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Jazz Articles » Interview » Kenneth Dahl Knudsen: Beyond ‘Sound American’ – Crafti…
I aim to make my music distinct, to give it personality, and to ensure that when people hear it, they know I’m from Scandinavia.
Kenneth Dahl Knudsen
What does finding an authentic musical voice in a genre so deeply connected to history and geography mean? The answer for Danish double bassist, composer, and educator Kenneth Dahl Knudsen is to transcend limitation and let identity shape the sound.
A restless presence on the European jazz scene, Knudsen has resisted the pressure to “sound American” and instead draws from his Scandinavian roots, folk song, church music and rock energy, while taking influences from collaborators worldwide.
His perspective is especially notable from the bassist’s point of view: an instrument often seen as supportive now becomes a tool for exploring questions of creativity, hybridity and belonging. Outside of the bandstand, Knudsen is also dedicated to shaping the future of jazz, both as a professor at the Royal Academy of Music in Aalborgwhere he encourages young musicians to embrace their individualityand focusing on equality in music by giving voice to those often marginalized in the industry.
In this conversation, he reflects on breaking away from bebop orthodoxy, redefining the so-called “Nordic sound,” and imagining jazz as a truly global and inclusive art form.
All About Jazz: Your musical journey seems to be one of constant discovery. Could you discuss how you’ve developed your unique voice, especially from a jazz background?
Kenneth Dahl Knudsen: I come from a jazz background. I’ve always studied and played jazz, but one of my main goals has been to go deeper than being labeled a jazz musician. I want to discover my own sound, because sound and identity are essentially the same when discussing musicianship. Over time, I stepped away from jazz a little bit.
I was strongly pressured to live up to tradition for a long time. I tried to be a bebop player for years, but it always felt like I was fooling myself and those around me. I’m not from the United StatesI’m from Denmark. My roots are in folk songs and church music. When I lived in Berlin, I began exploring other traditions and found it fascinating that you could hear where someone was from in their playing. I had moved there to become a jazz player, but I quickly discovered that everyone already had their own sound.
At some point, I stepped back from the bebop and began listening to music worldwide. I met musicians from Syria, Ukraine, and Japan and toured everywhere. I learned from them and brought those influences into my own work. Over the years, this process added much more color to my music than I ever had when trying to copy jazz from the ’40s and ’50s in the U.S. That made making music a lot more enjoyable for me. So that’s the essence: I aim to make my music distinct, to give it personality, and to ensure that when people hear it, they know I’m from Scandinavia.
AAJ: What artists or experiences shaped your path toward becoming a jazz bassist and composer? Who were some of the key influences that helped you shape that personality in your music?
KDK: During my study years, I listened to many bass players. But before I started studying jazz, I heard a lot of rock bands like Green Day, Foo Fighters, Red Hot Chili Peppers, and Nirvana. Once I began studying jazz, I felt that being a “rock head” was somewhat frowned upon. So, I put that part of my musical taste on the shelf for a while. As my confidence grew, I could bring those influences back and weave them into my music. I started listening to rock again and became increasingly drawn to large ensembles, because I enjoy writing for them.
Maria Schneider
composer / conductor
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data-original-title=”” title=””>Maria Schneider has been a significant influence in that regard. In the past decade, I’ve also immersed myself in folk music. Jazz is about a hundred years old, but folk music is thousands of years oldit’s vibrant. As you grow as a musician, your phrasing or line-shaping approach develops more depth and nuance, and folk traditions offer much to draw from. Other significant influences include
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data-original-title=”” title=””>Anders Jormin, a true bass master from Sweden, and, of course,
Jaco Pastorius
bass, electric
1951 – 1987
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data-original-title=”” title=””>Jaco Pastorius. These days, my listening is usually connected to whatever project I’m working on. My inspirations shift depending on the ensemble and the music I’m creating at the time.
AAJ: You mentioned your Scandinavian roots and your folk music perspective. Could you define what the “Nordic sound” is for you, and is that something you consciously bring to your collaborations, for instance, when you’re in a cosmopolitan city like Berlin?
KDK: I’m trying to incorporate it. Many people want to know what Scandinavian jazz is, and I think it’s hard to define precisely. From a composer’s point of view, the chords are generally minorno big, complex harmonies. Tonality is essential and distinctive; much comes from church music. Scandinavian music also builds on the influences we received through Christianity and classical music, and it was never heavily shaped by jazz harmony or big chords. Scandinavian music has a strong character because it stays relatively simple in communicatingsimple melodies, simple chords. Over the past twenty years, we’ve started incorporating rhythms from around the world, so now you’ll often hear odd meters layered on top of that simplicity. That’s what defines Scandinavian music for me: not bigger harmonies, but memorable, singable melodies.
AAJ: As you mentioned, your time in Berlin exposed you to international musicians from different backgrounds. How do you see jazz evolving today, and what excites you most about the current scene?
KDK: Jazz is moving in many different directions now, separating itself from what it used to be. Many musicians I play with today are people I first met at jam sessions when we were younger. But none of them go to those sessions anymore that’s not the music they play now. I see jazz evolving into a hybrid of other genres approached through the lens of jazz. For example, I know musicians who start new bands that play something close to dance music, but they use the rules of jazz improvisation, interaction and openness. That’s exciting to me: breaking down barriers, using jazz as a toolkit to approach music with curiosity and an open mind. I see that happening everywhere, from the U.S. to Japan to Europe. The risk, of course, is that everything might start sounding the same. But right now, the variety is fascinating. The club scene has greatly influenced new jazz, perhaps because of social media or broader cultural shifts. Jazz might be “dying” in one sense, but it’s also evolving into something newand that’s where I think the real excitement lies.
AAJ: Do you think this evolution is a good thing?
KDK: I think so. I think it’s beautiful. But I’m not sure bebop and hard bop will survive for another two hundred years. They’ve been around for about a century already. What concerns me is the environment around being a “real” jazz musiciansomeone who can play according to the established criteria. It can be very toxic. You’re expected to perform in a certain way, to sound like the kings and queens of that era, without necessarily developing your voice. As a young musician, I found that pressure incredibly difficult. Discovering my own sound was liberating, and I think more musicians are doing that earlier now. Thanks to the internet, they can see what’s happening globally and place themselves in situations where they don’t have to pretend.
AAJ: How do you blend your music into this new, hybrid jazz?
KDK: I listen to a lot of music and try to be strict about what I want my output to be. Writing strong melodies is very important, and I focus on giving my music distinctive characteristics. For example, I’m fascinated by unusual rhythms, and if I can combine them with my melodic sensibility, I feel I’ve achieved something unique.
I don’t hear many people approaching it the same way, though we’re all different. I constantly seek inspiration from other genres. I don’t listen to a lot of jazz activelythough passively, it’s always there in the background. But my active listening often comes from outside the genre.
AAJ: You are a composer as well, creating compositions and arrangements. Could you talk about your compositional process? You’ve already mentioned melody and rhythm as key elementshow does it all come together?
KDK: It almost always starts with a deadline. I’m very good at putting myself in uncomfortable situations. For example, I’ll book a studio without having any music ready or announce a tour where I promise only to play new material. That way, I have to get it done. I also find it more inspiring that wayI can visualize how the music will feel both on stage and in the studio. I go for long walks and think about the music rather than sitting at the piano from the start. If I sit down too early, my fingers tend to take over, and since I’m not a brilliant pianist, that doesn’t help much. Instead, I walk, let the ideas form clearly, then go home and write them down. I don’t have perfect pitch, but I have a decent relative pitch, so I can sketch melodic contours and describe ideas in words before working them out. Ideally, those sketches turn into strong pieces of music. For me, it works. I have a busy life, so I can’t spend time on projects that “might” happen. Also, if I had unlimited time, I might never finish anything. I believe we improve as composers and musicians every day, which means that yesterday’s piece is automatically “worse” than what I could write today.
AAJ: When composing for your trio, do you write everything yourself or collaborate?
KDK: I write everything, but keep my scores structured and open. They’re detailed enough for someone to pick up and playform, dynamics, all written inbut I leave space for interpretation. I never dictate drum grooves; for example, I want the drummer to be the drummer I called for a reason. Same with the guitaristthey choose their own voicings and sound. I like the musicians’ personalities in the music.
AAJ: Could you give us a retrospective on your 14 albumshow your music has evolved?
KDK: There’s a clear thread through all my albums, but the first two, Strings Attached (Gateway Music, 2010) and Clockstopper (Longlife Records, 2012), were trying to be “New York-ish” part of my bebop period. I was focused on impressing people, even going to New York to record with musicians there. I learned a lot, but my heart wasn’t entirely in it. The significant benefit was that I suddenly had my own music to tour with, which gave me control over my career. After that, I met people on the road, and at one point, a label owner in London encouraged me to record my large ensemble. That was a turning point in my composing writing for large ensembles without knowing how. Since then, some albums have been with large groups, each one part of my ongoing search for sound. The one I released last year (Gloomers KDK Music, 2024ed) brought me closer to where I want to be. I gathered friends in the studio for two months, brought in seven female vocalists to sing my melodies, and focused entirely on writing good music instead of showcasing bass virtuosity. That took courage ==there’s always the feeling you need to “prove” yourself on your instrument but I already have 13 albums where I play a lot of bass.
Now, I have six unreleased albums: Elastic Ensemble -Large ensemble album recorded in Berlin with students from the academy, Anti Robotic Dance Music with Vilnius Jazz ensemble, and a new suite called Starbirds written for my daughters. I’ll also record two albums in Japan this September with local musicianshopefully the start of a lasting collaboration.
I’m also working on a documentary. I rewrote all my big band music earlier this year after being frustrated by the lack of women in Danish jazz big bands. There was an article saying it’s not the bands’ responsibility to have women it should start earlier in education and that annoyed me. So, I put together my 50/50 big band in Berlin, booked two nights at b-flat jazz club, and proved it’s possible.
AAJ: In Scandinavia, there’s an intense wave of feminism. Does that not extend to music? Is this documentary going to be particularly about gender equality in jazz or something else?
KDK: Not really. Denmark has about five big bands and fewer than five female musicians. I’m not advocating for firing people to make space, but something needs to change. Grassroots initiatives are growing, but professional musicians must also lead by example. This documentary will also cover the practical side how to set it up, secure funding, write for it, communicate, and make it happen. I want it to be a guide for others to follow. I had a camera crew follow me during rehearsals and concerts in Berlin. Interviews with participants and possibly some comments from the general public about equality in the music industry.
AAJ: You’ve been a professor at The Royal Academy of Music in Aalborg, Denmark, since 2016, where you teach rhythm, combos, entrepreneurship and bass. Why did you decide to start teaching?
KDK: It’s a double-edged sword. One reason was simply that it’s nice to have a steady base a place to go every day, colleagues and an environment. In Berlin, I missed that; I was roaming around. Having a steady income also makes it possible for me to pursue my own music projects. But more importantly, I feel I’m contributing to the music scene and helping people. I try to be the person I wish I’d had when I was in my teens and twenties. I’m happy to mentor young musicians, even those who reach out on social media. Because I have this stable position, I can help without charging money, which is valuable. When I was younger, everyone my age charged for lessons , which is fair, but I think if you’re in one of these “golden positions,” you should also give back. It’s a win-win one plus one equals three. Of course, I try to do it without burning out.
AAJ: Earlier, you spoke about jazz evolving into a hybrid. How does that affect the way jazz is taught today?
KDK: Well, here’s the contradiction: I wish my school were only a jazz school. It would make teaching easier we’d have a set curriculum, and I’d know exactly what to cover each semester. However, my students have different interests, so I created a unique program for each. We don’t have “jazz” as the curriculum; we have “music.” It’s more about being great at playing in general, not about genre. The curriculum doesn’t specify genres. In Denmark, there’s a big mix in all the conservatories. That has its positives, but it’s challenging for teachers we must adapt to many different needs. We focus on developing great musicians through their own interests. We also have two teachers per instrument, so students get broader coverage.
AAJ: And does it work?
KDK: Yes, I think it does. Denmark produces a lot of artists. I’m not sure we make the strongest soloists that might happen more at other schools but artistic growth is very individual and continues long after graduation. The Danish system offers a lot of freedom. It’s a gold mine if you know how to use it for your career. But if you need constant pushing, the Dutch or American schools might suit you better. For me, Denmark worked perfectly.
AAJ: You have albums, you’re working on new ones, teaching, recording, composingand you tour a lot on top of that. How do you manage it all? How often do you tour, and what guides your choices where to go, who to play with, and why?
KDK: It is a choice, a gut feeling, and a way of life. There’s something incredible about having an idea and being able to make it happenthat’s a gift. For example, I’m going to Japan soon simply because I want to play there. I told my manager, and he said, “Okay, I’ll call the embassy and see what we can do.” And now I’ll play music in Japan, earn good money and have a fantastic experience.
But it’s taken me twenty years to reach this point. That’s one of the beautiful things about jazz it can make these dreams possible. I’ve always wanted to see the world, and to be able to do it while getting paid to play music is extraordinary.
Of course, it’s not without its challenges. I have two kids, so we have family rules about how much I can be away. In the beginning, it was especially toughmoney was tight, but I still wanted to tour, which required a lot of support at home. We’ve agreed that I can tour for about sixty days a year. That means I need to make those days count -either the tour has to bring in a certain amount of income, or it has to be with musicians I love playing with. This balance allows me to say no to projects that don’t feel right. I’m privileged to be in this position but also worked hard to get here.
AAJ: How long did it take?
KDK: Around 10 to 15 years. Some people might get there faster, others slower. It also depends on your goalthe path is different if you’re chasing stardom. I wasn’t trying to become famous; I just wanted to ensure all my projects felt right. And being a bassist adds challenges. It’s often easier for saxophonists or singers. As a bassist, I can’t just wait for the phone to ringthere are so many of us. You have to be lucky or create your own opportunities. I’m naturally curious and think I’ve carved out a niche with my rhythm work. People now associate me with that, so that I can build tours around that narrative.
AAJ: What advice could you offer a young musician starting today for managing a sustainable career?
KDK: I’ve thought about this a lot. The number one thing is to have your own music. When you have your own material, you are in charge, and you can start creating a network and booking your own tours. Looking back, I would have done that even earlier. So, my advice is this: record your first album and know that it’s probably going to suck, because that’s how it is, especially when you’re young and then start touring. Don’t worry too much about finances at the very beginning. It’s essential to care for the market and ensure people pay for music, but don’t wait for much funding to get started. That’s what I did in the beginning. About thirteen years ago, I booked a flight to Lithuania. I didn’t know anyone, but I had heard about the guitarist
Now, in my 40s, I’m teaching at jazz camps, recording big band albums, and planting these seeds worldwide. It’s much easier and more comfortable to start projects now. The other key is to focus your practice on those projects. A few years ago, I threw away my ambition of being a great soloist. I like soloing, but I also know my role in music and what I should be world-class at. If you try to cover everything, you won’t be world-class at anything. So, if I were younger, I’d find what I truly love to do on my instrument and nourish that. Have your own music, build your career, and the money will improve. If you stay in the middle ground, the finances won’t improve, which happens to most musicians. Many stop playing when they have kids because it’s no longer sustainable. That happens to, I don’t know, 80% of them. So, building a real career is mandatory.
AAJ: You also mentioned another advice for young musicians: stop the “social media thing.” Could you elaborate? Do you see it as more of a negative influence than a helpful tool?
KDK: I’ve also thought about this a lot and recently took a break from it. Now, I’ve tapped into a system where I use social media only as an output, not an input. I post my things through a third-party website, so I don’t have to access the platform directly. It doesn’t do me any good. I don’t get encouraged by seeing what great things other people are doing; it does something bad to my mind. If I can just let people know I’m playing a concert, that’s what’s important. You need an audience. But it’s best not to feed on all the stuff from other people and get caught in that loop.
KDK: Jazz is two things for me: good and bad. The bad thing is that it’s not mine; it’s not my tradition. I feel like I’m just borrowing from the Americans, which doesn’t empower me greatly. We have Scandinavian jazz, that’s true, but perhaps it’s just Scandinavian music. I don’t know.
KDK: Yes, that’s the good part. The good part about jazz is that it comes with a set of rules, a framework where we can be creative. We can have these open conversations on stage with our instruments, which I find incredibly fun and engagingsomething you don’t see in other genres. While there’s open and free music elsewhere, the unique thrill of jazz is going on stage with people, and you do not know where the music will take you, but trust that if the musicians are good, it will be somewhere interesting. That’s why I tour. Having that feeling on stage is essential. Jazz is great, but there may be a new word for it at some point. That way, we can see it as a global movement and not just an American tradition being lent to the rest of the world.