Between Groove and Edge
Hans Peter Salentin and the architecture of modern jazz production
In an era where jazz increasingly intersects with production aesthetics, Hans Peter Salentin operates in a space between instrumental tradition and studio authorship. His work blends trumpet vocabulary with layered sound design, drawing as much from jazz lineage as from contemporary production logic. The Cologne-based artist has quietly built a catalog that resists categorization—yet remains deeply rooted in groove, tone, and narrative form.
JP: You’ve spent years working internationally, especially in Eastern Europe and Israel. How does geography translate into sound?
Salentin:
Music doesn’t exist in isolation. Cities like Kyiv or Tel Aviv have a different rhythmic density, a different emotional temperature. I don’t quote that directly—but it shapes phrasing, pacing, even harmonic decisions.
JP: You released your first LP “Jumpin” at 24. When did production become central to your work?
Salentin:
That shift came when Greg Badelato asked why I hadn’t documented my music on CD. That question pushed me into production. Early on, I financed everything myself—so I had to think like both artist and producer from the beginning.
JP: Your albums vary significantly in sound and structure.
Salentin:
That’s intentional. I don’t see recordings as documentation—I see them as compositions. Some records are tracked live, others are constructed layer by layer. Today, the studio itself is part of the instrument.
JP: Where do you locate your music stylistically?
Salentin:
“It’s about accessibility without simplification.”
There’s always a groove foundation—but I’m interested in subtle disruptions. Small shifts that change perception. In the U.S., people might call it Wave-Lounge, but that’s just a loose frame.
JP: You work closely with specific engineers.
Salentin:
Yes—Hans Jörg Scheffler and Taato Gomez are crucial. Especially with Taato, there’s a shared understanding of space, frequency, and depth. That’s not just technical—it’s musical.
JP: Your albums often follow conceptual arcs.
Salentin:
I think in images. “Nothing but Happiness” came from a conversation with a dancer—so the music had to leave space for movement. It’s less about melody and more about kinetic potential.
JP: On “Arrivals,” the flugelhorn plays a central role.
Salentin:
The flugelhorn has a different envelope—softer attack, more vocal quality. But the trumpet still gives me articulation and edge. I need both to define the full spectrum.
JP: Your recent releases move between concept and tradition.
Salentin:
- “Music for My Movies” explores imaginary film scoring
- “Back to the Roots” revisits the GRP aesthetic—updated sonically
- “The Summer Knows” reinterprets material by Duke Ellington, Bill Evans, and Michel Legrand
The idea is not to modernize superficially—but to re-contextualize.
JP: What’s your perspective on streaming culture?
Salentin:
Streaming removes the physical dimension. And with that, part of the artistic narrative disappears. Albums used to exist as complete statements—now they’re often fragmented.
JP: What’s next?
Salentin:
I’m currently working with Usein Bekirov, who recently collaborated with Randy Brecker. And there are multiple productions already in development.
Salentin:
“The goal is clarity—not simplicity.”
Photo by Ekaterina Konsulova