Name: JG Shadid
Nationality: American
Occupation: Composer, producer, multi-instrumentalist, educator
Current Release: JG Shadid's new single "Absorption" is out now. Full-length The Art of Speaking Softly will follow July 18th 2025.
Recommendations for Chicago, USA: Go see a show at The Red Room.

If you enjoyed this JG Shadid interview and would like to find out more about his music, visit his official homepage. He is also on Instagram.
 


Are there examples of minimalism in music – and outside of music - that impressed you early on?

At young ages, I can’t say that I could even identify minimalism. I think I was too wired to want to rock out, loudly. Guitar was my first instrument. And I wanted to play a lot of notes, at an excessive volume.

This is seemingly the opposite of a minimalist mindset. I don’t think I had the patience or maturity. It wasn’t until later that I discovered it. And it became important to me.

Were you ever interested in minimalism as a style – from the Philip-Glass-variety to solo instrumental work to minimal techno? If so, tell me a bit about your interest in this.

I was definitely captivated by Philip Glass’ music when I first heard it, in college. His music progressed in a nearly opposite direction of much of the music I was studying at the time, and that intrigued me. I don’t think I necessarily clocked that it was minimalism at the time.

Hearing Steve Reich’s music was probably the first time that I consciously thought about the style of minimalism.

Do you tend to find that, as many claim, “less is more?” Are the notes you don't play really as important as the ones you do play?

I think sometimes less is more, other times more is more, other times these kinds of ideas are not quantifiable. It’s tough to really say, in a wholesale way, that less is more.

And many times, that phrase is used upon hearing something that is finished. You hear Coltrane play a wonderful slow, spacious phrase and you say, “see there, you hear that? Less is more. Yea, less is more.” But then a few bars later you hear Coltrane achieve a divine, technique breaking, masterful run where he plays 10 notes in a single beat. Then what do you say?

One thing I feel is this … I've become wary of phrases that are satisfying to hear/say, and repeated because of that. “Less is more” sounds good off the tongue, which makes it universally compelling … to say.

So, on one hand, we have an expressive approach that may be an incredible pursuit in a certain harmonic circumstance, and may allow for endless mystery of the “notes not played” or the “colors not seen.” And on the other hand, we may be locking ourselves into a rule in a form that shouldn’t have this kind of rule.

It’s also endlessly interesting, to ponder “less is more” in the context of the symmetric property of equality (if a is b, then b is a). This pondering would suggest that … if less is more, then more is less. And then we start to lose grasp on the objectivity of all of this.

I’ll stop there and let you lose some sleep over that.

Do you feel as that making music is a process of adding elements until it is done – or one where you chisel away pieces from something that is already there?

That’s a really great phrasing of that question, one I haven’t heard before.

I think that, undeniably, these harmonies, colors, tones, clusters, progressions, melodies, exist in some way or shape, naturally. So in that sense, I suppose it is a chiselling away to find them and treat them.

However, I don’t think my process entails that kind of thought process. I approach instruments and let the flow of layers happen. That seems like the former process in your question.

Many artists are becoming more minimalist in their music as the years go on, focusing on the “essence.” How is that for yourself and how would you describe your development in this regard?

I think for me, that’s a matter of maturing. I have become more confident laying out a minimalist drone and letting slow sounds unfold into people’s ears.

As a younger musician, I would have felt the need to grab attention quickly, or create a moment of “wow.” Now, I like to just invite people in. I think it’s working well for me.

How did a minimalist mindset possibly inform the creative process?

Lately, I’ve been approaching instrumental composition just after meditation. And I think that it sets forth a simple mentality for me.

If I hear a melody, I want to take care of it, slowly. I want it to have a little life and grow slowly and carefully. I want to not disrupt it. These considerations contribute to a minimalist mindset.

Also, upon meditating, I have (hopefully) rid of some of the “brain clutter,” allowing for simpler ideas to flow without the normal distractions.

Do you like to set yourself limitations? If so, which were some of those limitations for the new pieces?

Sometimes I do set limitations for myself in exercises, but not in composition.

For example, an exercise I sometimes set up for myself is:

Play a series of notes
Respond to that series of notes with the same amount of notes
Repeat

Now, an idea may come from this exercise that I pursue for a melody, theme, etc. But when I approach it compositionally, I don’t put those same limitations upon it. At that point, the limitations are more fluid and natural (key center, progression, dynamic, etc.)

Thanks to sampling and digital synthesis, there are endless possibilities for sculpting the sounds and overall sound design of a piece or album. What are your considerations in this regard?

Any pursuit of sound sculpting/shaping is a noble one. And everyone has their own invisible line of when they feel a sound is done/ready/good/beautiful.

Personally, my considerations are these:

I have adopted a lifestyle of sculpting sound. I do it everyday, and will continue to do so.
I also crave the finishing of a sound. So, I am always trying to adopt the lifestyle of finishing things too. Yes, the endless possibilities are there, but, for me, I need to find an end.

Would you say that you approach your creative tools with a minimalist mindset? Or do you need a wide choice of instruments and tools to make music?

Most certainly yes. At least to enter into a compositional mindset, I am probably thinking in 1, or maybe 2, voices.

I often place one hand on the piano instead of placing two hands there. Even if the composition leads me to a few other, or many other instruments, it starts with a single voice. And I try to take care of that as much as possible.

What were some of the most important pieces of gear or instruments for this release?

At the front and center - a late 70s Helpinstill Roadmaster Piano, felted. I also used a Yamaha Baby Grand (felted) for a lot of this record too.

As far as a synth, I almost exclusively used the Expressive-E Osmose. It is a beautiful instrument.

A lot of the phrases/performances on these instruments were then treated/taken through effects pedals/loopers/samplers to create other textures or enhance what is there in some way.

Reducing one's options and techniques often implies a different way of working with the materials. Tell me about yours, please.

I am inspired by “using what’s already there.”

When I’m adding textures/layers to a composition, before I approach another instrument, I will look at what is already tracked, take a little piece of it, mangle it, twist it, pitch it, elongate it, loop it, until it becomes something that is unrecognizable from its original form, yet completely born from the source. That makes me feel contained in a process.

French producer Guillaume Duchastel told me: “Minimalism is about more than owning fewer things. It’s about focusing on what truly matters.“ What are some of your strategies for separating what matters from that which doesn't?

I love that quote so much.

Damn, I need to keep thinking about that one.

With so much incredible music instantly available, are you finding that you want to take it all in – or that you need to be more selective? How do you pick the music you really want to invest in?

That’s a tough one. I really struggle sometimes with this. The accessibility of everything makes it difficult to choose what to listen to. There’s almost a crippling effect.

I’ll be on a long walk thinking,”Ok, do I dive into the heaviness of a Shostakovich String Quartet and ponder our troubled history? Do I let Sakamoto ease my anxieties with piano wonder? Or do I give in to Nine Inch Nails and get just beautifully pummeled?” There’s no wrong answer, and yet, I can’t decide. It’s frustrating.

I’ve tried making lists, I’ve tried deciding the day before. I’ve tried going on recommendations only. Nothing is consistent. I’m a mess. One day I’ll be more organized with my listening.

Would you say that minimalism extends into other parts of your life as well?

I’m currently on a journey to allow for more minimalism in other aspects of my life. In my head, my home, my studio, my relationships, all the important places.

I think it’s a lifelong pursuit.