Q&A: Christian Prommer

It’s hard to imagine jazz and techno having much in common. Everything from the way they are produced to the audience they attract is completely different. But Christian Prommer, a classically trained jazz musician who you could say moonlights as a techno DJ, heard something in the two styles that he thought would make them work together. From there, he began lacing the electronic music he produced with the jazz that he played, which later evolved into performing electronic music with his jazz outfit. He famously did a jazz cover of Derrick May’s Strings of Life which he released to critical acclaim from the legend himself and since then he’s done the same for artists like Kraftwek, Josh Wink and Carl Craig. The product is definitely unique and we’ve got our hands on some of it as Prommer has put together an exclusive mix for Mixmag Asia. He also talks about how he discovered he could fuse the two sounds together and the music label that came out of it below.

Jazz and techno are two completely different worlds. Why did you first think they could work together?

I played a DJ set in Tokyo many years ago where I played a Manfredo Fest 70s jazz trio song next to a Carl Craig remix. I felt that they had a similar energy and drive. After that night, the idea to combine these two together was in my head for sometime before I did the first song in that style.

With such an obvious and rich history in classical music training, how and when did the transition to electronic music happen?

I was always interested in technology and what it could do for music. When I studied instruments, I also learned to work on drum machines and synthesizers at the same time. I was playing drums and programming drum machines back then. I met Michael from Compost in 1994. That’s when the electronic scene started to really draw me in.

How valuable do you think classical training is to other kinds of music, DJing and producing electronic music in particular? Do you feel it gives you an advantage over someone who has never picked up an instrument in his or her life?

For me it’s great. I think having an education is an advantage in every field. I am interested in so much music and different genres, it helps to communicate my ideas with other musicians. On the other hand, there is a lot of great music being produced from DJs and non classical musicians.

Do more of your influences come from inside the world of electronic music or from outside it? Which world or industry do you feel you relate to more?

I listen to classical and jazz as much as I do listen to electronic music. They both influence me a lot. But since jazz and classical have been around for a much longer time, there is so much more music to listen to. I am happy to relate to both sides. For me it’s the same.

Berlin is making a huge impact on and shaping the world of electronic music today. How does Munich compare?

Munich has great clubs and very talented DJs, musicians and producers. Many great labels come from here like, Compost, Permanet Vacation, Disko B, Gomma and of course my new label Musica Autonomica. It’s very different to Berlin. Its more organized and not so wild, but there are also some crazy nights happening here.

The idea behind the Drumlesson project is wonderful; it’s refreshing and unique. What kind of response have you gotten from artists like Josh Wink, Kraftwek, Carl Craig and Derrick May?

Thanks you. I had a great time writing and recording this. I am very happy that most of the artists have been super supportive and thankful for my versions. I got some really nice messages from Derrick May, Patrick Pulsinger and MAW for example. I even got a response from Kraftwerk saying: “It’s okay.”

Are there are any other songs or artists you want to re-purpose into jazz versions or that you could see working really well instrumentally? Has anyone reached out to you and specifically asked for you to rework their music?

I am working on new material for my next Drumlesson album right now. I have some really great songs to cover. Still a secret, but there are still a few on my list. The Italian project “The Dining Rooms” asked me in 2010 to do a Drumlesson version of their catalog for Schema Records. That was a great experience and a fun record to make.

What’s on the horizon for 2015?

I will work on my new Drumlesson album and put more music out via my new label Musica Autonomica. There are many releases planned. I did a collaboration with vocalist Robert Owens for Compost Records that will be released in June and I will do some serious jazz concerts in the summer with my Drumlesson ensemble.

You’ve traveled Asia before. What excites you the most about being back here?

Yes, I have been here in Asia many times. I love it. My favorite destination. The people are so nice and the food and weather is great. It’s always a great party where ever u are. Looking foreword my next gigs in this area.