Nina de Heney

I always thought that playing bass was a way for me to dance without being seen as a dancer. Maybe that is why I do so much enjoy working with dancers : to see the music I improvise rebound in the dancer's body and have the music dance back.I grew up in a cultural mish-mash, one foot in Hungary , the other in England, and my nose in a Swiss village outside Geneva. My sister-in-law is from Pakistan and my kids are Swedes. Which leaves me with the option : make a good gulasch of it all or freak out. My cooking is lousy, though..but my playing has somehow been influenced by all this, in a good way I hope.This might explain why I never really felt I fit in just one idiom, getting to a point where I rather try to embrace melodies, sounds and see how I can melt them together. I favour crooked melodies, crooked sounds . I often wonder about what happens when a melody breaks, or when a sound is shattered.I'm a big fan of what at first seems to be musical mishaps.I have played with many fine musicians and dancers, and they have all given me the love of music and shared it with me. I'm not into writing a bunch of names. To acknowledge the joy and passion i have experienced with them feels far more important, and essential.