Interview with Jon Thebur
A conversation on piano, texture, film music, sync placements, and the emotional language behind Jon’s work.
With a musical language shaped by classical piano, jazz harmony, pop minimalism, and cinematic emotion, Jon has built a deeply personal world around melody, texture, and atmosphere. In this conversation, he reflects on his early beginnings, the creative freedom behind his solo work, his collaborations with David Bickley, and the unexpected joy of hearing his music placed in a major HBO series.
Hello Jon, how are you today, and what have you been up to lately, both musically and personally?
Hi Dominique, thanks for asking. I’m doing well. I just got back from a trip to the German island of Amrum. I played a concert there and spent some vacation time with my family at the same time. It was very nice there.
I’ll be playing more concerts this year. In February, I released a new album with David Bickley titled “The Prelude.” It’s a soundtrack album to a film with the same name.
Can you take us back to the beginning, when did you first start making music, and what was your very first setup or instrument?
Like almost every kid, I started out playing the recorder at a music school when I was little. But for some reason, playing soccer was more interesting to me, so I decided to join a soccer club instead :-).
I guess when I was about 12, I bought a synthesizer, a Yamaha DX11, and a drum machine, a Roland TR-505, and started experimenting with them on my own. I wanted to compose and started doing so right away, even though I couldn’t play. I then taught myself how to play. But composing was always more important to me than playing.
Then, around age 17, I took classical piano lessons. I wanted to get better at the instrument. I eventually studied classical piano starting at age 21, followed by jazz piano, jazz composition and arrangement at various music conservatories.
You have a strong background in both classical and jazz music. How did those worlds shape you as an artist, and how do they still influence your compositions today?
Yes, I love both classical music and jazz, but of course pop music too!
Ultimately, what is known today as “neoclassical” is a fusion of these three musical genres. But this fusion is also evident in the modern jazz of today. As far as my pieces and compositions are concerned, I must say that I am truly influenced by all three genres.
By the musical language of classical music, the improvisation of jazz, and the minimalist form of pop.
Did you have any mentors, teachers, or key influences during your studies that played an important role in your development?
I think it has always been other musicians and artists who have had the greatest influence on you.
In my case, in the field of jazz, it was certainly the pianist Esbjörn Svensson, who drove forward precisely this fusion of jazz, classical, and pop with his trio e.s.t. in the early 2000s. Sadly, he passed away in 2008.
Another jazz pianist and composer whom I greatly admire is Thelonious Monk.
Over the years you have worked as a composer, arranger, and producer across different contexts, from string quartets and orchestras to TV and film. Which of these experiences has been the most defining for you, and why?
I can’t say which experience has been the most formative. I’ve always loved them all.
Working with a large orchestra or a small string quartet, orchestrating and arranging, composing film music, or producing music, these are all completely different fields, but that’s exactly what I find interesting. I love the great variety and the combination of stylistic and technical skill. That’s basically what drives me to engage with music every day.
Despite working in many different formats, you’ve always continued to develop your own personal music. What does that personal space mean to you creatively?
This freedom means a great deal to me, as I can really only do what I personally like, or rather, only what truly means something to me.
I only want to make music that really moves me, and then I hope it moves others too :-).
The piano is clearly at the center of your work, but you often combine it with instruments like Sansula, Kalimba, Glockenspiel, and electronics. What draws you to these textures, and how do you integrate them into your compositions?
I really like the sound of the sansula and kalimba. It’s a very warm and soft sound that blends very well with the piano.
I have now produced two albums, “Sansula” (2017) and “My Inner Place” (2026), featuring the sansula, kalimba, and piano.
In my opinion, electronic sounds blend very well with this very warm and organic sound. However, I use electronics very sparingly. I’m a bit of a minimalist anyway :-).
When starting a new track, what does your creative process usually look like? Do ideas come from improvisation, a concept, or a specific sound?
It usually varies. Improvisation is certainly an important part of it, and it usually comes at the start.
Once I’ve found a melody or chord structure that I like, I work on it. The melodic aspect is very important to me, alongside the harmonic one, of course.
Where do you typically spend most of your time when producing, sound design,
arrangement, or refining the final mix?
That’s a tricky question, every one of the areas you’ve mentioned takes a lot of time! :-)
With some tracks, one area goes faster than the others. With others, it’s the other way round. If you want to do a good job, every area takes time! :-)
What is your main DAW, and can you share a few go-to tools, plugins, or techniques that are essential to your workflow?
I mainly use Logic Pro as my DAW. As for plugins, I’d mention FabFilter Pro-R, a reverb plugin that I always use for my acoustic piano and which I can highly recommend.
The music industry has changed a lot over the past years, especially with streaming and digital distribution. How do you experience this as an artist working in a more niche, emotional, and cinematic space?
It’s both a blessing and a curse. On the one hand, music consumption has practically no value to society anymore.
On the other hand, anyone can now release music very easily and express themselves. Whether that’s a good or a bad thing is another question.
Personally, I’m glad that I can release so much music.
You released the Forest Towers EP on our Daydreamers label, with your production partner David Bickley. Can you tell us how that collaboration came about?
I met David in 2021, actually via Instagram.
I did a cover version of the song “Sweetest Smile” by Colin Vearncombe, known as Black for his 1980s hit “Wonderful Life”, who sadly passed away in 2016.
David had worked with Colin, as Colin also lived in Ireland, not far from David.
In 2021, I then produced a whole tribute album, rearranging Black’s songs for piano. It’s called “Black Is My Piano.”
David then got in touch to ask if I’d be interested in doing a version of Colin’s track “Lost Hymn.” He still had the solo vocal tracks from when he’d worked with him. David made a dub version of it, and I created a reharmonised new piano version featuring Colin’s vocals.
That was the first time we worked together, and since then we’ve collaborated on several projects, including the new album “The Prelude” I just mentioned.
Stealing Sunlight was featured in the HBO series : “Dexter: Resurrection” How did you first hear about this placement, and what was your initial reaction?
I heard about it from my colleague David Bickley. A music supervisor had discovered the track. I was, of course, stunned :-) I never would have expected that.
Seeing your music placed in a major series like that must have been a special moment. What did it mean to you personally and professionally?
I was, of course, very happy about it and absolutely thrilled. That really doesn’t happen every day, it’s something quite special.
But you should always remember the most important thing, which is to try to make good music and not make yourself too dependent on necessarily achieving success with it.
The music itself is the most important thing.
For artists reading this, what is your perspective on sync placements like this? Is it
something you actively aim for, or more something that happens organically?
I reckon if we’d actively sought it out, it probably wouldn’t have worked out :-).
But let’s see what the future brings. After all, the best thing is to devote yourself to music, whether on your own or with others.
Looking back at your journey so far, what would you consider the highlight of your career up to this point?
For me, every completed album or production, every great collaboration, and every successful concert is a highlight.
The music is the highlight :-).
If you could give advice to your younger self, what would it be? And what would you say to emerging artists trying to find their path today?
Definitely to make the music you really want to make, the kind that gives you something and fulfills you.
Don’t chase after success and lose yourself in the process.
But that tends to happen more in commercial music. We’re all in a field where passion for music is what drives us.
Outside of music, what are your main passions or ways to disconnect and recharge?
I love to recharge my batteries in nature.
That could be a long hike through the woods or a walk by the sea, for example.
My family and sports are also big passions of mine :-)
Are there any books, films, documentaries, or other forms of art that have inspired you deeply and that you would recommend?
All forms of art move me if they are profound and meaningful to me. There are so many good books and movies that it’s hard to single out just a few.
When it comes to movies, I would personally mention “Schindler’s List,” perhaps partly because John Williams’ score is so moving.
Could you share a few tracks or artists that have had a lasting impact on your musical journey?
There are so many artists and songs from various genres that have influenced me over the years. In pop, it’s definitely New Wave music with bands like Depeche Mode, Tears for Fears, The Cure, and many others. In jazz, it’s the Swedish pianist Esbjörn Svensson, Keith Jarrett, Bill Evans, and Thelonious Monk. In classical music, composers like Debussy, Chopin, Scriabin, and Bach.
Finally, what can we expect from you in the near future, any upcoming releases,
collaborations, or projects you are excited about?
Yes, there will be a few collaborations I’m really looking forward to. I’ll be releasing a new album titled “My Inner Place,” which will feature the aforementioned fusion of piano, sansula, kalimba, and electronic elements. I’ll also be releasing more single piano solo tracks.
And I’ll be giving a few live concerts as well. One will be next year in Paris.
Thank you so much for the interview, and all the best!
Stream/download his Daydreamers release: click here
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