Till Brönner is one of the most significant jazz musicians of our time. A variety of music styles, including jazz, classical, and pop, have influenced and enriched the trumpeter’s musical palette to this day. He refined his skills on the trumpet, learnt its nuances, and explored innovative ways to express himself through his instrument. Yet Till Brönner is not just a musician; he is also a renowned photographer. As part of the Bartók Spring, the Ludwig Museum in Budapest presents his exhibition, Identity – Landscape Europe, which runs from 13 April 2024 until 25 August 2024.
Photography by Felix Rachor.
Christian Bracht: Till, what role did chance and coincidence play in your musical career?
Till Brönner: It is a misconception to assume that you can design a career on a drawing board. However, there are moments when you can clearly feel things reshaping and a new little era beginning. Coincidences have also been immensely important in my life; they were often much more impactful than a well-thought-out plan.
CB: In what ways do you believe jazz, an art form deeply rooted in improvisation and spontaneity, can have a positive impact on society?
TB: Throughout the various eras and stylistic developments over the last hundred years, improvisation has remained the most important element in jazz. We negotiate different viewpoints in front of an audience, with the goal of ultimately leaving the stage with a certain consensus. We do this without any language barriers, accompanied by applause. This can certainly be applied to society, but it must start on a certain level playing field so that no side gets left behind. We can sense areas where there is significant room for improvement in society.
CB: Your upcoming exhibition, Identity – Landscape Europe, at the Ludwig Museum offers a deep insight into the faces and landscapes of Europe. How does the theme of “Fortune” fit into your work as a photographer, and what message do you want to convey with your images?
TB: If you’re not a traditional commercial photographer and therefore can escape certain aesthetics, your practice is both freer and also somewhat lonelier. You have to evaluate photographs from new perspectives, moving away from the surface and delving into the depth of meaning. Identity – Landscape Europe explores why, despite all doubters and critics, Europe is still an extremely good and enviable place for art. Just look at the culture and substance, the relatively short distances, centuries of societal achievements that had a global impact, but also perceived minor issues and places where shadows currently loom – these dynamics and, of course, my personal perspective as a travelling artist that shapes the exhibition.
Photography by Marzena Skubatz.
CB: Photography under extreme conditions, such as those you experienced in the Ruhr region, undoubtedly requires a lot of patience and determination. How do you deal with the challenges? Is there a particular story or experience that has stayed with you?
TB: Without the Ruhr region project Melting Pott (‘Pott’ in German is another word for the Ruhr region), this Europe project might not have happened. What both projects have in common is a form of unpredictability that you must learn to deal with. It’s like fishing: one day you arrive at the water perfectly prepared, at the perfect time, with the latest equipment, but for some reason, the fish just won’t bite, end of story. The next day, all you have is a pocket camera, and suddenly, there is a whirlwind of unexpected developments. To be honest, I have come to love this. All you have to do is be in the midst of it all and have enough time to choose.
CB: How does your work as a jazz musician influence your photographic practice, and vice versa?
TB: Music is sometimes a bit more brutal. You have to be sharp and ready at a very specific moment in time; you only get one chance that night, and you have to seize it. Photography also thrives on spontaneity, but the end result may take time; it finds its final form away from the public eye. I enjoy both very much, but photography allows me to gain a bit more distance from myself, while the trumpet will be brutally honest in telling me exactly how I’m doing mentally and physically at any given moment.
CB: Do you believe luck and chance play a role in the creation of art, or is the key to success elsewhere?
TB: That’s a difficult question. I use my experience in the music industry and apply it to photography whenever the opportunity arises. Both are subject to similar rules. Few photographers can immediately tell which of their photographs will be remembered; hardly anyone gets this right. The truth is always the most beautiful thing. Personally, I am inclined not to have exaggerated expectations in photography. Most people think of me as the trumpeter who also takes photographs. Yet nowadays, I spend at least as much time with the camera as I do with the trumpet, and my works are shown in renowned museums and galleries. I practise patience and, yes, resilience. A bold request for a portrait also includes the potential rejection of a portrait. You factor it in, and when it comes, you move on. In music, you are somewhat freer in your actions.
CB: Looking back at your diverse career and ahead to your upcoming exhibition, what goals and dreams do you have for the future?
TB: I’m nowhere near the end of my development. The scent of stagnation is repellent to me; it immediately makes me nervous. But I also know that unplanned encounters often turn out to be the most successful ones. Letting things come to me and not planning everything out to the last detail will probably remain a part of me. I’m a freelancer by conviction – at least for now.
Credits:
Words: Christian Bracht
Photography: Felix Rachor, Marzena Skubatz
As featured in SLEEK 80 – FORTUNE. Available in print and digital here.