Niklas Winter, a distinguished Finnish guitarist and composer featured on guitarplayers.net, embodies the spirit of contemporary jazz guitar. Influenced by giants like John Scofield and Pat Metheny, yet deeply rooted in the traditions of Sonny Rollins, Keith Jarrett, and John Coltrane, Winter has carved a unique path in the Scandinavian jazz scene and beyond. His journey, from early classical guitar studies to international performances, offers valuable insights for aspiring jazz musicians and aficionados alike.
JB: Can you share your journey into guitar playing and what sparked your passion for jazz guitar specifically?
NW: My musical journey began at the age of six with my sister’s acoustic guitar, initially exploring classical music. Almost immediately, I felt compelled to compose my own pieces. However, it was the intricate chords and rich harmonies inherent in jazz that truly captivated me and steered me towards jazz guitar. The sophisticated soundscape of jazz opened up a new world of musical expression that I was eager to explore.
JB: Your formal education includes studies at the Turku Conservatory in Finland and Berklee College of Music in Boston. Looking back, what aspects of your conservatory training were most beneficial, and how did Berklee shape your jazz perspective?
NW: Initially, the value of my classical training wasn’t immediately apparent to me. However, with time, I realized its profound impact. My classical foundation significantly contributed to developing my personal style, improvisation techniques, and compositional approach. The discipline instilled through classical guitar allowed me to connect deeply with the instrument and cultivate comfort in solo performance settings. Furthermore, I gained a deep appreciation for the diverse sounds and harmonic complexities within classical guitar repertoire.
Berklee, in contrast, offered a vibrant and stimulating atmosphere. I particularly valued the numerous workshops and the opportunity to witness performances by visiting musicians from diverse genres, not just guitarists. I found inspiring mentors and a supportive community that motivated rigorous practice and continuous learning. Crucially, Berklee provided invaluable networking opportunities that have been instrumental in expanding my career and collaborations.
Niklas Winter. Photo by Tatu Kawano
JB: When considering the vast landscape of jazz guitar albums, could you name three that have been particularly influential for you, and explain why they resonate so deeply?
NW: For me, the discography of Pat Metheny holds immense influence. If I were to choose three albums, they would be:
- Still Life (Talking): This album is simply breathtaking.
- Letter From Home: Equally mind-blowing, showcasing incredible musicianship and compositional depth.
With both of these albums, the strength of Metheny’s compositions is as impactful as his guitar playing itself. This balance between composition and performance is something I consistently aim for in my own recordings and live performances.
- Question and Answer: Initially, this album was more challenging for me to fully appreciate. However, over time, I’ve grown to admire it more and more. It reveals new layers with each listen.
JB: You’ve mentioned John Scofield and Pat Metheny as key influences. Can you elaborate on how each of these iconic jazz guitarists has shaped your playing style and musical approach?
NW: Indeed, John Scofield and Pat Metheny are both phenomenal, yet distinctly different musicians. I could easily extend my list of influential albums with Scofield’s Meant to Be and Metheny’s Time on My Hands, among many others.
What draws me to Pat Metheny is his exceptional melodic gift and his captivating compositions. John Scofield, on the other hand, possesses a raw, blues-infused quality and a rhythmic edginess that I find incredibly appealing. They both have unique and recognizable grooves and senses of time, which are fundamental aspects of their musical identities that have inspired my own exploration.
JB: Let’s discuss your recent album, Graduale. What were your artistic goals in creating this project, which features a unique ensemble of guitar, cello, vibraphone, trumpet, and choir?
NW: Graduale, released in September 2023, was conceived as a concept album. I am very pleased with how it materialized. My primary goal was to create a cohesive musical narrative, and I feel we achieved that. I also aimed to present this material to a global audience. Recently, I returned from the EFG London Jazz Festival, where we performed the entire album from start to finish, which was a truly rewarding experience.
The album encompasses a wide range of textures, from solo guitar pieces and solo choir tracks to compositions featuring the full ensemble. I am particularly satisfied with the quality of the compositions on Graduale, which makes performing this music live even more engaging and meaningful for me.
JB: You’ve had the opportunity to perform and record with the esteemed guitarist John Stowell. Can you describe the musical synergy you share with John and his influence on your approach to jazz guitar?
NW: Our musical collaboration feels exceptionally natural. John and I share a relaxed approach to playing, and we are both deeply attentive to each other’s musical contributions, which is paramount in any performance setting. In essence, I think we both bring a sense of ease and calmness to our playing. Personally, I find immense inspiration in John’s harmonic concepts and sophisticated chordal work. It’s always a learning experience to share the stage with him.
JB: You’re known for playing an Ibanez guitar GB-10. What is it about this particular instrument that makes it your ‘workhorse’ and preferred guitar?
NW: My Ibanez GB-10 is indeed an older model and has become my trusted companion. Its reliability is crucial, especially given my extensive travel schedule. I need a guitar that is dependable and yet feels deeply personal. I’ve primarily played this guitar since the late 1990s. While I’ve experimented with numerous other guitars, I consistently find myself returning to my Ibanez for both performance and recording. It simply feels like home.
JB: And regarding amplification, what amp do you typically use to achieve your signature jazz guitar sound?
NW: Currently, my amplifier of choice is a Polytone Mini Brute 2. It provides the warm, articulate tone I look for in my jazz guitar sound.
JB: With so much emerging talent graduating from music colleges each year, what key piece of advice would you offer to aspiring jazz guitarists aiming to build an international career in today’s music landscape?
NW: My advice would be to work diligently and seek out as many performance opportunities as possible, across various musical styles. Furthermore, develop your teaching skills; teaching is a fantastic way to deepen your own understanding and musicality. Simultaneously, dedicate significant time to cultivate your unique voice as a player and composer. This process takes time and requires introspection and dedication to discover and refine your individual artistic identity.
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