It is experience that has led me to approach free improvisation in its various forms more and more. On the one hand, it’s about getting rid of the fear of selling yourself artistically on stage: you can impress the audience with a lot of pomp, large ensembles, a high and difficult copmpositional part and at the same time not say very much in terms of content. In free improvisation you are most likely to be “naked” and exposed, you can’t make use of these means and as a musician’s personality you can only “play” as you are without make-up.

On the other hand, I rely on recordings in the recording studio and at live concerts, where I have often repeated my own compositions and those of others and where the original spirit is lost more and more with each repetition due to the reproduction of the first initial idea. The dissatisfaction with the unattainability of freshness the first time – this has led me to simply look for as many situations as possible where there are firsts in the creation of music and this possibility is offered by free improvisation – whether these are solo piano situations or groove jams where you draw from the moment, whether it can be tonal and “harmonic” or poly- and atonal – it doesn’t make that much difference to me – the innocent, authentic freshness of music that is being heard for the first time in the world is what attracts me,
And in Chanda Rule I have found a duo partner who can forget her self in a similar way, who can put her ego (which in musicians often manifests itself in the display of virtuosity or the use of intellect) behind her, so that making music together is always an exciting journey into the unknown, but with the confidence that nothing, absolutely nothing can go wrong, because the term “wrong” is simply abolished by this approach.