The female spirit of Jazz’ by Enrique Farelo, Tomajazz, Juni 2019

 

Muri­el Gross­mann:

The fema­le spi­rit of Jazz”
By Enri­que Fare­lo.

 pho­to © Chris­toph Schu­bert

Born in Paris, sett­ling in Aus­tria as a youngs­ter and moving to Bar­ce­lo­na in 2002, she sett­led per­man­ent­ly in Ibi­za in 2004, mar­king a befo­re and after in her care­er as a com­po­ser, saxo­pho­nist and lea­der of her own group.

Sin­ce 2007 the­re are ten albums signed under her name from Home­co­m­ing Reuni­on (Dream­land­Re­cords 2007)to the acc­lai­med Gol­den Rule (Dream­land­Re­cords 2018), inclu­ding Here And Now (Dream­land­Re­cords 2008),Quartet (Dream­land­Re­cords 2008), Sud­den Impact (Dream­land Records 2009), Birth Of The Mys­te­ry (Dream­land Records 2010), Awa­ke­n­ing (Dream­land Records 2013), Earth Tones (Dream­land Records 2015),Natural Time (Dream­land Records 2016), and Momen­tum (Dream­land Records 2017).

Portadas de los dis­cos de Muri­el Gross­mann

All of her albums have fol­lo­wed an artis­tic line very simi­lar in terms of the design, their covers and they have had sol­vent musi­ci­ans such as Vien­nese Gina Schwarz on dou­ble bass and Ser­bi­an Uros Sta­men­ko­vic on drums, in her last three works. Above all her faith­ful Ser­bi­an squi­re, the gui­ta­rist Rado­mir Milo­j­ko­vic who has almost never mis­sed his appoint­ment, accom­pany­ing her in most of her works.

Her soli­di­ty, her com­mit­ment, her spi­ri­tua­li­ty and having very clear ide­as, are the intrin­sic cha­rac­te­ris­tics when eva­lua­ting her music.

foto © Lau­ra G. Guer­ra

Enri­que Fare­lo (E.F.)When was it “born” in Muri­el Gross­mann the desi­re for music and what peop­le influ­en­ced or moti­va­ted you?

Muri­el Gross­man (M.G.)Music has always been a very important part of my life. My par­ents are very fond of art and in par­ti­cu­lar, my father collec­ted clas­si­cal music vinyls throughout his life. At the age of five they pro­po­sed to me that I choo­se an instru­ment. I cho­se the flu­te. And that’s when my care­er in clas­si­cal music began, a sta­ge that has las­ted twel­ve years. I remem­ber well how, from an ear­ly age, I prac­ticed the flu­te every day impro­vi­sing melo­dies; it was one of the things that brought me grea­ter well-being. My moti­va­ti­on at this sta­ge was my flu­te tea­cher, as well as lis­ten­ing to musi­ci­ans like Jimi Hen­drix and of cour­se tho­se spe­cial fri­ends who were music fans around me.

E.F.You were born in Paris but it was in Vien­na, whe­re you lived in your youth. Were you inte­rested in jazz or clas­si­cal music at that time, con­si­de­ring that near­by Salz­burg is the home of Wolf­gang Ama­de­us Mozart?

M.G.Vien­na and Aus­tria are the crad­le of clas­si­cal music. The who­le city brea­thes music and you also feel it in its impe­ri­al style, its dan­ces and its tra­di­ti­ons. It was a pri­vi­le­ge to be able to grow up in a city whe­re art is pro­mo­ted and which stands out for its love of cul­tu­re and music. At first, I play­ed only the flu­te and stu­di­ed clas­si­cal music, but at the age of twen­ty one I star­ted play­ing the alto saxo­pho­ne and one thing led to ano­t­her. Sud­den­ly Char­lie Par­ker beca­me more important in my life than Mozart. My inte­rest in jazz and saxo­pho­ne began to expand as I lis­tened to the news of the moment and was acqui­ring more expe­ri­ence with the bands I play­ed with.

E.F.Gol­den Rule: “Do onto others what you want them to do onto you”. In this your last work you pro­po­se the gol­den rule of spi­ri­tua­li­ty and that any reli­gi­on would embrace this wit­hout hesi­ta­ti­on in this age. Is Gol­den Rule a tri­bu­te to reli­gi­on (to anyo­ne), to spi­ri­tua­li­ty or phi­lo­so­phy?

M.G.I have com­po­sed Gol­den Rule with the idea of ​​approa­ching each situa­ti­on of every day with the reflec­tion of our thoughts, words and actions being con­sis­tent with this “Gol­den Rule”. I think that this spi­ri­tu­al con­cept is the key, the basis and the essen­ti­al agree­ment for a huma­ni­ty that wants to live in the way it deser­ves. Becau­se our natu­re is human!

E.F.“Strai­ght action wit­hout hope of reward” is a phra­se taken from the Hin­du holy book Bha­ga­vad-gītā (part of the epic text Maháb­há­ra­ta). Could this phra­se be ano­t­her gol­den rule?

M.G.We need to use our intel­li­gence to extend our com­pas­sio­na­te natu­re. Intel­lec­tu­al know­ledge alo­ne does not help us much if the mind is not disci­pli­ned. That is why the know­ledge of the mind, its natu­re and emo­ti­ons should be taught at school, be gui­ded by appro­pria­te peop­le and be addres­sed in dif­fe­rent ways over and over again.

I have seen the suc­cess and bene­fit of using the gol­den rule at ‘Uni­ver­sal Man­da­la’. We prac­tice it dai­ly with the child­ren. With this con­stant prac­tice you can see suc­cess very well. We ask the child­ren if they like to be trea­ted kind­ly and what kind of school, what kind of envi­ron­ment they want to come to every day. Litt­le by litt­le throughout the year we are deve­lo­ping a gui­de that leads them to dis­co­ver for them­sel­ves that sharing or speaking kind­ly with their col­leagues is reward enough. We call them “gar­de­ners of peace”. What we sow is what we collect. In this way they under­stand what it means to “sow” in word and action to gather well-being, hap­pi­ness and peace. It is a pro­cess that is inte­gra­ted very natu­ral­ly becau­se it is cen­te­red on the “I”, that is, on what I want.

Altru­ism is a fan­tastic atti­tu­de but unfor­tu­n­a­te­ly it often remains in the intel­lect, becau­se it is very dif­fi­cult to satis­fy our gigan­tic ego, which we have nur­tu­red for cen­tu­ries.

The gol­den rule real­ly says not­hing of reward, it only brings us clo­ser to the under­stan­ding of empa­thy and the reco­gni­ti­on of the poten­ti­al of good­ness and wis­dom in other beings. If we could rela­te and approach others with the thought that we have a being with an unli­mi­ted poten­ti­al of wis­dom and kind­ness in front of us, we would be acting in a respon­si­ble way. That is the base. The tea­ching “Strai­ght action wit­hout hope of reward in return” I see more use­ful for peop­le alrea­dy advan­ced in the way of altru­ism. With an inves­ti­ga­ti­ve mind you can easi­ly see that we are rewar­ded by our righ­te­ous actions, every effect comes from a cau­se, ever­ything comes from some­thing, just as our actions have a befo­re and after. With a litt­le work towards con­scious atten­ti­on you can start to see very well why the things that hap­pen to us, hap­pen to us. With time and prac­tice, our dai­ly life would beco­me easier and our mind clea­rer.

pho­to © Chris­toph Schu­bert

E.F.At what moment do you feel the call of the spi­ri­tu­al? Is it influ­en­ced by your admi­red John Col­tra­ne?

M.G.I feel and think that I was born, like ever­yo­ne, with a good heart. But at the young age of 8 while watching a docu­men­ta­ry about traw­ler fishing on tele­vi­si­on, I rea­li­zed the incredi­ble bar­ba­ri­ties that were being com­mit­ted to dol­phins. The­re, at that moment, I made the decisi­on not only to be a vege­ta­ri­an, but also to do as litt­le dama­ge as pos­si­ble to the pla­net; and this is what I have tried to inte­gra­te in all my decisi­ons, eit­her in my work or whe­re I put my eco­no­my, or whe­re I buy and what I buy. I try to live causing the least pos­si­ble harm­ful impact by making respon­si­ble decisi­ons for the who­le pla­net and being an examp­le for others.

Lis­ten­ing and lear­ning from John Col­tra­ne has given me a sen­se of reli­ef and secu­ri­ty on my way. John Col­tra­ne is for me, one of the most important musi­ci­ans that huma­ni­ty has been able to know. He was a gre­at con­ci­lia­tor capa­ble of unit­ing dif­fe­rent styles, cul­tures and gen­res reinven­ting him­s­elf again and again in short peri­ods of time with gre­at poli­ti­cal awa­reness and deep spi­ri­tua­li­ty as well as being reco­gni­zed as an excep­tio­nal­ly hum­ble man, as were Ali­ce Col­tra­ne or Pha­ro­ah San­ders.

E.F.Is our civi­li­za­ti­on, as we under­stand it, reaching the end of a cycle becau­se of our con­tempt for life and our lack of con­sci­ence?

M.G.Today we see the con­se­quen­ces of a long peri­od of neglect of a popu­la­ti­on excee­ding 7400 mil­li­on inha­bi­tants.

Ever­ything is a mat­ter of focus. Being kind, respon­si­ble and com­pas­sio­na­te, we feel natu­ral­ly well and we want good for all, but we suf­fer tre­men­dous­ly, when we see others suf­fer.

They have begun to pro­mo­te a lot of envi­ron­men­tal issu­es, the use of rene­wa­ble ener­gy, the need for recy­cling or redu­cing the use of plastic, among other initia­ti­ves. At last it seems that we star­ted to beco­me awa­re. But edu­ca­ti­on, care and know­ledge of the mind, is essen­ti­al. We are taking the first steps in a world that still nou­ris­hes in excess the world of sen­ses and exter­nal expan­si­on, for­get­ting the inner world and inter­nal expan­si­on. If we add to this that in this ava­tar we are domi­na­ted and mani­pu­la­ted by giants only inte­rested in gai­ning wealth, con­trol and power, it is clear that our work and prac­tice towards the expan­si­on of con­scious­ness is dupli­ca­ted. In addi­ti­on, we are all in dif­fe­rent pro­ces­ses of con­scious­ness and reg­rett­ab­ly per­cei­ve the fac­ts in a line­ar, sepa­ra­te and inde­pen­dent way, wit­hout ful­ly under­stan­ding that ever­ything can be chan­ged with words and respon­si­ble actions if we per­sist in it.
  
E.F.You are a music tea­cher in an edu­ca­tio­nal cen­ter in Ibi­za, Uni­ver­sal Man­da­la. What exac­t­ly does this cen­ter con­sist of and to what extent does it influ­ence your music?

M.G.It is an edu­ca­tio­nal cen­ter for child­ren that I belie­ve is lay­ing the foun­da­ti­ons of a new para­digm in edu­ca­ti­on. An exem­pla­ry cen­ter. When my child­ren were at the schoo­ling age, I wan­ted to find a dif­fe­rent edu­ca­ti­on for them, an edu­ca­ti­on that would train their minds to be coope­ra­ti­ve, reflec­tive and empa­the­tic human beings. Beings pre­pa­red to use their poten­ti­al for the good of our pla­net and the spe­ci­es that inha­bit it, pre­ser­ving the good of all our gre­at human fami­ly. I wan­ted them to be sen­ti­ent beings awa­re of their respon­si­bi­li­ties. All this I found in Uni­ver­sal Man­da­la. Belen Köh­ler, its foun­der, is an excep­tio­nal visio­na­ry. When I met Belén and her edu­ca­tio­nal pro­ject, I unders­tood right away that in order for this form of edu­ca­ti­on to reach more peop­le, I had to col­la­bo­ra­te with it in all pos­si­ble ways. The­re­fo­re, it was natu­ral to bring the music and the under­stan­ding and stu­dy of it to the child­ren of this cen­ter from the phi­lo­so­phi­cal and edu­ca­tio­nal princi­ples of Uni­ver­sal Man­da­la. The trai­nings offe­red by Belen Köh­ler ope­ned me to under­stand the inter­de­pen­dence and inter­con­nec­tion of all things and their ori­gin, as well as how to live in a more bene­fi­ci­al way for all, that has made me refi­ne more with time as being human.

E.F.The por­tal http://ukvibe.org/awards/best-jazz-albums-of-2018/) desi­gna­tes Gol­den Rule (RR GEMS Records 2018) as the best album of the year 2018 in the vinyl ver­si­on. Why did you choo­se vinyl for publi­ca­ti­on to the detri­ment of the digi­tal for­mat? Are the­re musi­cal dif­fe­ren­ces with respect to the sub­se­quent edi­ti­on on CD?

M.G.Gol­den Rule is a natu­ral con­ti­nua­ti­on in musi­cal and per­so­nal evo­lu­ti­on. During the years that Rado­mir Milo­j­ko­vic and I have worked tog­e­ther we have noti­ced a gre­at attrac­tion towards cer­tain musi­cal ele­ments and we have fil­te­red and deepe­ned a lot in them. It was a gift to be able to release the album on vinyl thanks to the pro­po­sal of Valen­ti­ne and Dimi­tri of the record label RR Gems Records. They have belie­ved and bet on the poten­ti­al of our music and through their effec­tively direc­ted pro­mo­ti­on we have unders­tood that the­re are inde­ed lovers of this music. We are tru­ly gra­te­ful. It has for­med a fine coope­ra­ti­on and deep trust bet­ween us, so much so that in the autumn we will release a new album on vinyl. This new album will be a con­ti­nua­ti­on in the evo­lu­ti­on of Gol­den Rule, just as this was an evo­lu­ti­on that began with the song ‘Peace­ful River’ (which can be found on the album Awa­ke­n­ing), through the albums Earth Tones, Natu­ral Time and Momen­tum.

E.F.Speaking of pro­duct, all your albums are released by Dream­land­Re­cords Stu­di­os. How important is your figu­re in this record label?

M.G.Dream­land Records is our record label, which we have for­med as a vehi­cle to pro­pel and pro­mo­te our musi­cal visi­ons. We wan­ted maxi­mum free­dom of music and design.

E.F.The artis­tic design of the covers of the discs gives cha­rac­ter and per­so­na­li­ty to the discs, making them an attrac­tive pro­duct and an indi­ca­tor of what they con­tain. Who designs the covers of your records?

M.G. It’s me who designs them, using the pain­tings I pro­du­ce at home with my child­ren Aye­lén and Ias­sù.

Pain­ting is a hob­by, a game with colors and shapes and we have always thought they work well in reflec­ting our sound.

foto © José Luis Luna Rocaf­ort

E.F.The latest works, Natu­ral Time (2016), Momen­tum (2017) and Gol­den Rule (2018) make up a tri­lo­gy for­med by the same musi­ci­ans as a sta­ble for­ma­ti­on. Are they a tur­ning point in the music of Muri­el Gross­mann?

M.G.We think that the music we play has been for­med with the deve­lop­ment of each album, by an evo­lu­ti­on, matu­ring through this deep and con­ti­nuous work. It can be said that it is the music of the­se albums that has given us the grea­test satis­fac­tion in terms of har­mo­ny, rhythm, melo­dy and sub­li­mi­nal messa­ges.

E.F.As for the group. Could you tell me what work and effort (refer­ring to rehe­ar­sals, con­certs etc.) is the­re invol­ved for the final pro­duct of the record?

M.G.Rado­mir and I like to rehe­ar­se and are able to as we are both based in Ibi­za, but we are not very satis­fied with the fact that the mem­bers of the band are at such a distan­ce.

Of cour­se we are very lucky that at least Uros is with us for three mon­ths each year and we can during this time, every wee­kend, crea­te a musi­cal labo­ra­to­ry whe­re we ela­bo­ra­te the the­mes, the struc­tures and the rhythms. We think that this is how the sound of the band is for­med.

It is also our gre­at for­tu­ne to be able to play along­si­de a talen­ted musi­ci­an like Gina Schwarz, who easi­ly inte­gra­tes into the group and who also con­tri­bu­tes important ide­as for the sound of the band.

The work of edi­t­ing music is done by Rado­mir and mys­elf. We are the nucleus of this band. We work like fine machine­ry with a good ear. We spent hours and hours record­ing the dro­nes (instru­ments that ser­ve as sound back­ground for the for­ma­ti­on), a who­le orches­tra of tra­di­tio­nal instru­ments from all over the world, over its sound car­pet the band can express the true cha­rac­ter of the com­po­si­ti­ons.

Gina Schwarz, foto © Lau­ra Gon­zá­lez Guer­ra

E.F.Gina Schwarz, Uros Sta­men­ko­vic and espe­ci­al­ly Rado­mir Milo­j­ko­vic are the mem­bers of your cur­rent for­ma­ti­on. Could you intro­du­ce us to tho­se fel­low musi­ci­ans and how did you recruit them for your pro­ject?

M.G.With Rado­mir I have been working for a long time, we under­stand each other deeply on a musi­cal bases, we reco­gni­ze what our music needs to be and have, from the notes on paper to the final pro­duct. We love to play tog­e­ther and dis­co­ver the new and old paths that make jazz such gre­at music. I always admi­red his dedi­ca­ti­on, his know­ledge and his hard work. He is a tru­ly extra­or­di­na­ry musi­ci­an with an exten­si­ve visi­on.

I know Gina from my days in Vien­na, she is a musi­ci­an with cha­rac­ter that can adapt to any musi­cal situa­ti­on. So, when it came time to form a new band, I knew whom to call.

For a long time I’ve been loo­king for a drum­mer for the new musi­cal jour­ney I wan­ted to start, and I found it in Uros. He under­stands the music and the role that this music needs.

Rado­mir Milo­j­ko­vic, foto: © Fer­ran Perey­ra

E.F. Your work as a saxo­pho­nist has a spe­ci­fic weight with unques­tion­ab­le value equal­ly as an instru­men­ta­list as well as com­po­ser. How is the day to day in both fields?

M.G.The­re is a vast field to explo­re in each area. It takes dedi­ca­ti­on, ten­aci­ty, per­sis­tence and dai­ly work. To com­po­se I focus on the sub­ject I want to con­vey so that the mes­sa­ge is trans­por­ted through the music. This is how I do it when new topics or messa­ges demand it.

E.F.What time do you dedi­ca­te to the instru­ment per day?

M.G.I want to spend more time on instru­ments every day, becau­se it never seems enough.

E.F.Is lone­li­ness an issue as a com­po­ser?

M.G.No way! I enjoy the crea­ti­vi­ty flow pro­cess! In the same way of time used prac­ticing on your instru­ment, it is a time of intro­s­pec­tion reve­aling poten­ti­al limits, a field open to crea­ti­vi­ty.

Uros Sta­men­ko­vic, foto: © Fer­ran Perey­ra

E.F.Do dreams influ­ence when crea­ting your music?

M.G.This is a very inte­res­ting ques­ti­on, real­ly. My dreams so far are mani­fes­ted as a mix of day to day situa­ti­ons and often reveal in the form of adven­tures. My days are full of respon­si­bi­li­ties. As soon as I can get some extra time, I would like to inves­ti­ga­te dream yoga, to be able to take advan­ta­ge of my dreams more con­scious­ly.

E.F.With the impor­t­an­ce that you have been acqui­ring throughout your care­er, do you think that you should have grea­ter reco­gni­ti­on?

M.G.I would like more peop­le to enjoy my music.

E.F.In what sta­ge or sta­ges would you have lik­ed to per­form and have not done it?

M.G.In many, espe­ci­al­ly jazz fes­ti­val venues or small thea­ters. I would like to play in more coun­tries and con­ti­nents.

E.F.What are the musi­ci­ans that have most mar­ked your style?

M.G.John Col­tra­ne, Ornet­te Cole­man, Ali­ce Col­tra­ne …

E.F.What have been and are your favo­ri­te musi­ci­ans in cur­rent and past jazz?

M.G.Les­ter Young, Illi­nois Jac­quet, Char­lie Par­ker, Stan­ley Tur­ren­ti­ne, Count Basie, Duke Elling­ton, Can­non­ball Adder­ley, Jim­my Smith, Lou Donald­son, Rus­ty Bryant, Juli­an Lee, Jazz at Lin­coln Cen­ter Orches­tra, Melis­sa Ald­ana, Ben Pat­ter­son, Joan Cha­mor­ro and their pro­jec­ts with emer­ging musi­ci­ans , espe­ci­al­ly with Car­la and Andrea Motis and Abril Sau­ri, Chris­ti­an Lil­lin­ger, Robert Land­fer­mann etc. …

E.F.What music have you been inte­rested at the mar­gin of jazz?

M.G.World music in gene­ral, Tra­di­tio­nal music from India, Afri­ca, Tuva, Soul Jazz, Gos­pel, Blues, R & B .…..

E.F.In ano­t­her order of topics, what rea­dings enrich your work as a musi­ci­an? Are you inte­rested in eso­te­ri­cism, mys­te­ry or para­psy­cho­lo­gy?

M.G.What I enjoy deeply is rea­ding books of Bud­dhism or books of phy­si­cists like Ste­phen Haw­king, Albert Ein­stein … I am rea­ding con­ti­nuous­ly. Right now, I am rea­ding the book ‘Slee­ping, drea­ming and dying’, an explo­ra­ti­on of con­scious­ness with His Holi­ness Dalai Lama.

E.F.Your music is a search for com­mit­ment and has a cer­tain level of com­ple­xi­ty. Who do you think is it direc­ted to?

M.G.Well, we see who it is reaching. Peop­le with a love of John Coltrane’s music and spi­ri­tu­al Jazz, but when we play live, it is always incredi­b­ly well recei­ved by the public. Right now, I see it more as a mat­ter of scope.

The music we play is aimed at all audi­en­ces. Peop­le like beau­ti­ful melo­dies, they love a rhythm that moves them and puts them in a good mood. But music can also be intel­lec­tu­al, com­plex and with a rhythm that moves you and takes you inwards, not just out­wards.

E.F.Fol­lo­wing this path and taking into account that socie­ty is direc­ted towards super­fi­cia­li­ty, easy money, the media pro­duct and imme­dia­cy, what future do you see for jazz on the natio­nal and inter­na­tio­nal level?

© Peter Pur­gar

M.G.I think that the word jazz should be bet­ter defi­ned. If we talk about good music or bad music, I think that the good one is the one that is and per­sists throughout time, and this has no geo­gra­phi­cal limit. If music edu­ca­ti­on, intro­s­pec­tion and deep stu­dy in music were given both at home and at school this music could be main­tai­ned at a more widespread level. Jazz is a very small word for such a broad music. What can be jazz the­se days, could be decep­ti­ve for some peop­le. On the other hand, when you do not label some­thing, it is dif­fi­cult to say what it is. 

Ever­ything in this world has a word that defi­nes it and with Jazz it is not dif­fe­rent. If you say you want green tea and they bring you cof­fee, if it does not mat­ter what name you call it, they would bring you any liquid.

Some­thing that is so many things, is dif­fi­cult to exp­lain and Jazz is con­si­de­red many things. This can con­fu­se the peop­le who lis­ten to it; but the­se are the fac­ts.

E.F.Are you one of tho­se who think that today the­re are a signi­fi­cant num­ber of jazz musi­ci­ans and few ears to appre­cia­te them?

M.G.I think that today, due to the pos­si­bi­li­ties of You­Tube and other online plat­forms as well as the speed of infor­ma­ti­on flow, music can reach many ears. I also see that the­re are a lot of peop­le who are very gra­te­ful to be able to enjoy it. But an important thing for jazz is to know what it was and go fur­ther to know what it is today. This is dif­fi­cult, becau­se it seems that the two tracks are in con­stant con­flict.

Peop­le want to hear some­thing new and for that it takes a lot of expe­ri­men­ta­ti­on and many tests, which may cau­se peop­le to be impa­ti­ent and loo­se focus. On the other hand, the audi­ence also wants to hear a beau­ti­ful melo­dy well per­for­med. Bach’s music is appro­xi­mate­ly 300 years old, but it is still play­ed today and wit­hout much chan­ge, the same should be with Lou­is Arm­strong, for examp­le. Life and music are always moving and move becau­se they come from some­thing, becau­se some­thing has hap­pen­ed befo­re, as histo­ry clear­ly shows.

E.F.Bach’s music is 300 years old, but it is still play­ed today and wit­hout much chan­ge. Does this phra­se of yours point to an objec­tivi­ty of Music or does this not real­ly exist, but what real­ly exists is the value that time and human under­stan­ding give it?

M.G.Bach estab­lished the stan­dards of clas­si­cal music a litt­le over 300 years ago. Lou­is Arm­strong did the same. Estab­lished the stan­dards for jazz like swing, or blues … and all the inno­va­tors, that came later as Char­lie Par­ker, John Col­tra­ne or Ornet­te Cole­man deepe­ned the­se stan­dards. The same hap­pen­ed with the musi­ci­ans who came after Bach. They con­ti­nued and deepe­ned their visi­on and the stan­dards of clas­si­cal music.

If you put the music in the con­text of the moment it was crea­ted and give it the his­to­ri­cal per­spec­tive of today, it is the clo­sest to an objec­tive point of view.

I have not lis­tened to Lou­is Arm­strong in per­son, but I have lis­tened to many record­ings. From Bach we have the notes, but the inter­pre­ta­ti­on is con­tem­pora­ry. Human under­stan­ding and the pas­sa­ge of time some­ti­mes gene­ra­li­ze and stan­dar­di­ze things and even, in some cases, sim­pli­fy things. We always tend to look at the icons wit­hout pay­ing atten­ti­on to other gre­at musi­ci­ans in the shade. Ever­ything is the­re and much more, only behind, hid­den.  

The­re­fo­re, music has to do more with ima­gi­na­ti­on and the nar­ra­ti­ve and is always about that final frame­work. For musi­ci­ans it is important how it is done, but for the lis­teners it mat­ters more how it is pre­sen­ted, how it sounds, how it makes them move. Music is real­ly a com­plex lan­guage capa­ble of trans­mit­ting much more than a phra­se with spo­ken words. We must not for­get that the hid­den inten­ti­on always has a fun­da­men­tal effect.

E.F.What pro­jec­ts do you have in mind for the near future?

M.G.Right now, I’m very clo­se to start mixing the next album that will come out in vinyl and CD this fall. During the sum­mer we will record a new album for 2020 while we play here on the island of Ibi­za immer­sed in a sea­son full of local con­certs and fes­ti­vals out­si­de the island like: the Vijazz in Vilafran­ca and Inca Jazz Fes­ti­val in Mal­lor­ca and then jazz club Por­gy & Bess in Vien­na, We Jazz Fes­ti­val in Hel­sin­ki and then Tal­linn in the autumn. In March we have plan­ned a gre­at con­cert with renow­ned musi­ci­ans from the United Sta­tes, of which you will soon learn more.

Thanks for your sup­port and the­se won­der­ful ques­ti­ons.

Inter­view and text: © Enri­que Fare­lo, 2019
Pho­to­graphs: copy­right at the bot­tom of each pho­to­graph