HRISTJIAN RISTESKI: THE DANCE OF MACEDONIAN WATERS

Macedonia, once the home of home of both Byzantine and Ottoman cultures, still brings fresh ideas to Western minds. Clarinetist/saxist Hristjian Risttski, born in Ohrid (also known as “The Jerusalem of Europe”) brings a fresh sound to jazz, melding in ancient orthodox tones and harmonies with modern sensibilities, bringing in a fresh Aegian breeze of ideas. 

Risteski’s recent debut album, Waters Dance, finds him in a quartet setting with his working team of Marko CHurnchtez/p, Hrovje Kralj/b and Chris Smith/dr, and the music has a “live” feel that is enchanting, making you feel like you’re in a club, be it in NYC or Athens.

We recently had a chance to get in touch with Risteski, and like his music, we found him warm and accesible.

You were born in Macedonia; did the folk music of the area influence your
approach to music? In other words, is this where your clarinet playing came
from? 
I started my musical education at the age of 10 at the local music school in my hometown, Ohrid. From the very beginning, I studied classical music – scales, etudes and repertoire – and continued my classical education for 13 years, first in Ohrid, then at the State Music High School in Bitola, and finally at the Faculty of Music in Skopje.
At home, however, I was always surrounded by Macedonian folk music. My grandparents were passionate about traditional music and listened to it constantly. I also played Macedonian folk music, mostly for fun, but I never saw myself as a folk musician. Looking back, though, I realise that growing up with this music naturally influenced the way I hear melody, rhythm and phrasing, and it became an important part of my musical identity.

What was your first attraction to jazz? Was there an artist or song that got your
interest? What was about it that changed your direction from classical to jazz?
The first was when I was studying at the music high school in Bitola. For a short period, I had a substitute clarinet teacher who introduced me to Charlie Parker and lent me the Omnibook. That was the beginning.
Shortly after, my uncle gave me a few jazz CDs, including a Ken Burns Jazz compilation featuring John Coltrane. That really inspired me and made me curious to explore jazz further.
But what really changed things was what was happening in Skopje around 2015. Many young musicians who had been studying jazz abroad returned to Macedonia, and suddenly there was a strong local jazz scene – great concerts, jam sessions and a very open and supportive community.
At the same time, the Faculty of Music opened a Popular Music department, where many of the teachers were excellent jazz musicians. So I decided to study saxophone there while continuing my classical clarinet studies. That was the point when jazz became a serious part of my musical path.

 You moved to Germany and then Austria. What is the jazz scene like there? Do
Americans come there, or is it all local grown? How is the music there different
from American jazz?
Yes, I stayed in Nuremberg for a while before moving to Graz.
The scene is very vibrant. You can hear everyone from local musicians to some of the biggest names in jazz. I think jazz has really become a worldwide language; it is no longer exclusively American. There are amazing musicians everywhere, bringing their own backgrounds and influences into the music.
What I find particularly strong in the European scene is the emphasis on developing your own voice. After studying the tradition, you are encouraged to develop your own musical identity and, increasingly, your own compositions and creative projects. I think that is one of the things that attracted me to the European jazz scene.

 Your alto sound has a very “soprano” richness to It. How did you get your jazzchops and
tone?
A big part of developing my sound came from listening to great saxophone players and having strong references for what I considered a beautiful sound. I would transcribe their solos and try to sound as close to them as possible, really focusing on their phrasing, articulation and tone.
My background in the clarinet also helped tremendously. Spending so many years playing clarinet gave me a strong foundation in breath control, embouchure, intonation and tone production, which I could bring into the saxophone.
At different stages, I had different influences, so my sound naturally evolved over time. Besides listening and transcribing, I also worked on overtones and different sound exercises to develop more control and flexibility in my tone.

 What was the biggest thing your teachers taught you?
I’ve learned something from all of my teachers, but I’d like to share one lesson that was especially important for me at the time.
While studying in Skopje, my first jazz saxophone teacher was Ivan Ivanov, a great tenor saxophonist. Coming from a classical clarinet background, I was very tense, strict with myself, and putting an insane amount of pressure on myself.
Studying with him really helped me relax and start enjoying music. He taught me that what we are doing is a gift, and that we should share our love for music with people rather than constantly feeling that we need to prove something.
He also taught me to accept where I am musically at any given moment. If I don’t play the way I expected, that’s okay. Let’s look at what the problem was and work on it. As long as you keep working, put time and love into the music, you will be fine.
That was a very healthy way of dealing with problems instead of putting myself down, and it is something I still carry with me today.

Have you met any American jazz musicians? What advice did they give you?
Yes, I’ve had the opportunity to meet and play with many American jazz musicians, both through lessons and masterclasses and through performing. Chris Smith, the drummer in my quartet, is American. At the Jazz Institute in Graz, I also had the chance to learn from and listen to teachers such as Louis Bonilla, Dena DeRose, the late Jim Rotondi, Alex Sipiagin, Alex Goodman and Chris Smith. We also had many great musicians coming for workshops, including Dick Oatts, Bob Mintzer, Scott Hamilton, Ari Hoenig and Loren Stillman, who later became my mentor for Waters Dance.
One experience that was especially meaningful to me was studying occasionally with Jim Rotondi over a period of about two years. He loved jazz and music deeply, and whenever he saw a student who was genuinely passionate and dedicated, he always wanted to help. In fact, during those two years, he never charged me for a lesson. He would simply say, “Learn the solo and don’t worry about the money.”
His main advice was to continuously study the tradition, transcribe solos from different musicians and keep expanding my knowledge and vocabulary. He always insisted that whatever I wanted to do musically would be much stronger if I continued studying and exploring the great jazz players of the past. He was absolutely right, and that is something I still carry with me today.

You have a very clear and clean tone on the alto sax. Did you have a template
for your style?
Thank you.
If I had to describe a template for my sound, I would say that it is the result of absorbing all the different sounds and inflections that I like and combining them into something personal.
I work on different sound exercises and combine that with the influences of the musicians I listen to and study. My background in clarinet is also a very important part of this. Playing clarinet has helped me tremendously with developing good habits, technique, breath control and a strong sense of tone, and I think those things are very noticeable when I switch to saxophone.
I also believe it is very important to listen to music outside of jazz. Exploring different genres and musical traditions helps develop a more personal sound and aesthetic, while also opening up new possibilities for how I think about music.

I hear a lot of different rhythms in your band; is that from the Macedonian in
you?
artly. I definitely use Macedonian rhythms in my music, and it was important for me to include them on the album as a way of presenting my culture and where I come from.
Coming Home and High Away are good examples. We use Macedonian rhythmic elements, but we approach them through jazz – more freely, exploring the rhythms, playing across the bar lines and allowing the music to breathe.
Beyond the Macedonian influence, I simply love rhythm and exploring different rhythmic possibilities.

Did you ever go through a “gear phase”? Is there a certain sound you are
trying to achieve?
I was taught that the sound is in your head. If I want to achieve a certain sound, I first listen to players who have that kind of sound and try to understand what I like about it. Because of that, gear was never a major focus for me, as long as everything is in good condition and appropriate for the sound I want to achieve.
When you started trying to form a band, how important is chops versus
personal chemistry?
For me, the most important thing is that the musician can really play their instrument and has something to say beyond technical ability. All the members of my quartet were initially invited because of that.
After that, if we can find common ground and connect personally, it becomes a win-win combination. So, I would say both are necessary, but my starting point when I invite someone to play is always their musical ability and what they have to say as a musician.

When you form a band, do you ever get intimidated by the history of the jazz that’s
before you?
I feel incredibly inspired by what happened before me, rather than intimidated by it. There is so much great music in the history of jazz, and whenever I hear something that speaks to me, I try to learn from it and sometimes integrate it into my own playing or writing.
For me, knowing the tradition gives me more possibilities rather than making me feel limited by it.

Did you ever have a gig that was a “baptism by fire”?
Absolutely. In every concert I organise, I try to include at least one song or a solo performance that is right on the edge of my abilities – something I’m not 100% comfortable with. I do this intentionally because I think it is one of the best ways to grow.
For example, we had a concert called Clarinets in Harmony. On the very same day, I finished writing one of the songs from my album, Lucky Flight, and decided to perform it with the band that night.
I’m not kidding – I could barely play the head correctly at the soundcheck! But when the performance time came, somehow the magic happened. It worked. That was exactly the kind of situation I put myself in on purpose. It forces me to deal with the music in real time, trust myself and learn from the experience.

When you listen to a reed player, what do you listen for, and do you have a “pet
peeve”?
I don’t think I have a particular pet peeve. I like good music.
I tend to gravitate more towards players with a strong, fresh personal identity and a creative approach, rather than players who are mainly concerned with recreating a particular style. The qualities I’m really attracted to are a great sound, strong melodic lines, a strong sense of rhythm, unpredictability and, most importantly, a personal story behind the music.
Some saxophonists I really enjoy listening to at the moment are Steve Coleman, Ben van Gelder, Loren Stillman, Émile Parisien, Bunky Green, Lee Konitz and Julian Arguelles.

Have you played in the US yet? If so, what was it like, and how was it different
than Europe?
Not yet. Hopefully it will happen in the near future. I would really love to play in the US and experience the jazz scene there firsthand. I think it would be very interesting to see how it compares with the different scenes I’ve experienced in Europe.

What 3 books have you read that have deeply influenced you?
I will go chronologically.
The first would be Letters to a Young Poet by Rainer Maria Rilke. It taught me a lot about solitude, patience, and finding my own voice instead of constantly looking for answers outside myself.
The second would be On the Road by Jack Kerouac, one of the defining voices of the Beat Generation. I was blown away by this book. It gave me a strong sense of joy and freedom – a desire to experience life fully, to travel, to meet people and to keep moving. And, of course, after reading it, I started listening to much more jazz than before.
The third would be The Catcher in the Rye by J. D. Salinger. I connected deeply with its themes of youth, identity, authenticity and the feeling of trying to find your place in the world.

What musician, living or dead, would you pay $1000 to see, and why?
I would love to see John Coltrane live, especially in his later years. His constant search for new ways of expressing himself deeply inspires me. I would love to experience that energy, intensity and sense of exploration in person.
What person in history, living or dead, would you like to sit down for an evening
with and pick his or her brain?
This is a hard one – there are so many people I would love to meet. But I think I would choose Vincent van Gogh.
I would love to ask him where that incredible will and dedication came from. He spent much of his life working without the recognition or commercial success that came later, yet he continued to paint and develop his own artistic voice.

If you weren’t a musician, what would you do for a living?
Probably something connected to nature or helping other people. I’ve always felt drawn to both, so I could imagine myself doing something where I’m connected to nature or contributing to something meaningful for others.
What gives you the most joy?
Daily walks, spending time in nature, travelling, exploring new places, listening to music, reading, watching a great movie, spending time with my family, friends and girlfriend, meeting new people, delicious food, practicing, composing, performing, having a good cup of coffee, good honey, clean water, lakes, seas and oceans — and, above all, being around people who have a purpose and are passionate about what they do.

 What are your future goals?
Over the next 12-16 months, main focus will be performing my album live around Europe. Alongside that, I will continue composing and gradually developing new material for my next album, which I plan to record in 2027.
There is also a possible collaboration with a professional big band. We are still in the negotiation phase, so I cannot share many details yet. If we reach an agreement, I hope to have Waters Dance arranged for big band and performed and recorded live.

What philosophy, religion or teach do you follow and why. How does it
influence your playing?
I was born into the Orthodox Christian faith, and it has remained an important part of my life. In the music video for my third single, High Away, the video begins at the beautiful St. Jovan Kaneo Church in Ohrid.
Ohrid is traditionally known as the “city of 365 churches,” one for each day of the year, despite having only around 40,000 inhabitants. Especially when I am home in Macedonia, I love visiting its old churches and monasteries. It grounds me, gives me peace and strengthens my faith. This also influences my playing by helping me stay present, humble, and connected to something deeper than technique.

What’s the best advice someone has given you?
When I was younger, I had a tendency to idealise people and musicians – to build a whole story around how genius, special, and untouchable they were.
One night at Tubes in Graz, I think Louis Bonilla noticed that in me, and he gave me a real lesson.
The message was simple: stop being a fanboy. Grow up and start making things happen.
You can become whoever you want to be if you believe in yourself and in your work – but you also have to put yourself out there, step onto the scene, and take your place.
No more hiding.
Step up.

As you can tell, Risteski talks like he plays; he’s his own man with his own voice. He brings in his historic upbringing with deep roots into his present world of music, bridging generations, nations and ideologies with a simple reed. The pipes of Pan continue to call us all, and Risteski is the newest for our generation. Give him an ear.

https://www.hristijanristeskimusic.com/