A native of Switzerland, drummer Arthur Hnatek arrived in New York a decade ago to study at the New School. Now based in Berlin, Hnatek is seemingly always on the move, touring with the likes of pianist Tigran Hamasyan and trumpeter Erik Truffaz. A composer of diverse interests and expansive vision, Hnatek is equally comfortable writing for large ensembles as he is devising work for his solo project, SWIMS.
This Saturday, February 23, Hnatek returns to New York to perform at The Jazz Gallery with the collaborative quartet, Melismetiq. Featuring New School peers Rick Rosato on bass and Ari Bragi Karason on trumpet (along with pianist Shai Maestro), the group explores stripped-down forms as a jumping-off point for melodic expression. We caught up with Hnatek at home in Berlin via Skype, where he spoke about Melismetiq’s development and expanding the expressive vocabulary of the drum set.
The Jazz Gallery: I understand you just arrived home?
AH: Yes, I just got back today from Switzerland, where I’m from originally. I played in this city called Basel, where I played my solo drums and electronics project, SWIMS.
TJG: Does that stand for something?
AH: It’s just one of those words where if you spell it in capital letters and turn it on itself, it remains the same. Most of my titles with that project are either palindromes or other forms of wordplay—I just like the games (laughs)—simple words with some kind of visual meaning to them.
TJG: It seems like a lot of drummers have recently been adding electronic sounds to their repertoire. I’m sure you know Marcus Gilmore and Ian Chang.
AH: Yes, of course. Ian was actually the one who hooked me up with Sunhouse Sensory Percussion.
TJG: I personally think it’s amazing how natural the integration of the electronic sounds has become. It’s almost like DJing in that you can instantly trigger a sound or loop in time the same way you might hit a snare for example. Do you see these additions as a natural progression of the instrument?
AH: I think drummers in general have always been interested in audio technology—if you look back to jazz drummers of the past, some of them would record and mix their own albums and were very savvy with technology in general. I know so many drummers who are sound engineers, and who do really great production work. So yes, I think it comes naturally for a drummer to be interested in using these types of auxiliary equipment, maybe in the same way a guitar player is interested in all of their gear and pedals.
TJG: So you’ve been touring SWIMS a bit—have you been touring with Melismetiq recently?
AH: No, we’ve never really toured the band. We kind of play one-off gigs here and there. The last one was actually also in Switzerland. Usually the gigs either come from my contacts or from Ari, the Icelandic trumpet player. In the past, festivals have asked us to bring a project, and we try to feature Melismetiq. We played this last summer in Geneva for a festival, but it was only one show. Both Shai and Rick had to fly to all the way from New York just for that one concert.