venerdì 30 maggio 2014

Interview with Amanda Monaco by Andrea Aguzzi, second part



What’s the role of the “Error” in your musical vision? For “error” I mean an incorrect procedure, an irregularity in the normal operation of a mechanism, a discontinuity on an otherwise uniform surface that can lead to new developments and unexpected surprise.

Some of the greatest discoveries are made through mistakes. I welcome them and embrace them.

I have met your drummer, Satoshi Takeishi, last here in a concert closer to my home in Mestre, he was playing with Marco Cappelli, I really enjoyed him, he is a great drummer and percussionist .. how do you met him?

I met Satoshi in 1999 through a mutual friend, guitarist Adam Levy. We played for a few years together, then life took us in different paths and we started playing together again in 2008. I'm so glad we're working together again!

I have, sometimes, the feeling that in our times music’s history flows without a particular interest in its chronological course, in our discotheque before and after, past and future become interchangeable elements, shall this be a risk of a uniform vision for an interpreter and a composer? The risk of a musical "globalization"?

I think that it's important to have a history of the music even if you're not going to play it the way it used to be played. Some of my favorite avant-garde jazz musicians are incredible straight-ahead players when asked to play that way. I love it when I can hear the entire history of the music come out of someone's horn. Otherwise it sounds like a lot of noise.

Let’s talk about marketing. How much do you think it’s important for a modern musician? I mean: how much is crucial to be good promoters of themselves and their works in music today?

Since 2012 I've been working with a business consultant named Marty Khan. He has a blog on his web site. www.outwardvisions.com, and has written a great music business book called Straight Ahead that stresses the importance of the collective as a way to move ahead in the music business as well as the 501(c)(3) non-profit organization as a vehicle for doing business (the way almost every other arts organization does it; for some reason it hasn't caught on as much in jazz).

Which composer (or which historical movement or genre) do you think is easiest for the non-musician listener to appreciate? Do you think they enjoy pieces that are more technically difficult or just more "flashy"?

This is a tough question because I think that all music is accessible, but jazz has been given a bad rap. There's been too much discussion of how "intellectual" it is, or how you have to be "sophisticated"

Please tell us five essential records, to have always with you .. the classic five discs for the desert island …

OOH! That's a tough one!
"The Bridge" - Sonny Rollins
"Extrapolation" - John McLaughlin
"Cannonball Adderley and the Poll Winners"
"Coltrane's Sound"
"James Brown's 20 All-Time Greatest Hits"

What are your five favorite scores?

Henry Mancini - Breakfast at Tiffany's
Herbie Hancock - Blow-up
String Quartet No. 5, 1st movement (Bartok)

With whom would you like to play? What kind of music do you listen to usually?

There's so many musicians I'd love to play with, but I'm really happy with the ones I'm playing with now. I am very blessed in that regard.

What I listen to depends on where I am. I commute four hours from NYC every week to teach at Berklee College of Music in Boston, so I usually listen to guitar music (Ralph Towner's new album Travel Guide with Slava Grigoryan and Wolfgang Muthspiel is amazing, you must hear it, you'll love it!) or stuff like Tony Bennett/Bill Evans. When I go for a run it has to be soul music/Motown. My husband is the Editorial Director of The New York City Jazz Record, so we listen to a lot of new jazz of all styles in the house as well as the re-issue classics

Your next projects? When we will see you playing in Italy?

Currently I am writing music inspired by Formula One racing. I am a huge F1 fan and recently discovered that my great-uncle Walter E. Monaco was heavily involved in the racing scene, as well as a good pal of Sir Stirling Moss.

I would LOVE LOVE LOVE to play in Italy! Where do I sign up?
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