Christian Prommer : Ranier Truby, Roland Appel, and I are all on the Compost label. We started out doing different projects; Roland and myself, we started as Fauna Flash, and Rainer was in a project called Forest Mighty Black. And we met at one of the early Future Sounds Of Jazz tours. That's where we got to know each other and then we started playing around with the idea of putting something new together, and that's how the Trio actually got born.
Emm: What was your approach to making the music for the "Elevator Music" album?
CP: We travel a lot doing DJ gigs and live shows and stuff around the world, and we meet a lot of interesting people and hear a lot of interesting music. We wanted to incorporate all these styles and ideas we find all over the place. For example, the people we meet like Wunmi or Marcus Begg or Joseph Malik, we got to know while we played in their clubs, or clubs where they had their shows. And we wanted to have more collaborations on this record than on previous records we did. So it was not so much about sampling and remixing the samples and putting sample libraries together as it was about working together with interesting musicians and writing songs, and with lyrics and interesting keyboard and bass players, and stuff like that.
Emm: Who are some of the other guests on the album? You mentioned Wumni and Marcus Begg, and Joseph Malik.
CP: Marcia Montez sings on one track. She is a Brazilian lady who lives in Hamburg, and she came to Munich to do the session with us and vocalized. We also had Don Freeman playing keyboards on the album. We chose him because we like the 80s fusion sounds, and he plays on all the records I have from that period. Narada Warden is another artist that worked with us; he plays all the bass parts for everything we do, for Fauna Flash and Truby Trio. We also had a couple of friends, nobody knows them, they're just from the neighborhood, and it was just great fun to get to play with them.
Emm: How did you get started making music?
CP: I was always fascinated by drums. I was always hitting and beating on stuff, until my mum brought me a drum set when I was eleven. And then I got into drums and was really a serious drummer until my early twenties. That was my beginning for music, and then I started listening to drummers and to records where drummers played.
Emm: What early artists did you listen to?
CP: My very first record was an ABBA record, the blue one, the "Super Trooper". And I also went to their concerts with my dad, which left a very impressive memory. I think it was, I don't know, '75 - '76. And I was really big into the fusion scene. One of my eye-opening experiences was listening to the early Geoff Lowbar records, which were really amazing for me because they had this interesting rhythm going on and that was something I was looking for. From a drummer's side, I was touched by how they used syncopated rhythms and everything. The GRP Label was really important to me. When I listen to it now, I have a different opinion on that, but it was really good at that time. I was also a huge Prince fan. I'd travel around Europe to see the concerts.