Derek Gripper Is Comfortable With the Unknown
South African guitarist Derek Gripper has captivated audiences worldwide with his unique ability to translate the complex, meditative sounds of the West African kora onto the classical guitar.
His work, inspired by legends like Toumani Diabaté and shaped by collaborations with musicians like Ballaké Sissoko, creates a musical dialogue that transcends genres and continents. In this interview, Gripper reflects on his musical journey, the unexpected lessons found in kora music, and the spontaneous nature of live performance—offering a glimpse into the artistry that will unfold at his upcoming concert at the Thomas Center in collaboration with Pulp Arts.
Your work beautifully bridges the worlds of classical guitar and West African kora music. What first drew you to the kora, and what was the biggest challenge in translating it to the guitar?
I was on a search for what to do with the classical guitar. Then I heard Toumani Diabate’s debut recording, which was over a decade old then. It provided a clue for me as to what music I loved and how that intersected with the instrument I played.
Your music often feels like a conversation between different traditions. What other unexpected influences have shaped your playing?
Well I suppose it is unexpected that you could learn about Bach by playing kora music, but that has definitely been a constant learning for me. The phrasing of kora music, as well as the mode that the music operates in, is not a grandiose declamation but another conscious space that is inhabited; this has informed how I understand Bach’s music. That’s one example.
Can you share a moment in your musical journey when you felt you had truly “cracked the code” in your guitar playing?
This is a got it then lost it constant thing. Ballaké Sissoko and I had just finished a tour of the West Coast together, and there were certainly many moments in that tour where I felt that we had cracked open a new world of music. Usually, it is that moment when you realize that what you have and what you can do is enough when you realize the infinity of that.
What does your practice routine look like? Are there any daily rituals or exercises that help you stay connected to your music?
I gave up conscious practicing many years ago in an attempt to deprogram the “classical guitar” aspect of my history and mentality. So I play just to play. If I feel like it. And then, I run an online class that focuses on one cycle at a time, delving into one small aspect of whatever music I am thinking about at the moment. So, guiding others in a nonverbal-led class, like a yoga class for guitar players, is a big part of my musical day when I’m not on tour.
When performing live, how much of your set is improvised versus structured? Does the energy of the audience shape your approach?
I think my preconceived ideas of the audience do a lot to shape what I end up doing. I’ll admit this! So if I assume that an audience is unfamiliar with what I do or unfamiliar with the type of music I play, then I do a more traditional concert, playing whichever pieces up into my mind in whatever way I want, but sticking mostly to compositions. If I feel comfortable somewhere and know that people are really into the music, then I do whatever I like. I remember things, I forget them, I make stuff up, I change things, I mix things together, I just keep following whatever my mind thinks of, and I don't argue with myself.
Are there particular pieces or arrangements you’re excited to share at the Thomas Center?
Nope! I don’t think about the concert before I play it.
If you could sit down with any musician, past or present, who would it be and why?
Ah! I have to say that playing with Ballaké is a dream come true and the conversation we’re having is pretty rich and is giving so much back to me. So, in a way, I’m living that dream already. I would love to hear Bach play. Just because I am super curious as to how it would really sound - I think it would dissolve a lot of the notions of what we think European classical music “is.” And that can only be a good thing.
When you’re not playing guitar, what kinds of art or experiences inspire you?
I love things that are made simply. I do a lot of analogue photography, printing in a small darkroom in my garden shed. So I find some of the older masters of photography very inspiring, just because it is such a simple and almost non existent art form. I love that you can make such magic out of almost nothing. Daido Moriyama and Josef Koudelka, for example.
If someone is experiencing your music for the first time at this performance, what do you hope they take away from it?
A vinyl?
Derek Gripper’s Performance
February 28 - Thomas Center - Gainesville, FL
