Interview with Mathis Picard
Mathis Picard, born May 30th, 1995, is a French-Malagasy pianist, composer, producer, and bandleader who currently resides in New York City. A student of both Jazz & Classical music from an early age, Mathis creates a his own musical style that is influenced by his multi-national background.
1. You’ve described your music as a blend of your French, Malagasy, and American influences. How do these cultural roots shape your approach to composition and performance?
One of my favorite things to hear in music in influence - To hear how different influences can make their way into people’s playing. I think the most significant way I’ve come to learn more about these roots, is by studying the history and lives of the people who played the music. Through that study I’ve seen how there is a grand arch that connects all music and peoples around the world. We are always building off of one another. This is something I do without thinking about it, but I let these different worlds influence each other. I may try and transcribe a Bach Fugue played by Glen Gould the way I would transcribe Bud Powell. I may challenge myself to write a completely notated score of music while still trying to keep a sense of freedom an and improvisational attitude to the composition.
2. Your work with The Sound Orchestra and your solo projects have gained significant recognition. How do you balance the creative demands of leading a large ensemble versus performing as a solo pianist?
Sometimes it feels like I am simply always writing music, to put it simply. I am lucky that the piano is basically an orchestra into itself. Since my Orchestra has 10-horns, you could almost say those are the 10 fingers of my hands. So technically, there is a relation between all my compositions. My solo piano material could be arranged for my orchestra, and vice versa. To me this all lives in the same universe; it is just a question of organization, intent and then deep focus.
3. Your recent album, Heat of the Moment, received a glowing review from The Times. What was the inspiration behind this project, and how did collaborating with other leading voices in jazz shape the final result?
This album was made during Covid. It came at a time when I realised the fragility of the fabric that makes up our world. It came at a time when I realised that I could be stuck in EU like many of my colleagues were, because travel wasn’t allowed. It got me thinking that if I was not able to travel back to the states again, would I have regretted not collaborating and recording with some of my best friends and musicians here in the states? So that’s exactly what I did.
I often think and am aware of how the climate is changing on this planet, so there is a double meaning to the title. One - that the planet is heating, and that two, we have to respond to this. One way to respond is to engage in community and work together to make this world a better place. That is what I was attempting to do with this record.
4. At just 10 years old, you were named a “rising star” and became a finalist in the Montreux Jazz Piano Competition. How did these early accolades influence your musical journey, and what lessons have you carried with you since then?
It was definitely a big moment for me , the Montreux jazz competition. I’ve kept a relationship with them ever since and they’ve been very supportive of me and my music. For me it was just another milestone affirming to me that piano and music was my calling and that I was listening to myself in the right way. The biggest lesson I always try to remember is to follow my instincts, trust my gut and listen to my heart.
5. Your solo piano album, Live at the Museum, was recorded live at the National Jazz Museum in Harlem. What was it like to explore your varied musical upbringing through that project, and how does performing in a live setting shape your sound?
Making live at the museum was a therapeutic process - examining the different periods of study in my life, seeing how they influenced my music and character to this day. Sometimes it was joyful, and sometimes it wasn’t so pleasant. The wonderful thing about music is that it always comes with a life lesson. It always reflects something you’re going through or thinking about. When I perform in front of an audience, I want to curate the shows so that my set tells a story, so I can share some of these lessons I’ve learnt, through a musical medium.
