yes, and I'm sitting in the back room, it's actually not nearly an hour. Yes, but you have to try to see where you have tripped a little in the last ten seconds.
Speaker 1:Yes.
Speaker 2:But, yes, we're also going to end here, so it's going to be great. Last time I spoke about everything when we're dying and we're going to be pregnant. Should there be music for your pregnancy? Oh, yes.
Speaker 3:Yes, Now you're asking my parents. They wanted to spread the word about the sea. Yes, and we were probably asking them, the dear ones, if there was any special music, we could have that.
Speaker 1:Yes, I think so.
Speaker 3:And then my father sat with his star in his eyes and he was a thousand years old. He said it should be Carl Nielsen. And then he got Carl Nielsen on full curtains. Then he was spread out over the sea up in the room. My mother was much more romantic. No, it should be Superlita. So she got Superlita A very, very sweet serenity You're looking forward to doing it as they did?
Speaker 2:I think so.
Speaker 3:I know it can be difficult to ask, but I want to have a folk festival. I want to have a dance. Hold on now, you can. I know everything. I'm just looking forward to it.
Speaker 2:Do you have any number you think you should be in them?
Speaker 3:Up the creek without a paddle, with Temptation and Larry Graham. I don't want to say I'm dying. I'm not, but it should be. I don't know, but hold on, it could be a lot. And then I'm also a sugar for melodies. I can go full-time in the trees and smoke in the song, especially the song. I think, it's difficult, so it has to be a festival.
Speaker 2:Yes, but we hope it's a long time. I don't want to be a festival, but we hope it's worth it. Thank you very much for being with us.
Speaker 3:Thank you for being with us.
Speaker 2:It was a great pleasure.
Speaker 2:It was also a pleasure, thank you very much Thank you for joining us at this US-Museum at Kallbott-Karast Music mid-druck. I hope you enjoyed the music of the Tryllin Universe and found inspiration for your own musical journey. If you'd like to listen to today's guest list over the youth number, you can find the list on the Music Locals Spotify list on Spotify. I look forward to exploring more aspects of the music's leadership in the coming episodes, which can all be found on Spotify and Pottymove. So until next time, let the music continue to be your most trusted leader. If you want to listen to good music and good music in the real world you can find the music local, right under the Nightclub-Museum in Lille Kongensgade in the København region.