miércoles, 13 de febrero de 2013

Entrevista a Jason Moran

Entrevista a Jason Moran

Jason Moran actuará dentro del Festival Jazz in Blue 2013.
La Habitación del Jazz ha entrevistado a Jason Moran. He aquí sus respuestas.

LHDJ.- You and Greg Osby are considered to be part of the trend called M-base. Can you explain to us exactly what is M base?
(Al igual que Greg Osby, se considera que ha estado dentro del movimiento llamado M-base.¿Podría explicarnos en que consistía ese movimiento?)

JM.-In the 80s, Greg Osby was part of the collective M-Base with Steve Coleman, Cassandra Wilson and others.  I consider myself an honorary member.  I cannot explain what M-Base is.  There is a website by Steve Coleman and as M-Base is more or less his creation, you can read about it here.

LHDJ.-  You've collaborated with many musicians. Are you more comfortable as a musician just being part of a group or rather do you prefer leading your own  group?
(Usted ha colaborado con muchos músicos.¿Cómo se encuentra usted más cómodo, como acompañante o como líder de su propio grupo?)

JM.- One informs the other.  I have to know how to support musicians if I want to lead musicians.  Also, as a sideman, I am able to experience how a performance develops.  I think it’s important to see Art  from multiple viewpoints.  As if a performance is a 3-dimensional sculpture.  So, synthesizing all of my experiences is what I rely on not only with my band, but with every band.   

LHDJ.- Currently you are involved in teaching the next generation of musicians, does this help you develop further your musical ideas?
(Actualmente desarrolla una intensa actividad educadora ¿Le ayuda a desarrollar mejor sus ideas musicales?)

JM.- It’s important to know how young musicians are thinking about the music, and the liberties are taking.  I love asking students what they are listening to, and we trade ideas. Also, as a teacher, I end up developing a way to talk about the music to make sure the right ideas are being expressed. And the young players have good ideas, and I have used them, in a way to broaden the scope of how jazz is presented. 

LHDJ.- And following on from that, how do you see the future of jazz through some of these future performers ?
(¿Cómo es el nivel de estos futuros intérpretes de jazz?)

JM.- I feel like my teachers were asked the same questions about me, so I feel confident that the music is in good hands. I have heard great musicians all over the world. The music continues to unfold in new forms, influenced by new cultures.  The great aspect about the music is that it is constantly changing. 

LHDJ.- Current some say jazz is too academic and kind of lacking in spontaneity and personality. Do you agree with this assertion?
(El jazz actual es demasiado academicista y está falto de espontaneidad y personalidad ¿está de acuerdo con esta afirmación?)

JM.- All art suffers from bad practitioners.  So, I don’t doubt that  a band would sound too academic. There is a saying “don’t let a bad apple spoil the bunch.” 

LHDJ.- You worked with Cassandra Wilson on the album "Loverly." Do you feel comfortable as an accompanying vocalists?
(Usted colaboró con Cassandra Wilson en el disco “Loverly”.¿Se siente cómodo acompañando a vocalistas?)

JM.- I am married to a classical mezzo-soprano, Alicia Hall Moran.  I have always enjoyed accompanying vocalists, and Cassandra Wilson is a dream to work with.  It is important for jazz pianists to understand the role of vocal accompaniment. 

LHDJ.- Could you tell me the name of a pianist whom you in particular admire?
(¿Un pianista al que admire especialmente?)

JM.- My teachers, Jaki Byard, Andrew Hill, and Muhal Richard Abrams.
My icons – Thelonious Monk, Earl Hines, Herbie Nichols.
My Friends – Craig Taborn, Gonzalo Rubalcaba, Kris Davis. 

Jason Moran and The Bandwagon
20 febrero              Madrid                    Sala Galileo. 21:30 hrs. 
21 febrero              A Coruña                Teatro Rosalía de Castro. 21 hrs.          
24 febrero              Barcelona               Luz de Gas. 20 hrs.

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