KS: Of course the most obvious
question is how you developed your interest in Brazilian
music.
JK: In the 70's I worked for KLM (Dutch
Airlines) and was stationed in Rio. As an amateur jazz singer
I attended all kinds of parties and sessions. The Brazilian
atmosphere and music appealed to me more than a lot, giving
me an extra impulse to change my attitude towards jazz, while
at the same time I developed a desire to sing the Brazilian
music. I bought 2 João Gilberto records, which had the
lyrics on the cover. Back home I started studying those with
a dictionary in my hand. Musicians I worked with here in Holland
encouraged me to sing in Portuguese. No one was doing that
those days.
KS: With the band Batida you conquered
Holland (1980-1990). The Latin-American music you heard was
reduced to salsa. You emphasized Brazilian music. Songs by
Edu Lobo and Milton Nascimento were alternated with your
own compositions. Despite the huge success the band disappeared
kind of suddenly. What happened?
JK: Specially during the first years Batida
indeed enjoyed crazy times. It was a matter of being
at the right place at the right time. From the first shy concert
on things went crazy, the phone kept on ringing. Obviously
we were pushed into the "salsa" corner, because no
one really knew how to place our music, I guess.
The line-up was superb: Theo de Jong (bass
and keys), Neppy Noya and Bart Fermie (percussion), Gerhard
Jeltes (drums) and myself as vocalist. We formed a solid basis,
but always faced a problem with pianists. They always ended
up choosing for other bands, so we had to change our line up
time after time. That's why bassist Theo de Jong left the band.
It was the nicest line up though, giving that wonderful "group" feeling.
But also after 1987 we also had an outstanding line-up with
Marcel Seriese (drums, percussion), Marcel Schimscheimer (bass)
and Peter Schon (keyboards). Unfortunately all those changes
in line-up were not healthy for a band like we had, bad for
continuity. Eventually it became harder and harder to keep
the band together, while at the same time I felt the urge to
present myself as a soloist. And that opportunity occurred
after I had met Jobim.
KS: How on earth does a singer from a tiny little
cold country like Holland come in contact with Antonio
Carlos Jobim? He even agreed to participate in your 1993
CD!
JK: In 1993 Dutch TV host Tineke de Nooij (RTL4) invited
me to join her on a trip to Rio, to shoot a documentary
about me. While there on spot, we got the luminous idea
to interview Jobim. It turned out to be one of the most
beautiful moments in my life and career. |
Josee Koning & Tom Jobim
|
KS: How were those encounters?
It must have been kind of weird to exchange thoughts with
a legend like Jobim.
JK: I was paralyzed, it left me speechless!
There I was in that room with the two grand pianos and a dramatic
view on Corcovado. Tineke wanted to do the interview (after
all, it was her show), so she asked the majority of the questions.
I did talk with him about his music, that I already knew and
was even working on at that moment ("Boto"). He was
very kind and charming to me and invited me to join him on
his piano to sing. Unfortunately I wasn't able to create much
vocals, because I was too emotional. Back home we developed
the idea to approach to him for a combined CD. Sony Music was
very interested, and Jobim agreed. Unfortunately there was
only this one meeting. All other contacts occurred via his
daughter Elizabeth. Very friendly, sure; her father remembered
me very well, etc etc. He must have been very ill already,
right before his operation in New York. We'll never know how
the CD would have sounded, because he died on December 8th,
1994.
What struck me most during our meeting
was his associative mind. From one word came the other, like
he tasted every word. After a few months we asked Dori Caymmi
to record a tribute to him with me.
KS: The Tom Jobim Tribute was there
very soon (1995), and very well received, I might add! In
the meantime there have been quite a few Jobim tributes;
everyone with its own approach. How did you handle his repertoire?
JK: After Dori Caymmi agreed for the production
and arrangements of the tribute CD, I visited him in Los Angeles.
I had my wish list, both for repertoire and line-up. We went
through that together, adding some things, dropping other thoughts.
KS: Speaking of the line-up, to
say the least, you can call it impressive! Paulinho
da Costa, Don Grusin, Nathan East, Claudio Slon and others.
How free were you in choosing the musicians?
JK: Dori was the producer and also invited
the musicians. The album was recorded in Hollywood. I was aware
of his musical taste through his own albums; so I knew I could
trust him blindly. How could I disagree with a line-up like
that at all???
However, they were a bit surprised when
I asked for a trombone, cello and accordion. Trombonist Bill
Reichenbach couldn't believe his ears when he was invited.
KS: In Rio you sang on the same
evening and the same stage as Gal Costa. Your appearance
that night was a big success. The Brazilian press even showered
you with compliments. Recently Gal Costa
complained via the press about the difficulties she has with
choosing her repertoire. About the lack of worthy young songwriters.
O Globo, August 2001
Estaria secando a fonte da
MPB?
(Bernardo Araújo e João Pimentel)
|
Não há mais bons compositores na
música brasileira, e um intérprete
tem dificuldades quando quer lançar um CD
de músicas inéditas. A idéia
vem de uma declaração de Gal Costa,
que a usou para justificar a ausência quase
total de novidades em "De tantos amores" (BMG),
disco repleto de regravações que lançou
na semana passada.
|
You agree with that?
JK: Well, let's say I can very well imagine
her remark. What I've heard so far from the younger songwriters,
their musical efforts fail to hold my attention. And in her
case, she of course recorded so many albums, that for her it
might even be more difficult to come up with new choices.
KS: Specially in Rio there were
initiatives to prove Gal wrong. Do you have the opportunity
to listen to those youngsters?
JK: Very often people hand me some CD's,
but like I already said, what I hear is not what I like. I
do enjoy the songs from Lenine (most of them, though!), but
can you still count him among the young lions?
Ivan Lins, Josee Koning &
Dori Caymmi
|
KS: Your repertoire concentrates on established
composers like Edu Lobo, Dori Caymmi, Ivan Lins... An
intentional choice?
JK: Not intentional, no. While choosing, I go for my taste.
I listen to music a lot, because I buy and receive lots
of CD's in Brazil. Instantly I hear whether or not I'd
like to sing the songs myself. Or whether I can use it
with my students or for my radio show. |
(Josee has a radio show, "Sounds
of Brazil, every first and third Fridays of the month;
you can listen to it on the internet.)
KS: Brazilian music mixes very
well with other styles, like reggae, rock, soul, jazz etc.
It's so typical for Brazilian music, that Brazil has its
own category in the Latin Grammy Awards. Can you, as a purist,
appreciate these "fusions"? I mean: would you classify
BRock, BReggae still under Brazilian? Or do you prefer to
file it under Rock, Reggae, Funk, among the others (from
the USA, Europe)?
JK: For me it's difficult to qualify it
as BRock, etc. For my taste there's too less BR in it. For
instance, I wasn't too crazy about the Bob Marley project from
Gilberto Gil. Let him just do his own thing!
KS: Your accompanying band is made
up of non-Brazilians (with the exception of percussionist
Edson Gomes). Is that a choice to make clear you don't have
to be a Brazilian to play Brazilian music?
JK: No, it's not a choice; it's because
there's NO choice! There are just too few good Brazilian musicians
living in Holland where I would like to work with. Leonardo
Amuedo is a melodic, harmonic and rhythmic guitar wonder from
Uruguay. Drummer Enrique Firpi is also from Uruguay, he worked
with Marcia Maria and others. Pianist Hans Vroomans is also
playing with the well known Metropole Orchestra. And bassist
Boudewijn Lucas has an impressive history in the music scene
in Holland.
KS: Ivan Lins appears to be a very
special someone. For an outsider like myself, he's a wonderful
composer, but a mediocre performer. I prefer his songs to
be performed by other musicians than himself. Can you refute
that? As a performer he seems to be more like a musician's
musician. Fellow musicians unanimously rave about his concerts.
JK: Almost every concert from Ivan Lins
I witnessed was marvelous. Specially the concerts in Brazil,
where he plays with his own band. He has a big charisma on
stage, and not only towards musicians! Maybe you caught him
on a bad day. It happens to all artists; not every show can
be the max... bad sound, sickness, etc. I can't explain why
you feel that way.
KS: How is it to work with a legend
like Dori Caymmi?
JK: It's a tremendous joy! Dori pampers
you; protects you in the studio, is a listening ear, a joker
and a grumbler! Besides, he has the biggest ears! Unforgettable
moments, it gives me feelings of saudades.
KS: To what music do you enjoy
listening, too?
JK: I'm a big fan of Rosa Passos,
João Bosco and Ivan Lins, and recently Mônica
Salmaso. At home I play a lot of instrumental music: Cesar
Camargo Mariano, choro...
KS: You travel a lot between Holland
and Rio for the recordings of your new CD. What can we expect,
and when?
JK: Plans are to release the new CD at
the end of February, beginning of March 2003. The album sounds
different from the earlier ones. Leonardo Amuedo did the arrangements
and produced the album. It's recorded in a wonderful studio
in Rio (Discover), with Brazilian musicians. I also included
two compositions in Dutch· I tried them out before an audience
in Holland, and they loved it. Actually, the CD is worth an
interview on its own.
(It will be my pleasure, Josee!)
KS: Is there a growing interest
for Brazilian music in Holland, or does your audience consist
of jazz fans?
JK: Oh, there is an interest all right;
although it still remains unknown. But I keep on working on
that!!
KS: In the circles of Brazilian
music lovers in the USA, your name is also known (through
the CD Dois Mundos). Any plans to go
there and perform?
JK: I'd love to!!!
KS: Thanks for taking time for
us, sharing your thoughts about the music, Josee.
JK: It was a pleasure!
