HENRIK JENSEN - Superstition Is No Joke
Interview by Chris Baber
Photographs by Brian Homer
Born in Denmark, Henrik Jensen was originally aiming at a career playing electric bass. This is the instrument that he came to study at The Musicians Institute in London in 1997. Within a few years, he had changed course and enrolled at the Royal Academy of Music as an Undergraduate student on their Jazz programme.
The transition to the double bass could explain the emphasis on acoustic (rather than electric) instruments and sounds in his ‘Followed by Thirteen’ (FB13) group and in the work with the ‘New Simplicity Trio’, with Italian drummer Antonio Fusco and UK pianist Bruno Heinen (on the second FB13 CD, Blackwater, Fusco replaced Pete Ibbetson who had played on ‘Qualia’, the first FB13 CD). I noted how the modern, intelligent but always acoustic jazz of FB13 suggested an underlying feeling against the widespread use of electronics and effects in contemporary jazz. But he replied, “Not really, I guess I do what I do because that’s what I ‘hear’ I don’t have any knowledge or experience in writing for the more electronic sound. Lots of my friends/colleagues do and there are great at it, who knows maybe on the fourth album?”
I asked him whether the bass created the main focus for his composing and he said, “I use both the piano and bass for composing and there’s not really a system for what comes first regarding melody and bass line. I might get inspired on the bass by a melodic line or groove and then take it to the piano or vice versa, but I do go back and forth between those instruments a lot when composing.” This might also explain the affinity he has with piano players, particularly with Bruno Heinen in The New Simplicity Trio and Esben Tjalve in Followed by Thirteen. Of course, he and Tjalve have a long history, having met in Copenhagen and then both studied at the Royal Academy of Music. But it seems that he has the ability to make and keep friends in the music business and values the relationships he has with them and his family. I joked that that so many of his compositions are named after family and pets, this must be a strong source of inspiration. ‘Blackwater’, the title of the CD, is the name of the river where he proposed to his wife, for instance (although the Birmingham show opened with a tune dedicated to his dog, so his affections are spread widely). “Naming the Tunes is more like a dedication and quite often it happens midway through composing, something triggers a memory or a feeling towards someone or even just a place I’ve visited.” And the influence of family doesn’t end with the names of tunes. You can’t speak to Henrik without broaching the question of the band’s peculiar name, Followed by Thirteen. He has previously explained the name as being related to superstition, and I asked if this was in a good or a bad way? “It’s definitely in a good way. My first album was a dedication to my mother who was quite superstitious but always in a fun jokey way, but some things stick ! I still don’t cut my nails on a Sunday because this brings bad luck”.
A particular skill that Jensen is his ability to craft well-turned riff that provides both a clear structure for the piece and the impression that the player is spontaneously creating this in response the opportunities offered by the bass-line beneath it. FB13 have just finished the recording of their third release. Jensen says, “I’m so pleased with it. I think the overall structure of the music is simpler in some ways leaving more space for us as quartet to improvise and there’s a strong emphasis on melody throughout the compositions. I also hope the trust and great friendship we all share will shine through in the music. I absolutely love playing with these guys.”
Photographs by Brian Homer
Born in Denmark, Henrik Jensen was originally aiming at a career playing electric bass. This is the instrument that he came to study at The Musicians Institute in London in 1997. Within a few years, he had changed course and enrolled at the Royal Academy of Music as an Undergraduate student on their Jazz programme.
The transition to the double bass could explain the emphasis on acoustic (rather than electric) instruments and sounds in his ‘Followed by Thirteen’ (FB13) group and in the work with the ‘New Simplicity Trio’, with Italian drummer Antonio Fusco and UK pianist Bruno Heinen (on the second FB13 CD, Blackwater, Fusco replaced Pete Ibbetson who had played on ‘Qualia’, the first FB13 CD). I noted how the modern, intelligent but always acoustic jazz of FB13 suggested an underlying feeling against the widespread use of electronics and effects in contemporary jazz. But he replied, “Not really, I guess I do what I do because that’s what I ‘hear’ I don’t have any knowledge or experience in writing for the more electronic sound. Lots of my friends/colleagues do and there are great at it, who knows maybe on the fourth album?”
I asked him whether the bass created the main focus for his composing and he said, “I use both the piano and bass for composing and there’s not really a system for what comes first regarding melody and bass line. I might get inspired on the bass by a melodic line or groove and then take it to the piano or vice versa, but I do go back and forth between those instruments a lot when composing.” This might also explain the affinity he has with piano players, particularly with Bruno Heinen in The New Simplicity Trio and Esben Tjalve in Followed by Thirteen. Of course, he and Tjalve have a long history, having met in Copenhagen and then both studied at the Royal Academy of Music. But it seems that he has the ability to make and keep friends in the music business and values the relationships he has with them and his family. I joked that that so many of his compositions are named after family and pets, this must be a strong source of inspiration. ‘Blackwater’, the title of the CD, is the name of the river where he proposed to his wife, for instance (although the Birmingham show opened with a tune dedicated to his dog, so his affections are spread widely). “Naming the Tunes is more like a dedication and quite often it happens midway through composing, something triggers a memory or a feeling towards someone or even just a place I’ve visited.” And the influence of family doesn’t end with the names of tunes. You can’t speak to Henrik without broaching the question of the band’s peculiar name, Followed by Thirteen. He has previously explained the name as being related to superstition, and I asked if this was in a good or a bad way? “It’s definitely in a good way. My first album was a dedication to my mother who was quite superstitious but always in a fun jokey way, but some things stick ! I still don’t cut my nails on a Sunday because this brings bad luck”.
A particular skill that Jensen is his ability to craft well-turned riff that provides both a clear structure for the piece and the impression that the player is spontaneously creating this in response the opportunities offered by the bass-line beneath it. FB13 have just finished the recording of their third release. Jensen says, “I’m so pleased with it. I think the overall structure of the music is simpler in some ways leaving more space for us as quartet to improvise and there’s a strong emphasis on melody throughout the compositions. I also hope the trust and great friendship we all share will shine through in the music. I absolutely love playing with these guys.”
Discussing the line-up for a gig I watched in Birmingham (where only Jensen and Tjalve had featured on the CD), he said, “Pete [Ibbetson] played drums on my first FB13 album ‘Qualia’ so some of the tunes we played in Birmingham he already knew quite well, Rory [??] has played a couple gigs over the last few year’s so both are familiar with my music. I didn’t need to adapt the music, including Esben [Tjalve] they are all really amazing musicians and we straight away found our way of playing the tunes. I feel like my tunes really open up, anything can happen, especially in this line with these guys. There is a trust between us and room for everyone to express themselves and they always get the mood and vibe of the compositions.”
I asked if there was any New Simplicity Trio in the pipeline, and true to form as a bass player who never seems to stop playing, he said, “Yes we have already tested some material and will hopefully record in the autumn or winter. Very excited about this too.”
He has also worked with a wide range of contemporary players, not only in his Followed by Thirteen group or the New Simplicity Trio, but also has played with or featured on recordings of Michael Blake, Elizabeth Shepherd, Martin Speake, Hannes Riepler, Billy Jenkins, Pete Wareham, Peter Ehwald (to name a few). I asked if there was anyone he hadn’t played with yet: “Yes there’s so many haha, but lately I’ve been listening a lot to trumpeter Ambrose Akinmusire who I think sounds amazing so that would be on the wish list.”
I asked if there was any New Simplicity Trio in the pipeline, and true to form as a bass player who never seems to stop playing, he said, “Yes we have already tested some material and will hopefully record in the autumn or winter. Very excited about this too.”
He has also worked with a wide range of contemporary players, not only in his Followed by Thirteen group or the New Simplicity Trio, but also has played with or featured on recordings of Michael Blake, Elizabeth Shepherd, Martin Speake, Hannes Riepler, Billy Jenkins, Pete Wareham, Peter Ehwald (to name a few). I asked if there was anyone he hadn’t played with yet: “Yes there’s so many haha, but lately I’ve been listening a lot to trumpeter Ambrose Akinmusire who I think sounds amazing so that would be on the wish list.”
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For more information visit Henrik's website & New Simplicity Trio
