The Norwegian powerhouse discusses her new collaborative project, retaining artistic freedom, and performing on the same bill as one of her musical heroes.
Guitarist and composer Hedvig Mollestad has a formidable work ethic. In addition to her countless live shows and guest appearances over the years, she’s released seven studio albums with her acclaimed Hedvig Mollestad Trio since 2011, as well as another three records with expanded ensembles. Recently appearing as artistin-residence of the internationally prestigious Molde Jazz Festival, she’s back with a new collaboration Weejuns, which finds her exploring improvised music in the company of drummer Ole Mofjell and Motorpsycho/ Elephant9 keyboardist, Ståle Storløkken. Clearly a musician who doesn’t like standing still, Prog finds out what motivates her.
Did you always know you were going to be a guitarist?
I clicked with the instrument very early but I never thought that would mean being a musician. My parents were working-class people who had guitars and played songs at parties. I remember thinking the guitar was beautiful and being fascinated by chords and the sound. I was 23 when I started the Norwegian Academy Of Music and there I studied be-bop guitar. I wasn’t able to play it and felt like an idiot after every lesson but it was very valuable because it gave me structure and a common ground with the jazz community. I was 25 when I decided to become a musician.
In 2014, your trio shared the bill with John McLaughlin at London’s Royal Festival Hall. What was that like for you?
When the promoter told me his idea of pairing us on the same bill, I couldn’t believe my ears. I was six or seven months’ pregnant, and the week before that show I was really ill and had to have my appendix removed. The doctor said I couldn’t travel but I explained that I had to go as I was going to be playing with someone that had defined the path for my profession and she said, “Okay, well you have to go!” [Laughs] John McLaughlin has been defining the parts of my passion not only for me but an entire generation of players. He’s got a curious mind that never stops looking forward. People can say what they want about the directions and aesthetic choices he’s made – I don’t care so much about all that. His presence is very, very inspiring.
A glance at your discography shows you’ve released a lot of albums in a relatively short space of time…
When I’m making music and doing different projects, to me, the process hasn’t ended until I have recorded it. That’s actually an important part of the process. When I’ve spent time and energy into making something and putting people together to record it, to have an album at the end
