By Filipe Freitas

Name: Wolfgang Muthspiel
Instrument: guitar
Style: post-bop, modern creative
Album Highlights: Travel Guide (ECM, 2013), Rising Grace (ECM, 2016), Angular Blues (ECM, 2020)

With this new ECM release, Angular Blues, you returned to the trio format, but instead of Larry Grenadier on the bass, it was Scott Colley who appeared for the first time in one of your projects. How did it happen?
Actually, I played and recorded with Scott in the 90s in New York. He is on an album called Daily Mirror, which I did together with the singer Rebekka Bakken. On that album, Scott also plays with Brian. Later, I did a tour with Scott in a trio with Mark Turner. I have known him for a long time and have listened to him a lot in projects he did in NY with Dave Binney, for example, and also with Jim Hall.

I was particularly bewitched with the two disparate versions of “Kanon” presented on the album. Can you tell us more about this piece and your approaches?
Well, these are two different Kanons, one in 5/4 and one in 6/8. I play the Kanons with my delay. After the composed section of the solo Kanon in 5/4, I improvise, which is a fun thing to do, since everything you play creates the foundation of what you play on top next. I practiced this quite a bit and found it interesting because the system is so strict and because it creates such a particular web. In the other Kanon, only the head is canonic, all the rest is playing on changes.

How enriching were your collaborations with Gary Burton and Paul Motian? Any funny story while touring/recording with them?
Both of them were important to me. Gary hired me when I was young and I played in his band for two years. He was extremely generous and opened many doors for me. I also met Larry Grenadier in that band, as well as Donny McCaslin. Gary is an extremely clear and intelligent person and player, who knew exactly what he wanted in the Band. I owe him a lot.
Paul Motian was a blessing for me, because I ended up playing with him in my Trio together with Marc Johnson, as well as in his Electric Bebop Band off and on with different great guitarists (Monder, Rosenwinkel, Cardenas, Schoeppach). Paul’s sound and attitude on the drums, his unique way of dealing with time and his own way of playing rubato, as well as his unique way of swinging taught me a lot about music that I did not know before.

What led you to leave New York and return to Vienna?
I guess after 15 years in the States I had a longing for Europe. It just fit at that moment, also in my private situation.

Besides jazz, what other styles do you listen to? Any recommendation for a particular genre?
I listen to a lot of classical music. Some modern but also a lot of classical stuff like Schubert, Mozart, Beethoven. I love Messiaen, Takemitsu and Lutoslawski. I love Joni Mitchell, Prince, Bjork. I grew up with a lot of Renaissance choral music, which might be my favorite music. Bird, and Dowland and Gesualdo and those guys. I love Paco de Lucia.

Can you tell me 3 of your favorite jazz records?
Kenny Wheeler - Gnu High; Keith Jarrett - Personal Mountains; Pat Metheny - Rejoicing.

Can you name a few persons who influenced you the most as a guitarist?
Pat Metheny, Ralph Towner, Julian Bream, Mick Goodrick.

Can you name two persons whom you’ve never collaborated with but you would like to?
Jason Moran and Bill Frisell.

What would you have been if you weren’t a musician?
There was no Plan B, but I can dream up alternative lives in which I am a cook, a writer, an athlete, a pilgrim, a poet.

Are you working in any new project right now?
I just did a round of concerts with a large ensemble, which played my songs arranged by Guillermo Klein. I loved that, and hope to continue this in 2021.