A violinist from Ohio with a degree in philosophy and teaching experience in prison: Christian Howes is a polyglot musician who radiates energy and serenity in equal measure through his blue eyes. Classically trained, and after a stint in a few rock bands, the Jazz Journalists Association's "Violinist of the Year" nominee quickly earned a good reputation in U.S. jazz circles, playing with musicians such as Randy Brecker, Steve Turre, Joel Harrison, D.D. Jackson, Greg Osby, Dafnis Prieto and the legendary Les Paul.
His attitude toward life and toward music is the same: sincerity above all, and an absolute belief that music can be drawn from any person, any feeling and any place. Even from prison, where he spent a few years for messing around with LSD, and where he learned, after watching how people sing, drum on a table and make up rap lyrics, that music is "something organic, innate to human beings, that simply happens."
And after spending 10 years in New York and carving out a place for himself on the international jazz scene, he has returned to Ohio to devote himself to his family, to teaching and to music in general. An associate professor at Berklee College of Music, in 2003 he founded his Creative Strings Workshop, and four months ago he launched the Creative Strings Academy, an online academy that attracts students of all ages from all over the globe who are eager to improve their musical improvisation. Improvisation and creativity. Speaking very slowly, as if letting out words cost him far more than expressing himself through his violin, he gets excited saying he wants to reinvent music education because, in his mind, not only can everyone express themselves musically, but everyone should have the opportunity to do so. Maybe that would prevent one or two of the world's little problems. Or not. But it would be nice.
The trait that best defines your work is fusion. Besides your classical training, have you played in bars, in clubs, on the street…?
I started studying violin when I was five. At 16, the music I listened to was mainly rock, so I started playing guitar in rock bands with my friends. Later I tried a bit of soul, gospel and, above all, jazz. Jazz was a bigger challenge than the previous styles because of its improvisation. In the end I've ended up blending jazz and classical music, but I express myself essentially through jazz.
Indeed, in your music we find completely renewed classical elements. What do the most orthodox think of your wild experiments with the violin?
There's a lot of skepticism around playing the violin in an unconventional way. I always had the feeling I had to prove something. But people are surprised, and that's a good thing. I think the challenge for any artist is to be able to do something original.
There's a lot of passion and a lot of impulsiveness in your music. Do you think this force you have when you play is more powerful than knowledge of the instrument and of musical technique?
I think all the factors are important. Knowing harmony, having a musical vocabulary and good technique is essential, as is mastering the instrument and being able to organize your music. Passion comes naturally; technique takes more effort. And we mustn't forget the spiritual effort, which means overcoming insecurity and keeping a purity of spirit while you're playing. It takes courage to improvise in front of an audience, but to do good things you have to take risks.
And regarding musical knowledge, do you think we can learn from any artistic expression, even a painting, or to really know music do you have to learn it in an exclusively musical environment? That's a very European question (laughs). I think music is very similar to any other kind of artistic expression, and it's also a lot like life. So, in my opinion, you can learn not only from any kind of art, but also from any life experience.
Is talent innate?
There's a Japanese teacher who says that everyone is capable of learning music at an early age. Most people are born with more or less the same amount of talent. It has been shown that between the ages of two and six we have a special ability to learn languages, and music is a language. People who started playing at that age can become excellent. I'm good musically because I started very young and I've wanted to keep going down the same path, always diversifying my musical interests.
Composing and playing music: do you do it for yourself? For the fans? To put food on the table?
There are so many reasons to play music… and I think everyone who does it does it for a combination of them. I want to eat, playing music makes me happy, and so does pleasing people, the recognition, the connection with the audience… The moment when the audience and I speak the same language is magical.
Guitarist Jaco Abel, your friend and bandmate, has spoken very highly of your work to us. Have you ever tried your hand at flamenco?
Jaco is a genius. And I love Madrid, I adore Spain… Flamenco is something you hardly ever hear in the U.S. When I heard it for the first time I was absolutely blown away. Besides Jaco Abel, I know Pablo Martín (a flamenco jazz double bassist) and other colleagues… all incredible. I think Spanish music has a very different sound because it incorporates pieces from a very varied puzzle: flamenco, Latin music, pop, traditional sounds… I can't play flamenco, but I'm convinced that, in some way, it has influenced me. Someday I'd like to learn it; I think I should move to Seville for a while so I can study it properly.
What fascinates you most about music?
That it has no limits. There's always more to learn, new challenges… Whatever your level, you can always go further; that's why it's spiritually fulfilling.
Where do you find inspiration?
Sometimes in my family, in my children… And also in emotions: love, anger, joy, sadness, the desperation to make something people like… Every feeling can be a source of inspiration.
What do you look for in a backing band?
That they listen. That they have a good background and are open to different possibilities but, above all, that they know how to listen.
As for your albums, would you say there's a progression in them?
Of course. We never stop growing, and I'll always want to do different things, so I think there will be even more progression on the next albums.
And which is your favorite?
Song for My Daughter. I did it on my own, breaking rules (I love breaking rules).
I also really like Out of the Blue.
What led you to launch your Creative Strings Academy project?
I think music education needs to be reformed. Children and, in general, everyone who wants to get started in this world need to learn all styles, not just classical music. When you study classical music, you're not invited to create, and human beings are made to create. The way music is learned now is too functional; I'd like to change that. I think I can be a good teacher. It's also part of my personal evolution: I've toured for many years and now I want a bit of security in my life, to be with my family and get off the road a little. I started this project only four months ago and I already feel grateful. The feeling of knowing you can teach something is extremely rewarding.
Can you make a living from music without selling out, while staying true to yourself?
I try to do what I want to do and not go against my principles, but it's true that it's very hard to stay away from the whole commercial machinery. I think that, in that sense, the U.S. is more "commercial" than Europe, maybe because we live in two different realities: here we don't have social security or public education like you do, and to send my daughter to school I need to earn money. That's why I have several projects going in parallel, so I can stay true to myself.
What are your current projects? Are you collaborating with anyone?
Over the next few months I plan to travel to promote my school. I'll soon be in Spain playing (November 11 at Sala Bogui in Madrid), giving some master classes and teaching groups directly (for information, www.christianhowes.com). There's also a European tour lined up with Joel Harrison.
