En åben snak med komiker & skuespiller Lars Hjortshøj om hans passion for musik .
En åben snak med komiker & skuespiller Lars Hjortshøj om hans passion for musik .
Music. Welcome to the Museo Local podcast. My name is Peter Visti and I love music all my life and I have lived my whole life of music in one or the other way. I am a musician and I have been very young. Since I was a child, I have been on the phone and listened to music during my entire night sleep, something I 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 in 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 the Museo Local podcast. Music, my drive. Welcome to Lars Jortzhøi Many thanks, it is nice to see you, lars. In a way, we go back to the two of us.
Speaker 1:Too bad. It is more than ten years. It is another year thousand.
Speaker 2:It is completely different than thousand. We meet each other for 30 years. I think yes, it fits so much. We meet each other pretty well in the city and we are pretty good friends.
Speaker 1:Our questions are good friends. It is all filled together.
Speaker 2:Yes, yes, there is a little economy, but we meet each other. I would actually like to have the money, but it is a bit of a chat. At the other point, lars, I have been invited because the Museo Local podcast is about music and passion for music, and I know that you have. Where are we, lars? Are there genres of music that you love the most?
Speaker 1:Yes, that has been. I think I have had the same musical roots as many other people and I can't say to myself that we are many who have been stagnated at some point. That happens often. But what fills most of the pure musical is soul music, it is funk, disco, and that has not really ended. I think something is based on. The middle of the 80s was a student, exchange student in North Carolina in the US. There we are, in South Pole. I came to class with many foreign Americans and of course some of my good friends were not so young. I was grown up in Jylland. We had one color range that was from Korea, but that also means that I was introduced to black music, and here I am 16, 17 years old and a lot of artists that I have not grown up with at home. In Jylland we did not hear Stevie Wonder and Marvin Gaye.
Speaker 2:No, we were back in the 80s and now I do not know if there was music in the band at home with Lars.
Speaker 1:I think about what happened. There was no over 10, 513. There was Danish top music and there were also LP records, but I do not remember that music was put on, and if there was something, then maybe my father had something James Larsd and then everything was at the time. Then, later on, these Swedish dance bands, swedish top, were they? Yes, they were here, but I do not remember and it must not be played high. No, down from hell you find out.
Speaker 2:Yes, we actually got away.
Speaker 1:So that was not something that felt like. I remember it.
Speaker 2:And our performance is also, of course, denmark Radio and very much all on TV. We are just as old and big, and it is John Milius who also presents for the most, and it is very popular.
Speaker 2:Fantastic experience to have him present, but it is a very, very wide part of the music. Therefore it must have been a great change to the USA and to hear the soul and the whole black part of the music, yes, and as many of them as I know were played musical people singing in choir and church choir and so on.
Speaker 1:So then I would go and hear them in the local Baptist church on Sunday and so on, and I was completely blown away by the cold. So they had a band in the church and so many of them were there. The girls I went to school with I sang in choir on Sunday and they I have never heard gospel and saw them sing inside, so scream out. It was nothing more tempered, I think, than we were up there.
Speaker 2:And more cold maybe? Yes, I think so too, because the music in the church is at home and I know that we on the national radio have a lot of jazz and a lot of cultural music you can tell beforehand. And Jørn Milus without being a hate on him, I look up to him a lot. Yes, I can understand that, but it is the wide pop music he introduces to Denmark and I just think that it is very German English hate list.
Speaker 2:we go after it is rare that we hear anything from hate lists in the US. As I remember it, can you remember some numbers Now? You said Stevie Wonder, something like that, marvin Gaye can you remember anything else you have been presented that has been set up?
Speaker 1:Yes, it has been set up, because I lived in the US in the year of the year and at the same time the MTV came out and I think it is difficult to explain what the revolution was and what it meant, but at the beginning it was a year where Prince Madonna, michael Jackson it is a violent year. It was completely normal, and Michael Jackson was so after violent criticism, the first, you should have a little kiss in the back man. Why are you sitting there? The hell with it.
Speaker 1:He was the first African-American artist and they play. Yes, that's right, With great pressure actually, yes, it was violent, because at the beginning, as I remember it, it was only white artists we saw.
Speaker 2:I think I have seen a documentary about MTV's start where it is simply it is being pressed into the last because a guy like Rick James, who has big hits at the same time, is completely not on MTV before. It is Michael Jackson who would have lived it completely.
Speaker 1:Yes, it is quite violent. So Michael Jackson will come to feel a lot and it is also what I am up to, his whole background. And then you start to break the hole in the soul music. You also find out which thread it is pulling and the shoes we had there. We heard something at home. Yes, I also heard Kim Schumacher. I heard him on the show.
Speaker 2:Yes, he was also incredibly busy with the whole thing.
Speaker 1:And he has introduced a lot of new music for me, yes.
Speaker 2:Lars, now you say that there was no music at home. You have made many things, but let me just get you home For D. You have two grown-ups. Which have you ever played them with music? Yes, I have.
Speaker 1:Have you ever tried to play them or at?
Speaker 2:least give them the chance to play something that you might not think about that time.
Speaker 1:Yes, I can remember that it wasn't many years ago that I had to play with my vinyl. I can remember that they were magical because there was music on both sides and a big piece of plastic.
Speaker 2:Yes, that's fantastic. I still look at them I don't know how many years after and wonder how the hell it came out of the vinyl. It's magical, it's a wonderfull miracle.
Speaker 1:I can remember that I did a lot of things that would have been known, that my children would have such basic things. I remember that Rocken came out of blues and blues was the music of the slavs, and so was there the gospel. I can remember that my dad would have a country to give up in school and there was also a country with a text analyser and so on. She chose A Reader, Franklin of Respect, because we could find a country with a number, with a political message as a name from our birthday.
Speaker 2:Yes, that's probably from 1967.
Speaker 1:Yes, that's a good one. My dad still hears a part of R&B and soul music, so something like that is down there. But often you have the most counter reaction.
Speaker 2:Absolutely. One child should have their own revolution, as he said.
Speaker 1:It's so loud to hear what we hear, and they also have something that I hear that is a very aggressive funk. It's something that you can hear when you hear it.
Speaker 2:They don't know what it is when there are no examples.
Speaker 1:I don't know what it is. It's something just for you. It's something aggressive funk.
Speaker 2:They will try to stop when we're done with the aggressive funk.
Speaker 1:When I was in my childhood, something that meant something was that my brother had a cassette bun with Earth, winter and Fire, and that's what I meant. That was completely wild. I had a little cassette bun.
Speaker 1:I mean, my brother had a rack in connection with a confirmation or something All the rumors have had a rack, I think, and behind another one the glass-head was red and I don't have to be stupid. And then there was Tesch, who was one of the three older brothers. I've had so many hits, you know your brother well. And then I found out that when he wasn't at home I could cut myself in and put the cassette bun on Earth, Winter and Fire. And then I remember to put the cassette bun back and put it where I had taken it. But that actually meant a lot. I heard a lot of that.
Speaker 2:It's clear because I remember that. But I have a little funny story about that. You say you cut yourself in because I had a little sister who was three years younger than me who made a list of my works and you don't have to be so stupid. I don't know why I was so stupid at the time and she just didn't. And she just found out that at the beginning you don't get the same blade on, or you don't get the right job, or it's on the bottom tier on the record or whatever it is on the amplifier. But then she just thought now I should just sit right there when I can't be at home. It should be perfect for the bridge. And then I remember the time when I came home and then I go into the interview. They all sit there and say you have something to play again? No, but I can see that you have no. Then you don't.
Speaker 2:You have 100% to say but you can't see that Because it's a maxi single that's on and it runs 45. It doesn't run 33, as you hoped it would. It was an LP you just put on because you heard it an LP before, so I caught her right away. It was a big phenomenon in our room that you don't get the same blade on the other channels.
Speaker 1:Yes for help, but Lars Öfwinnafeier means a lot to you.
Speaker 2:This has never been the 20th anniversary. No, I have. And the show you heard comes from your big brother Castlebond. Yes, I think you have made a lot of things in your time it's over 30 years as a stand-up comedian. It's a TV show. There are many films actually, it's true, but then it's actually been a lot of radio, yes, and actually all the way back 20 years, I think, on.
Speaker 1:Radio 100,.
Speaker 2:can it be yes?
Speaker 1:And before that I was on the show for many years. Yes, I was on the show for a while, yes, and before that I actually made Satire on Sunday, did you hear about it in the morning, the morning heard was on Radio 100.
Speaker 1:And it was Radio 100. Yes, it's true, and I was actually, I don't know, normally at home it's something you can only use to find out what you should be, what you shouldn't be, but I was actually at home on Radio 100. Yes, and I could really really like that, even if it was almost a week where I was going to put the blades in the alphabetical order. Yes, so I just got promised to sit with you and do something like a night radio and say something in radio. Yes, fantastic.
Speaker 2:It was just fantastic.
Speaker 1:Yes, I can understand that, but that means all the years I was on the show. At the same time, music management came. Yes, yes, you can explain that here.
Speaker 2:Well, music management is just that there is a man or there is a predetermined on what you should play in the show, which is the most boring thing in the world to be promised, but now go up in music in any case. Now, I don't know. There are also many worlds today that do something different than go up in music. Yes, which is satire or whatever.
Speaker 1:Symmestri or whatever.
Speaker 2:Yes, but then you can say you have been a bit on the back of the mind because you have both comic books Overrated to be, but you have. It has not only been for the comic books, you have also been for the music. Yes, from poker and if I just have to name the show which I think is most suitable for your birthday party, with Balabeng, yes that's right so you had it on how many years did you have it?
Speaker 1:I had it five years on P4. Yes, and then I actually insisted that we ourselves should have influence on the music. Yes, and then we got a small dispensation from the music section that we wanted to do. We had been given the task it was for. This is what I have been doing for 10 years, since the program was born, and at that point P4 was also going through a transformation that now you have to get away from that. Something fell with the sound tab, where there were programs like one hour of pregnancy, and then there were show friends, and then there was heavy rock, and then there was a civil part after that and then there was out in nature and so on, and we got to the task that we should make the sounds and therefore think then the music should be included as well. Yes, and we also got the task to see if we could store the female sounds.
Speaker 1:Yes, and that's sometimes how do you do that, yes, but you can do that in the elections. Sometimes they change it immediately with the music because there is I don't think so on something like that of some of the big art forms. No, some might want to admit that many women might have a little more to the pop side, but I don't really know.
Speaker 2:No, I don't think that's right, it fits. But I can see now, if I have to take the nightclub part, which is the one I have the most understanding of. I don't know if I can make a radio, but there they are enough a car that the girls are really happy with. Yes, that's what some girls like, where it's a little more hard electronic music because there are as many girls as possible, but it is perhaps more driven than the girls, or somewhere else. Yes, but I think it's fun to keep that in mind because we went on long, long tours under Corona and sometimes a bit too long, yes, sometimes not really at home.
Speaker 2:But where we have discussed a lot of music and we have talked a lot of music, but we are really, really worried about what is good.
Speaker 1:Yes, I think that's really really fun, yes, and then somewhere we can meet well, but it can be just as much as you say, because in the evening or he has his own reference and, as you found a piece of music, you have a reference on it, so you don't have to play for someone else, you just hear and it's not really that good. Yes, exactly, but you don't. But you are completely right, I got enough in those long, long periods where I made radio. I got enough of such what can you say?
Speaker 1:An average pop radio hit an average playlist, and that actually means that I have not heard music for a few years when I was free, because I sat down and sent a radio. Send on the radio the sound waves in three hours and it's so massive. And it irritates me because I have not really lost that. That is the excitement of the elderly, because now it was just about trying to make a certain kind of connection or flow over a time. And you know well, now we have just had the insight. I am so clear. Maybe not with that and so on. You just try to.
Speaker 2:But you want to say do you want to lose it a little? Because it was music that was chosen, you should play.
Speaker 1:Yes, and that it is the same, that it sounds the same, it's the same, it's the same, it's the same it's the same, but it works. Basically it works in the radio and it pays a lot, and that is the task I was given in that respect, that you get out on large, broad, people-like media platforms, then I know well what the task is.
Speaker 2:Yes, it is a task I can completely put myself into that. If you are directed with music, then it becomes much harder to play, to develop, than if you yourself get to choose a little whole. And that's just what I mean. That's why I want to keep that part of the bench, because I actually feel that you got a lot more and that was much more than you, than maybe you made later and the other things.
Speaker 2:That's why it's like you got a lot more from your soul funk. You got to get all the things that were played Exactly.
Speaker 1:the version is different and something that I started with was about peace and I also wanted to have something that was energy-based, fit to that time or mood on the week, and peace after-midi is connected with a solution, a turning point for the weekend when we start to get a little bit up and we have to go to the city in the evening or there is a bit of peace of mind.
Speaker 1:Yes, there is another tone. I think of a peace after-midi at some point at the same time, and I think that you should respect that and with all the respect for Tina Dickov, I think that it could be a little bit of a peace after-midi. I might put it a little higher.
Speaker 2:Yes, I don't want to clean up.
Speaker 1:But because Tina Dickov is really good, it needs peace. No, there is only one. I had it because maybe it wasn't for a peace after-midi, Exactly. But I think that on all occasions, at some point in time, the tone works out really well.
Speaker 2:But I think it's really interesting because I'm very interested in music and I can get into a restaurant or a shopping center if the music isn't right. I can't abstract it and therefore it's really fun to think about that. Peace after-midi this number doesn't fit to peace after-midi because most people that you really have done something out of it and put it in. What is it that I should deliver at this point in time? I think that's really important in music.
Speaker 1:I have experienced sitting at restaurants where it is almost as if it overcomes restaurant experience A lot If the mood isn't right, the musical mood where, if I have slept enough, we have had some good food at the taillights and we should also have a glass of wine.
Speaker 2:I really like what I have done here and it applies to everything. I simply don't understand, and I know it's 9 out of 10, maybe just like that, but I just think that it gives a whole time in an experience. I think that the food is getting better. I think that the place is getting better. I think that if the lights are wrong, it's also wrong. It's what all the senses should be stimulated with. That's why I think that it will be that there is something about the TINADIC. But I can feel that peace after-midi. You are on your way with the car it's the final weekend you are on your way to meet your colleagues and you have to have a peace of mind. It should fit well for that. I think, like tomorrow, you should also fit.
Speaker 2:I have become sensual when they start out with a full-time water-village around 6 am and they put me in the car.
Speaker 1:Because there is not someone. There is, but it's simply dictated.
Speaker 2:Those who are there. They should at least go home. They should stay. It's clear that you are very involved in radio and TV. Have you been involved in music? How in the stand-up, have you used the music the same way in the stand-up? I know you are good at doing it. We will talk about jazz later.
Speaker 1:I have used it in some of the bigger One man shows because I can have an intro or something like that. There is a tempo out there. Your intro, for example, for this one is a small too fast for the people in the talk tempo, but you can see that that's right. You can see that, if you could, if I can put it down in the tempo, yes, or have I done something completely different? Yes, no, but I think that you already have, because it's pretty good. Maybe you are good at it.
Speaker 2:I know what you mean, but it's because, if you are going to use.
Speaker 1:I have used the big One man shows. I have made something. The intro it should look cool when you come in.
Speaker 2:But I have actually in that team people are waiting in the hall also insisted on deciding what people should hear yes, and that's actually what I want to go to, that you build up to something.
Speaker 1:Yes, because I think that's important. Yes.
Speaker 2:Have you made a playlist like that?
Speaker 1:Yes, and I'm going to play it to the local soundman in the cultural or music house where I'm performing.
Speaker 2:Yes.
Speaker 1:And he says that you should play it in the team.
Speaker 2:When are you going to do that? It's important.
Speaker 1:That's if I want to put the whole mood on. I have a huge respect for people who are coming out and see me perform. Yes, I know what they have been through from the kids and there should be baby-sitters and we should park and someone will come from the scene to work and we should maybe go out and have something to eat first and I really take people's time. They do so enormously. So it's not necessary that the experience starts at first that I come in at the scene.
Speaker 2:No, but it's also quite important that you get the most correct mood it's like that.
Speaker 1:Yes, you can manipulate it. That's what it is.
Speaker 2:But I'm thinking about it. But when it comes to you, because you have a long, long stand-up career and many shows, is it the same? Is it the first show or is it a long journey? After a few years you say I can get the show to get better if we have a team's music first. That fits the show.
Speaker 1:I think it will come very late.
Speaker 2:Yes, it goes off in that it has meaning.
Speaker 1:I don't think I noticed that.
Speaker 2:I've played before you several times.
Speaker 1:I've played shows, but I had a stand-up.
Speaker 2:I remember that we were very much in the mood. The mood was set for people to get drunk.
Speaker 1:It wasn't important to have a party, or people thought they were going to dance.
Speaker 2:So we did a lot of things and I can remember, or can.
Speaker 1:I Were we also alone in that. No, I don't think so no, you didn't just decide.
Speaker 2:They did a lot with our unity. We were much more united and I made the most decisions. That's you. Who's standing?
Speaker 1:behind. It's quite general. It's not just because of the uncomfortable conflict With me.
Speaker 2:Or just general General Bill Wethers, I think he was called, had a collection album With all of his best. It was a net of soul. I can remember that we used it, incredibly, to just drive, and I can remember the record job in Seltibor. I sold five copies every time I had a stand-up. That was a lot of fun. It was really fun. So it can be Okay, lars, I've had visitors to Kasper and we just need to record it. What does he say? He says a lot. He's very musical. He's very musical, yes, and I think that's really interesting. Are you musical too?
Speaker 1:Not really. No, I'd like to, and I also think that's what's important. The thing that stimulated me to make a stand-up was that I found out that I couldn't play anything. I grew up in Aarhus in the 80's where everyone was a musician, and I've also gone around with Tom guitar and Kasper, because the guys thought I was a band member.
Speaker 2:So, but there was.
Speaker 1:I didn't know that I went to that gymnasium where I I still have the box. I didn't know that it was a long line. I was like what the hell did I like? I also had a long pane hat that went down over one eye and then it went a little depressive. I thought I liked a fierce pop icon.
Speaker 2:You did that too. I have my own picture of it.
Speaker 1:I like an elderly lady who lives in a corner. I had a cotton coat that I had bought from my parents. They were supposed to throw it out. He used it in the summer house. He said no, that must be cool, and then it went down a little.
Speaker 2:Is it a good thing or is it just the time, because I have the same story for myself. I had a little musicality, but I also had my parents' old jacket and something hard that I didn't do on one eye. I grew up in a whole family, did you also?
Speaker 1:have a hat.
Speaker 2:No, that never happened. I had a hat in the period.
Speaker 1:But that means that in that gymnasium where I went there was Claes Antonsen and Pelle Torb who played with Helmi the time before. The score was Torb In Broddes and then three fourths of Michael Löns to Rock went to the Parallel class. There was this enormous music environment in the house. It was a violent press, it was completely wild. And then I thought I've tried to play some drums. And then I found out that if I could be a hamster, I was just French, so you were just following along. Of course I was just following along. I could see the curiosity, the music and the fact that there were gymnasium festivals.
Speaker 2:It's something that has spread all over the place.
Speaker 1:It's just Open, bart, and you also found out that no, I had a bit more to play with.
Speaker 2:I wasn't at the gymnasium, but I have more than just names that I have mentioned that the music was actually more full of maybe not so much impressive music, but more of what was full of pigs yes, all around, so it was said in a way. Some said it more directly.
Speaker 1:It's all around yes, all around. So it was a success for me to be. I also had a audience. It didn't have a label at that time. If you could say something funny, people would be very welcome. Something like that.
Speaker 2:But despite that, Lars, Despite that, I would say, and it's a talk with Kasper about it you've also played a song produced by Lars Huck.
Speaker 1:Yes, that's right, he must have worked with it.
Speaker 2:Which sound? Which sound is completely fantastic. Yes, he must have worked with it. Yes, you too. Yes, I have, but it was just very impressive.
Speaker 1:It's a duet with Kasper C and we haven't really.
Speaker 2:I've called it the worst thing that could happen last year. I don't think so.
Speaker 1:We haven't really heard from. I remember it as if Lars Huck had stopped his career a short time ago that he had worked with us there was a break. I don't really feel like he came from his time. It could also be because he came from a different life-long stage Of course it could be that he was broken up.
Speaker 2:Do you think he simply got it done because of the stage you were playing on?
Speaker 1:I think he got it before, otherwise it would have been. No, he got it. Can you take something?
Speaker 2:from him. I don't know, but maybe he got it on his plate.
Speaker 1:I've met Lars Huck several times and we both went through it a bit. What the hell was that?
Speaker 2:I can't go to the plate because I've done some research on both you and Kasper, which I hoped to find something I didn't lose.
Speaker 1:But it's true, we've been really into it. I'm sorry to tell you we've been into it. I have my horse, I have my lasso. Yes, as a member of Spotify.
Speaker 2:I'm willing to make a top-10 list of fine songs that you can like. We'll be on Spotify and we'll think of one way or another to put it in there as you have the chance.
Speaker 1:It's a brass band, I'm sure of it. If anyone is waiting for an amenable decision, I think it's a bad sign. It's a blizzard.
Speaker 2:It's a blizzard it's all but, lars, from the fact that we could talk, comic and TV, those that you've made in a hundred years, you're the first to become a dance master in stand-up. Yes, in 1982? Yes, that's right, but right now you're on tour. Yes, with Benjamin Koppel.
Speaker 1:Yes, who you're known for. Jazz. Yes, he's saxophonist, and probably the other one too, but the prime one was saxophonist.
Speaker 2:Is it the passion for music or comic that makes you mix a little bit together?
Speaker 1:It was a bit under the, it wasn't really a meaning. You could say. We've learned each other relatively late, late all, and at a time like this. It was also very fun to work together. We had a lot of things to do how to find comedy and jazz, and then we had some conversations where we found out that there is a kind of a relationship between these two genres.
Speaker 1:There are improvisers who both are jazz musicians and the dyktistcom. They don't use. Yes, there is a huge importance of timing, yes, and then where both jazz and comedy I think work best is if you, if you go on a new path, you can say in most of the I'll just say, pop numbers. I don't have any way with that. I love pop music, but it has a certain versatility, both in structure but also in we can sometimes sit and draw what is a chord that comes next time, and that's what jazz musicians are doing. They play all the chords in the whole world at the same time In that way, and that's also why there are many. I understand that people hate jazz. They have a lot of fun and it sticks in all directions and they play a solo over each other, but it sounds like a stand-up with instruments.
Speaker 1:It's because it takes a few times the course. You go out of a country sideway and find out that there is something that is fun here, and then you go back and forth and the way a joke is built up is that we should be surprised, that it's just like a trick, that you try to take your audience with you in one country tank-wise and then surprise and you can say that you see it the same way, jazz musicians use it that they also try to play a well-known theme from one jazz standard that they play in the solo from something else. So it has a whole time.
Speaker 2:I'm surprised at the element and what I think of both of them is that they are surprised at the same time. I think there must be some timing, in that the solo is right and improvisation is there, but also the timing with your joke. There are two people who improvise. Which two should break the same climax in some places?
Speaker 1:And when that's successful it's magical. It must be difficult. When we go out and perform we think each other and the others, and we always have guests from the comic world, one from the music, a soloist, and we have some of Denmark's best jazz musicians. So I can say I've met Alex Riel, a big name. I was Starstrucked.
Speaker 1:So it all started as an experiment. We decided to make three afters at Cecil in Copenhagen, a smaller and more playful place, and then we saw that someone came and that's what we did, and suddenly it took the fate and the spirit to spread and then it meant that we could take it to tour around the country. And then we came out to a audience where typically half of them have never been to a jazz concert before and the other half have never been to a live comedy before. So there's a strange combination in the audience and we try to take people in our hands. The best example is that it actually succeeded.
Speaker 1:The combination of comedy and jazz is Jörn Ry, the most famous and fantastic comedians, but before that it was a much better trumpet player and I can say that I can hear his way of delivering a joke is too much jazz. He intones and makes his own pressure and the most comedians don't want to do it. We know how to build a tone with their performance, but he's totally in the lead. I've only experienced one thing in Denmark, and it's myralynne. She works with me in Klavn. She's also in the lead.
Speaker 2:We can't always hear myralynne when she's done, but it's not always good to do it and it's probably interesting to double it. It's a great surprise.
Speaker 1:You can really take new places, so it's a huge price.
Speaker 2:But you're also a big jazz man. I've experienced you in.
Speaker 1:I've experienced you in a dance goal.
Speaker 2:That's what I've been told. I don't think that's the case. I think everyone knows I've been to a live jazz concert for some years. It's been 10 years, I don't know if you can remember. We're in Indraby.
Speaker 1:We're in the middle of Mathias. I've been to a jazz concert in Silkeborg.
Speaker 2:I've never seen a person like you. You run around the whole concert. We all sit down and enjoy our music, but you run from Jörn to Jörn.
Speaker 1:You're very impressed. You're a net-up-sitter.
Speaker 2:You were all the way in and clapping every time Peter Hamler played the piano. Peter Rosendegel.
Speaker 1:He's fantastic.
Speaker 2:I've never seen anything like him. I've never seen a rock concert. I've seen you dancing on the streets. I was impressed. Do you hear jazz at home? You're a big fan of food.
Speaker 1:I could do that.
Speaker 2:It's like the real car.
Speaker 1:I've learned a lot from you. Jazz people around me are hot, so they should be playing in the home. I don't like that. I don't like that. It's often when I'm in a long car trip.
Speaker 2:Yes, do you use it for a trip? Can it be a meeting or a stand-up show On the way to work? Is that your mood?
Speaker 1:If I drive 4,5 hours to Jylland and Optra, I know that there's time to get deep. I don't do that with music at home. I don't put an album on and sit and listen to it in the air. I make something else. Then you scream around in the kitchen or make something else at home, but in the car there's not much of an end.
Speaker 2:I've noticed that your Spotify list starts from your phone number 3 in your car. Yes, that's true. Like it's something of the first.
Speaker 1:It's the most true.
Speaker 2:So you have a strong passion for the music there? Yes, I have.
Speaker 1:It fills a lot. I was at the beginning of the show and I was trying to say that many of us go to the stand, but then what's it called Musicians in a country where we peak in life? Often they say there's never been a good time for a beat.
Speaker 2:I think you're saying that between 15 and 18 years old, what you've experienced as a young man is the sound you actually hold in the rest of your life. It's quite true, and there are some who only hear it, like you and I and many others who are deeply involved in music. But what you actually hold in the rest of your life is what you have in those young years, from 13 to 18 years old. But it's said with a clear mind to go to the stand.
Speaker 1:Absolutely, I'm sitting at a huge price for my grown children. I'm being presented for something they hear. They say you can hear it or you can like it, or I think, try to check this out. Or you introduce me to someone else Because you know a little bit how to play and you can go to the stand.
Speaker 2:We try to send each other to a different place. Here's a cool vocal.
Speaker 1:It can be a little more electronic than you play, but try to hear it, I think that's cool.
Speaker 2:It's super fantastic. It should be scientifically true that you stop your development there.
Speaker 1:There are also some who say that there are a lot of things that are in the way you remember to play music, but I read that it's a new thing. You think that when you play music, you connect to the people you were with when you heard the music.
Speaker 2:Okay, you have a lot of memories. Yes, you have a lot of memories. I can remember the Madonna's record Like a Prayer. I can smell it that day. You can smell the record. When I find it, I can smell it. And then I can smell it from the 1999 or the year it was released.
Speaker 2:It's completely insane. I have read that you have something to experiment with. There are some who have done it in a different way From perfume on the plates, also in the cupboard. So you also had a smell experience and just that album. The smell is completely the same as the one I was in the Barbarian cellar in 1887. Until now, until now. Until now and that's why I'm reacting to the music in a restaurant. It's our sense that it's becoming a real effect.
Speaker 1:I think that both the smell and the music are far stronger than the ones in Hukom, something that is visual. Okay, you knew that it can be learned in a completely different way. I have a smelly taste. I remember my late grandmother. I have a lot of scents I connect with her Hygmose, for example, sunburnt tea.
Speaker 2:How is it Urine? No, it's from the past. After she died, but. It was fun to learn how to end with urine and death. It was very poetic. I could think about learning if there should be music in your mind or if there should be a dead sick stand-up.
Speaker 1:No, I actually thought I'll try to put it in my hand. I actually thought I should connect my cup to play some jazz, Because I know many of those who sit in the church hate jazz. So they would say Lars is just better than us right now.
Speaker 2:I think it should be the end of the day and a lot of fun and joy. I'm not looking forward to that day.
Speaker 1:You can play.
Speaker 2:You could have played well. The risk is that I won't be able to play. I didn't think so. We could have done it as a double show.
Speaker 1:We could have done it as a double show.
Speaker 2:Yes, I'm looking forward to it. Thank you for today. Next time, let the music continue to be your most trusted lead series. If you want to hear good music, and good music in the real world, visit the Musaea Lokal at the Musaea Lille Kongensgade in the København.