Be it sat on stage in a bathrobe addressing his audience in song, breaking a world record for continuous piano playing (that’s 27-hours straight, since you ask), illustrating the similarities between Phil Collins and Dr Dre via the medium of piano, or collaborating with the likes of Feist and Drake, Jason Charles Beck, AKA Chilly Gonzales, is a musical one-off. Originally from Canada, now living in Paris, the 2004 release of Solo Piano, as the name suggests, an album of instrumental piano, was a breath of fresh air in a stale musical landscape. And although his career has seen him take very different directions – from the cool Euro-lounge of Ivory Tower, the pure pop of Soft Power and his riotous “prankster” rap live shows – it’s his return with Solo Piano II that sees him return to his true raison d’etre.
The new album is doing really well – it’s already hit the No1 spot in France and Japan – you must be happy …
It’s one of the first times I’ve had real anticipation for an album I’ve done – normally I have to explain my projects: “It’s an orchestral rap album etc etc.” People got attached to Solo Piano part one so for once I’m feeling the love right out of the gates.
What made you decide to follow up Solo Piano?
The support for Solo Piano is deep and wide and to call it Solo Piano II was risky for me – I’m inviting comparisons with something that’s quite beloved but its purpose really is baked into the cake of the title – it’s a person alone at the piano doing something very simple – playing for a few minutes while the microphone is on and that’s what cuts through the noise of a lot of other music.
What are the difficulties in making a solo piano album?
With this type of recording you have to get it right – there’s the risk and excitement of having the microphone on without a safety net. You have the mic running and if there’s even a slight moment of hesitation you have to go back to the drawing board. You are playing – for all intents and purposes – naked.
How easy is it to inject your own identity into instrumental music?
Because my style of playing on the album is fairly restrained compared to what I do on stage, which is more virtuosic and surreal – with my bathrobe and slippers and vulgarity – there is already be an interesting counterpoint to the purity of my music. On the album you don’t really get that – the song title is the only real window to a little bit of humour or intention. The reason that you can get into a solo piano album over time is because it really leaves space for the listener.
How have you seen people react to your piano music?
It’s no accident that we’ve done really well with sheet music – the deepest level of interaction you can get with a musician is by playing their music. I’ve had great compliments from those who were inspired to go on and do something having played my Solo Piano music. As well as being sampled by Drake, who grabbed “The Tourist” off Solo Piano and stole it without giving me any credit for it… he later rewarded me with a recording session. When I was lucky enough to play with Daft Punk last year to hopefully make the cut on their forthcoming album (I hope I’m still there!), they asked me to play piano. In those moments I realise I’m an amateur in all other fields but what’s really there is the piano. These solo albums are a way of centring myself.
You’ve worked on various projects. When are you happiest?
I’m happiest on stage because I can make sense of it all – I can tell my story in a musical and verbal sense and try to explain why the amateur rapper and pianist and bathrobe come together. I can let people know those connections and be an entertainer rather than a recording artist, which is really what I am.
And what led you to attempt to break the word record for continuous piano playing?
I’m really at home with the musical danger. In the studio I don’t get that adrenalin rush, which is why I do other things such as have piano battles, harp on about competition and try to push the limits of what the audience expect of me, which is what brings out the best in me.
What goes through your mind when you’re playing?
I am very attuned to what people think of me. Most people who go on stage are. A lot of people try to deny it or mask it, but if you go up on stage there’s probably a psychological need to be there. When I’m up there, there’s a lot of positive adrenalin that enabled me to play for 27 hours. I didn’t need to train – when you’re a born entertainer that’s just what you do.
Are people still going to be making piano music in the future?
I don’t know if it’s necessary for the piano to survive exactly but even its image is very iconic. People making music on a laptop still use the idea of a keyboard, be it a midi-keyboard or drawing notes onto a keyboard icon on an app. In the human mind it’s still a piano keyboard, so the piano can be taken as a truly modern instrument. Plus, if you turn on any rap, or electronic, or bubblegum pop radio station you’ll still hear the piano.
After touring this autumn, including a date with BBC Symphony Orchestra in London, what’s next?
More orchestral stuff – it can be quite a challenge as it’s more expensive and more time consuming but when you take instrumental music to its logical conclusion, the orchestra has just as much chance of becoming a really truly modern-day instrument as the piano does. The Barbican will be a real high point in kicking that off.
by Ben Olsen.
Photographs by Alexandre Isard
Solo Piano II is out now on Gentle Threat.
Chilly Gonzales plays London Barbican, October 20, Manchester Royal Northern College Of Music, December 2; Coventry Warwick Arts Centre, Mon 3 and Liverpool Capstone Theatre Centre December 5.
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