“Free improvisation is actually a wonderful way to get away from words and academic theory. Since I am employed in an artistic discipline such as music, I am not really required to do research in the traditional theory based manner. I am free to practice, record, perform, and develop my musical expression. Actually being an artist. It’s an enormous privilege that I try to honour.”

Tor Einar Bekken: The Doctor of Keys

Tor Einar Bekken (also performing as Dr. Bekken) is a distinguished Norwegian pianist, keyboardist, guitarist, and composer who has established a formidable reputation as one of the most dynamic improvisers on the Scandinavian music scene. Dividing his life and artistic focus between the rugged beauty of Finnskogen and the cultural northern hub of Trondheim, Bekken has developed a deeply personal musical identity. His work is a seamless blend rooted firmly in the traditions of jazz, blues, boogie-woogie, and Scandinavian folk music, predominantly centering on raw, solo improvisations. A prolific and versatile artist, he is equally at home performing in intimate, rural dive bars and local clubs as he is on major international festival stages, with career milestones including a performance at London's iconic Royal Albert Hall. With an extensive discography to his name, a Norwegian Grammy (Spellemannprisen) nomination, and having been honored with the prestigious Blues Prize at the Notodden Blues Festival, Bekken consistently bridges the gap between explosive live performance and academic depth.

(Tor Einar Bekken aka Dr. Bekken, Thrill Blues Festival 2026, Trilj Croatia / Photo by Saša Tadinac)

His latest release, the album 21st Century Piano Blues, serves as a brilliant testament to this artistic duality, showcasing his ability to push the boundaries of traditional blues piano while keeping its soulful essence alive for modern audiences. Alongside his active touring and recording career, he shares his profound passion and expertise with the next generation of musicians, serving as an Associate Professor of Music at the Norwegian University of Science and Technology (NTNU) in Trondheim.

Interview by Michael Limnios                     Special Thanks: Boris Hrepić Hrepa

Blues redefine traditional blues piano for the modern era?

My new solo piano album is an album where I try to use licks and tricks from the old masters in settings mostly removed from the traditional 12-bar form. Hopefully, I am able to maintain the groove, which is the most important aspect to me. I also try to avoid pushing the boogie into that ‘athletic’ zone, where tempo and speed take over from emotion. Honestly, I’m not sure this ‘redfines’ blues piano, but I try to have my own style and expression, based on the grand tradition.

What is the biggest technical challenge when playing boogie-woogie on the piano?

Boogie woogie is all about polyrhythms. Your two hands need to be independent of each other and do very different things. To manage this, I try to have a very clear understanding of the beat and the tempo, so that my hands can dance around them somehow. To keep a rock steady tempo and groove is the most challenging part, and to do this you must be totally relaxed in your body, even if you’re at breakneck speed.

What makes the New Orleans sound such a unique source of inspiration for you?

I grew up taking classical piano lessons, which I didn’t like very much as a kid. The regime was very strict, with scales, arpeggios, finger exercises, classical pieces…I remember being frustrated and angry about it all. My piano teacher back then, an elderly lady, brought me simplified ragtime and boogie pieces to play, probably as a last ditch attempt to keep me playing. That music spoke to me, and it hasn’t stopped. I kept playing a lot of hard classical music well into my twenties, and studied music in college. After she introduced me to ragtime and boogie woogie, I got into trad jazz bands, playing old New Orleans jazz with my teenage buddies. From there, I learned about the wonderful New Orleans R&B scene, the musicians in all kinds of genres, the Mardi Gras Indians, the food, the literature and poetry. Since 1998, I’ve been there multiple times and I’ve had the pleasure and privilege to perform with visiting artists here in Norway as well as in France, Germany, and Luxemburg…such as the late Marva Wright, Eddie Bo, Big Al Carson, Benny Turner, and others. However, I try to sound like myself; to use that great tradition as a springboard, and add my own experience to it. I am not from there, I am not a ‘New Orleans musician’, so I have to have my own thing, with the New Orleans influence being one of many sources of inspiration.

“Boogie woogie is all about polyrhythms. Your two hands need to be independent of each other and do very different things. To manage this, I try to have a very clear understanding of the beat and the tempo, so that my hands can dance around them somehow. To keep a rock steady tempo and groove is the most challenging part, and to do this you must be totally relaxed in your body, even if you’re at breakneck speed.” (Dr. Bekken & Jolly Jumper, Thrill Blues Festival 2026, Trilj Croatia / Photo by Saša Tadinac)

How do you translate the feeling of blues piano onto a stringed instrument like the guitalele?

Yes…I play the guitar as well as the piano, and on guitar I’m completely self taught. The reason why I picked up guitar in the first place was to play acoustic blues, mostly to myself, not really in public. I’m not much of a guitarist, and the instrument feels big and clumsy to me. Then I found the guitalele, which is a tiny nylon stringed classical guitar, tuned like a regular guitar with a capo on the fifth fret. It’s easier to hold, easier to carry around, and it sounds great. I’m not sure how or if my piano playing seeps into it, but I love to sit and noodle on it, sometimes improvising very freely, almost avant garde-ish. I never really take it to gigs, but I make the occasional recording.

Why do you think Norway has developed such a strong and passionate blues and jazz scene?

In Norway, every municipality is required by national law to keep up a publically funded Culture School, where different forms of artistic endeavours are taught to children at fairly reasonable rates. Of course, this includes music. Kids who want to play attend these schools from a very young age. The schools cooperate with marching bands, folk musicians and dancers, as well as rock musicians, jazz musicians…etc etc. This means that a lot of kids play at a high level pretty early. Why the blues has become so important to many Norwegians, I don’t really know, but there is something about traditional blues pentatonics and modes that can be found also in certain Norwegian folk styles, such as the Hardanger fiddle tradition or the dulcimer music. And maybe it’s the winter darkness up here…we’re a melancholy lot, in need of relief.

What are the biggest challenges for a traditional blues musician in Norway today?

I guess it’s the same as everywhere; getting enough gigs, keeping up the skills, having time and opportunity to constantly evolve and try new things, maintaining a network. I struggle with these things, but I try.

“Music has been a part of my life since I was a very small child, and my earliest childhood memories are about me sitting at the piano, pressing random keys, taking in the sounds. Music for me is a safe space, a sanctuary, a relief from the strife and the struggle we all have to face at various times in our lives.” (Tor Einar Bekken also performing as Dr. Bekken is a distinguished Norwegian pianist, keyboardist, guitarist, and composer who has established a formidable reputation as one of the most dynamic improvisers on the Scandinavian music / Photo by Aigars Lapsa)

How does the Norwegian audience react when you blend American blues with Norwegian folk traditions?

Since I’m a descendant of one of Norway’s five national ethnic minorities, the Forest Finns, I have done a lot of work lately based on the near forgotten music of my people, so to speak. Immigrants from Finland settled in the southeastern parts of Norway in the 17th century and became a separate demographic entity, which the Norwegian authorities then tried to ‘Norwegianize’ by suppressing the Finnish heritage in all kinds of ways, including forceful and violent ones. The Finnish language is gone, the names of places are half-remembered, and the old music is only now being rediscovered and performed in modern settings. In 2023, Norway issued an official apology to minorities for the harsh treatment they received well into the last century. Now, I try to use some of this old music as a springboard for piano improvisation, and my blues background will blend into this sometimes. Audiences have responded with great enthusiasm, especially people in the Forest Finn area, but also in other parts of the country. Music is a universal experience, something that defines the human race.

Is there interest from the new generation of Norwegian musicians in keeping this analog sound alive?

This is a hard question for me to answer, but yes, I believe so, there are many bands, many acoustic players. The variety is staggering.

As an associate professor at NTNU, how do you balance academic theory with free improvisation?

Free improvisation is actually a wonderful way to get away from words and academic theory. Since I am employed in an artistic discipline such as music, I am not really required to do research in the traditional theory based manner. I am free to practice, record, perform, and develop my musical expression. Actually being an artist. It’s an enormous privilege that I try to honour.

“Now, I try to use some of this old music as a springboard for piano improvisation, and my blues background will blend into this sometimes. Audiences have responded with great enthusiasm, especially people in the Forest Finn area, but also in other parts of the country. Music is a universal experience, something that defines the human race.”

(Photo: Tor Einar Bekken (also performing as Dr. Bekken)

What keeps a musician passionate over the years in rock, blues, jazz? After so many albums and awards, what is your next big artistic goal?

It may sound like a cliché, but I’m not sure I would know what to do without music. Music has been a part of my life since I was a very small child, and my earliest childhood memories are about me sitting at the piano, pressing random keys, taking in the sounds. Music for me is a safe space, a sanctuary, a relief from the strife and the struggle we all have to face at various times in our lives. I keep going because I believe in humanity against all odds, because I have no choice. I don’t think I have one specific artistic goal right now, but I intend to keep on working, and try to get more gigs both in Norway and Europe. I don’t have a manager, I’m not very good at promotion, but anyway. Musically, I’m concentrating on the piano now, working on new solo pieces, my own tunes as well as standards, blues, and folk tunes.

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