[acid-jazz] Feature :: Morelenbaum2/Sakamoto - Gramophone

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Date: Sat Sep 14 2002 - 20:00:32 CEST

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    Feature :: Morelenbaum2/Sakamoto - Gramophone

    source: Gramophone

      Sakamoto: Confounding categories
      Ken Smith talks to composer Ryuichi Sakamoto about his latest
    recording – an album of bossa nova – and about resisting being
    pigeonholed

      Three seconds into Casa, Ryuichi Sakamoto’s latest recording, and I'm
    already reaching for the CD box just to make sure that I have the right
    disc. Yes, it's from Sony Classical. And considering that Sakamoto's
    three other recordings for that label have been an avant-garde
    orchestral piece entitled Discord, a collection of film music, and a
    collection of solo piano works entitled BTTB (for Back to the Basics)
    nothing from him should be surprising anymore. But really, who would
    have expected his next release to be an album of bossa nova?

                                    [Image]
                      Sakamoto, recording at Jobim's house

    Sakamoto is clearly prepared for this line of questioning. ‘I know I
    confuse the people who work at Tower Records,’ he says with a gentle
    smile. ‘They look at a recording of mine and wonder whether to put it in
    Classical or International or New Age. Of course, I am not entirely
    classical, but in the past when I was on Virgin and Epic I was not pop
    enough.’

    For someone who ponders each response with careful deliberation --
    sometimes pausing so long you wonder if he heard the question --
    Sakamoto is quick to talk about his current recording, a tribute to
    Antonio Carlos Jobim, and to explain what it's doing on a classical
    label. Six months after Jobim's death in late 1995, Sakamoto was invited
    to visit his widow Ana at the late songwriter's home in Rio de Janeiro.
    Unable to resist the temptation, he asked if he could play Jobim's
    piano.

    ‘He had two Yamahas, one old and one new,’ Sakamoto recalls. ‘As I was
    playing each of them, I noticed the music that was still on them. On one
    was Chopin; on the other, Debussy. This was the music that I grew up
    with, and suddenly I realised the similar influence these composers had
    on him. So after playing Chopin and Debussy, I played Jobim's music and
    some of my own, and with the sound of the wind that evening in the
    background I thought it would be great to record Jobim’s music in that
    environment.’

    Five years later, he got the chance when Paula Morelenbaum, a former
    vocalist with Jobim’s ‘Nova Banda’ and wife of Jobim collaborator and
    frequent Sakamoto producer Jaques Morelenbaum, brought the three
    together as Morelenbaum2/Sakamoto to record some of Jobim’s lesser-known
    songs. Downplaying the music’s signature bass and percussion and
    accentuating its harmonic and formal structure, these performances do
    indeed call to mind more than a touch of impressionism.

    A US/European tour, coinciding with the release of Casa in those
    regions, opens on the West Coast on 5 September at San Francisco's
    Bimbo’s Club and continues to New York at Joe's Pub (10-12 September)
    before going on to St. George's in Bristol (19 September), London's
    Royal Festival Hall (21 September) and various sites in Germany, France,
    Spain, Portugal and Italy.

      Resisting concrete categories
      Sakamoto's first exposure to bossa nova came from the radio, when it
    instantly became part of his childhood listening mix that already
    included Bach, Beethoven and the Beatles. ‘Ever since I was little, I
    have listened to all kinds of music at the same time,’ he admits. ‘And
    similarly, everything has flowed into my own music. It was just natural
    for different types of music to exist in layers.’

            Even today, Sakamoto resists defining music in concrete
    categories, especially his own. ‘I'm not very interested in developing
    my own 'style',’ he says. ‘Whether you're writing avant-garde music or
    pop or jazz, everyone tries to put their own stamp or signature on it.
    Everyone wants their own brand. Maybe I should be doing that more. But
    for me, music is a large garden, and within it I may have a Japanese
    garden, and over there an English garden, maybe even an Indian garden.
    But it's all my garden. Today I may enjoy the Japanese garden, but I
    might want the English garden tomorrow.’

    Growing up the son of non-musical parents, Sakamoto never envisioned
    himself becoming a composer until his piano teacher, noting his newfound
    love for the Beatles, took the 11-year-old piano student to a
    composition teacher at the Tokyo National University of Fine Arts and
    Music. At 19, he enrolled at the Tokyo National University of Fine Arts
    and Music, where he studied composition and eventually received a
    master’s degree with a concentration in electronic and ethnic music.

    Still, he had not fully committed to the idea of being a composer. ‘I am
    the kind of person who decides things as late as possible,’ he says with
    a slight laugh. ‘I am very careful, you know. For a while I thought that
    I could be a mathematician, or a scientist, or even a novelist. There
    were so many possibilities, and I was so ambitious.’

    After trying his hand as arranger and studio musician, Sakamoto released
    his first solo album in 1978, the same year he co-formed Yellow Magic
    Orchestra, a Japanese techno-pop group whose stylistic cross-pollination
    is still being echoed in the electronic music world today.

    Hearing Sakamoto's account of becoming a composer brings to mind the
    American writer Robert Benchley, who one said that it took him 15 years
    to realize he had no talent as a writer, but he couldn't give it up
    because by that time he was too famous. ‘One by one, I found that I had
    given up on all the other possibilities for a career,’ he says. ‘In my
    early 20s, YMO had already made me so famous that I couldn't quit.’

    Film scores
      The same year Sakamoto left YMO to launch a solo career he also
    entered an entirely new medium. Beginning in 1983 with Merry Christmas,
    Mr. Lawrence, a film in which he starred as well as scored the
    soundtrack, Sakamoto found the path which has brought him the most
    international acclaim to date. By this time, though, Sakamoto was
    clearly identifying himself as a composer.

    ‘Mr. Oshima, the director, had approached me to act in his film,’ he
    recalls. ‘I was tempted to say yes, but I first asked if I could write
    the music. He said yes, so I agreed to act. It was my first time to do
    either, and I could have been terrible. But he believed in his
    instincts.’

    Sakamoto's haunting score to Merry Christmas, Mr. Lawrence garnered the
    Anthony Asquith Award for Film Music from the British Academy of Film
    and Television Arts, but it was his music for Bernardo Bertolucci's film
    The Last Emperor (1987), that put him over the top, winning both an
    Oscar and a Grammy. He has since scored Bertolucci's Sheltering Sky and
    Little Buddha, and has worked with other directors, including Pedro
    Almodovar (High Heels) and Brian De Palma (Snake Eyes). Most recently,
    he has scored De Palma's Femme Fatale, which will be released this
    November.

    ‘Writing for films is a challenge because there are so many conditions,
    so many limitations,’ he says. ‘With my own music, I'm the producer, the
    director and the leading actor, but obviously in a film I have to work
    with other people. There's also the script and a visual element to
    consider, and I have to find the right path for my music to exist. It's
    almost like a math problem you first have to solve technically.’

    Although there are times he can juggle several projects at once, a film
    score will never be one of them. ‘If I'm writing a soundtrack for
    Bertolucci for example, I have to be focused,’ he says. ‘Sometimes I'm
    so focused that I can't get out of that mode for several weeks after
    I've finished the work.’

    The work usually takes eight weeks, he says, right through to the
    recording and the final mix. ‘After that, of course, the director has
    the freedom to do with it what he wants,’ he says. Only once, he adds,
    has he been fully satisfied with the way his music has been utilised in
    a film, with Bertolucci’s Little Buddha. ‘He and I were both happy with
    the results, but the film just didn’t get much acclaim,’ he says. ‘Bad
    casting.’

    Finding peace in New York
    In 1999, around the same time that he composed his most ambitious works
    – his opera Life, and his stage collaboration with Robert Wilson, ‘The
    Days Before: Death Destruction & Detroit III’ – Sakamoto returned to
    performing. A solo piano piece from that time, Energy Flow, (collected
    on Sony Classical's BTTB) became his first No 1 single in Japan.

    ‘My priorities had been on creating new things, usually in the studio,’
    he says. ‘I had always thought of performance as a recreation of
    something that already existed. Creation for me was always
    forward-backward, forward-backward. You write each word and carefully
    choose the next word from the huge number of possibilities. It’s a slow
    process for me. In performance, the time frame can be slow, but it has
    to be immediate, and always forward. But until recently, I had not
    recognized that performance can be very creative.’

    Having relocated to New York 12 years ago, to a quiet block in the West
    Village, Sakamoto is hard-pressed to say how the move has affected his
    music. ‘It might be different if I lived in London or Tokyo,’ he says.
    ‘New York is the center of international composing, so I'm sure it does
    affect me. But I don't go out much here. I don't go to clubs, though I
    sometimes go to galleries. I like New York because it is quiet. In Tokyo
    I would get so many phone calls from family or friends or the media.
    Here I am able to focus.’

    In 1990 when he first arrived, Sakamoto's music echoed the city's house
    and techno boom. As that quieted down, his music became ‘more
    classical,’ he says, as he looked toward more extended forms. By the
    change of millennia, he was looking for yet another musical landscape.

    ‘There are times I can revisit old ideas,’ he says. ‘I could do another
    Discord. I mean, it's possible. That work is still alive for me. Part of
    my reaching out into classical music, however, was to broaden out and
    reach a different kind of listener. I enjoyed doing it, but nowadays I
    have my doubts. The marketplace has narrowed.’

    He still has the support of Sony Classical, which has the first right of
    refusal for any of his projects, after which he can take them elsewhere.
    ‘They could always support me more,’ he says. ‘But I am a difficult
    artist. I am not Yo-Yo Ma. I'm not Wynton Marsalis. I am always
    in-between.’

    What’s also not entirely certain is exactly who Sakamoto's next audience
    will be. Or rather, will those who enjoy, say, his film music be ready
    to hear him highlight the Debussy prelude in Jobim’s ‘As Praoas
    Desertas,’ the Satie chanson in his ‘Imagina’ the Chopin nocturne in his
    ‘Sabia,’ the Bach cantata in ‘Canco em Modo Menor.’

    ‘Maybe they will hear it for themselves,’ he says. ‘But if only a few
    dozen Jobim fans make those the connections, that's all I need.’

    --
    ECLECTIC Japan
    [Sound :: Lounge] http://groups.yahoo.com/group/SoundLounge
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    <html>
    <b>Feature :: Morelenbaum2/Sakamoto - Gramophone</b>
    <p>source: Gramophone
    <p><b>&nbsp; Sakamoto: Confounding categories</b>
    <br><b>&nbsp; Ken Smith talks to composer Ryuichi Sakamoto about his latest
    recording – an album of bossa nova – and about resisting being pigeonholed</b>
    <p>&nbsp; Three seconds into Casa, Ryuichi Sakamoto’s latest recording,
    and I'm already reaching for the CD box just to make sure that I have the
    right disc. Yes, it's from Sony Classical. And considering that Sakamoto's
    three other recordings for that label have been an avant-garde orchestral
    piece entitled Discord, a collection of film music, and a collection of
    solo piano works entitled BTTB (for Back to the Basics) nothing from him
    should be surprising anymore. But really, who would have expected his next
    release to be an album of bossa nova?
    <center>
    <p><img SRC="cid:part1.3D837940.F8184BB4@earthlink.net" height=125 width=125>
    <br>Sakamoto, recording at Jobim's house</center>
    <p>Sakamoto is clearly prepared for this line of questioning. ‘I know I
    confuse the people who work at Tower Records,’ he says with a gentle smile.
    ‘They look at a recording of mine and wonder whether to put it in Classical
    or International or New Age. Of course, I am not entirely classical, but
    in the past when I was on Virgin and Epic I was not pop enough.’
    <p>For someone who ponders each response with careful deliberation -- sometimes
    pausing so long you wonder if he heard the question -- Sakamoto is quick
    to talk about his current recording, a tribute to Antonio Carlos Jobim,
    and to explain what it's doing on a classical label. Six months after Jobim's
    death in late 1995, Sakamoto was invited to visit his widow Ana at the
    late songwriter's home in Rio de Janeiro. Unable to resist the temptation,
    he asked if he could play Jobim's piano.
    <p>‘He had two Yamahas, one old and one new,’ Sakamoto recalls. ‘As I was
    playing each of them, I noticed the music that was still on them. On one
    was Chopin; on the other, Debussy. This was the music that I grew up with,
    and suddenly I realised the similar influence these composers had on him.
    So after playing Chopin and Debussy, I played Jobim's music and some of
    my own, and with the sound of the wind that evening in the background I
    thought it would be great to record Jobim’s music in that environment.’
    <p>Five years later, he got the chance when Paula Morelenbaum, a former
    vocalist with Jobim’s ‘Nova Banda’ and wife of Jobim collaborator and frequent
    Sakamoto producer Jaques Morelenbaum, brought the three together as Morelenbaum2/Sakamoto
    to record some of Jobim’s lesser-known songs. Downplaying the music’s signature
    bass and percussion and accentuating its harmonic and formal structure,
    these performances do indeed call to mind more than a touch of impressionism.
    <p>A US/European tour, coinciding with the release of Casa in those regions,
    opens on the West Coast on 5 September at San Francisco's Bimbo’s Club
    and continues to New York at Joe's Pub (10-12 September) before going on
    to St. George's in Bristol (19 September), London's Royal Festival Hall
    (21 September) and various sites in Germany, France, Spain, Portugal and
    Italy.
    <br>&nbsp;
    <p><b>&nbsp; Resisting concrete categories</b>
    <br>&nbsp; Sakamoto's first exposure to bossa nova came from the radio,
    when it instantly became part of his childhood listening mix that already
    included Bach, Beethoven and the Beatles. ‘Ever since I was little, I have
    listened to all kinds of music at the same time,’ he admits. ‘And similarly,
    everything has flowed into my own music. It was just natural for different
    types of music to exist in layers.’
    <p><img SRC="cid:part2.3D837940.F8184BB4@earthlink.net" height=125 width=125 align=LEFT>
    <br>Even today, Sakamoto resists defining music in concrete categories,
    especially his own. ‘I'm not very interested in developing my own 'style',’
    he says. ‘Whether you're writing avant-garde music or pop or jazz, everyone
    tries to put their own stamp or signature on it. Everyone wants their own
    brand. Maybe I should be doing that more. But for me, music is a large
    garden, and within it I may have a Japanese garden, and over there an English
    garden, maybe even an Indian garden. But it's all my garden. Today I may
    enjoy the Japanese garden, but I might want the English garden tomorrow.’
    <p>Growing up the son of non-musical parents, Sakamoto never envisioned
    himself becoming a composer until his piano teacher, noting his newfound
    love for the Beatles, took the 11-year-old piano student to a composition
    teacher at the Tokyo National University of Fine Arts and Music. At 19,
    he enrolled at the Tokyo National University of Fine Arts and Music, where
    he studied composition and eventually received a master’s degree with a
    concentration in electronic and ethnic music.
    <p>Still, he had not fully committed to the idea of being a composer. ‘I
    am the kind of person who decides things as late as possible,’ he says
    with a slight laugh. ‘I am very careful, you know. For a while I thought
    that I could be a mathematician, or a scientist, or even a novelist. There
    were so many possibilities, and I was so ambitious.’
    <p>After trying his hand as arranger and studio musician, Sakamoto released
    his first solo album in 1978, the same year he co-formed Yellow Magic Orchestra,
    a Japanese techno-pop group whose stylistic cross-pollination is still
    being echoed in the electronic music world today.
    <p>Hearing Sakamoto's account of becoming a composer brings to mind the
    American writer Robert Benchley, who one said that it took him 15 years
    to realize he had no talent as a writer, but he couldn't give it up because
    by that time he was too famous. ‘One by one, I found that I had given up
    on all the other possibilities for a career,’ he says. ‘In my early 20s,
    YMO had already made me so famous that I couldn't quit.’
    <br>&nbsp;
    <p><b>Film scores</b>
    <br>&nbsp; The same year Sakamoto left YMO to launch a solo career he also
    entered an entirely new medium. Beginning in 1983 with Merry Christmas,
    Mr. Lawrence, a film in which he starred as well as scored the soundtrack,
    Sakamoto found the path which has brought him the most international acclaim
    to date. By this time, though, Sakamoto was clearly identifying himself
    as a composer.
    <p>‘Mr. Oshima, the director, had approached me to act in his film,’ he
    recalls. ‘I was tempted to say yes, but I first asked if I could write
    the music. He said yes, so I agreed to act. It was my first time to do
    either, and I could have been terrible. But he believed in his instincts.’
    <p>Sakamoto's haunting score to Merry Christmas, Mr. Lawrence garnered
    the Anthony Asquith Award for Film Music from the British Academy of Film
    and Television Arts, but it was his music for Bernardo Bertolucci's film
    The Last Emperor (1987), that put him over the top, winning both an Oscar
    and a Grammy. He has since scored Bertolucci's Sheltering Sky and Little
    Buddha, and has worked with other directors, including Pedro Almodovar
    (High Heels) and Brian De Palma (Snake Eyes). Most recently, he has scored
    De Palma's Femme Fatale, which will be released this November.
    <p>‘Writing for films is a challenge because there are so many conditions,
    so many limitations,’ he says. ‘With my own music, I'm the producer, the
    director and the leading actor, but obviously in a film I have to work
    with other people. There's also the script and a visual element to consider,
    and I have to find the right path for my music to exist. It's almost like
    a math problem you first have to solve technically.’
    <p>Although there are times he can juggle several projects at once, a film
    score will never be one of them. ‘If I'm writing a soundtrack for Bertolucci
    for example, I have to be focused,’ he says. ‘Sometimes I'm so focused
    that I can't get out of that mode for several weeks after I've finished
    the work.’
    <p>The work usually takes eight weeks, he says, right through to the recording
    and the final mix. ‘After that, of course, the director has the freedom
    to do with it what he wants,’ he says. Only once, he adds, has he been
    fully satisfied with the way his music has been utilised in a film, with
    Bertolucci’s Little Buddha. ‘He and I were both happy with the results,
    but the film just didn’t get much acclaim,’ he says. ‘Bad casting.’
    <br>&nbsp;
    <p><b>Finding peace in New York</b>
    <br>In 1999, around the same time that he composed his most ambitious works
    – his opera Life, and his stage collaboration with Robert Wilson, ‘The
    Days Before: Death Destruction &amp; Detroit III’ – Sakamoto returned to
    performing. A solo piano piece from that time, Energy Flow, (collected
    on Sony Classical's BTTB) became his first No 1 single in Japan.
    <p>‘My priorities had been on creating new things, usually in the studio,’
    he says. ‘I had always thought of performance as a recreation of something
    that already existed. Creation for me was always forward-backward, forward-backward.
    You write each word and carefully choose the next word from the huge number
    of possibilities. It’s a slow process for me. In performance, the time
    frame can be slow, but it has to be immediate, and always forward. But
    until recently, I had not recognized that performance can be very creative.’
    <p>Having relocated to New York 12 years ago, to a quiet block in the West
    Village, Sakamoto is hard-pressed to say how the move has affected his
    music. ‘It might be different if I lived in London or Tokyo,’ he says.
    ‘New York is the center of international composing, so I'm sure it does
    affect me. But I don't go out much here. I don't go to clubs, though I
    sometimes go to galleries. I like New York because it is quiet. In Tokyo
    I would get so many phone calls from family or friends or the media. Here
    I am able to focus.’
    <p>In 1990 when he first arrived, Sakamoto's music echoed the city's house
    and techno boom. As that quieted down, his music became ‘more classical,’
    he says, as he looked toward more extended forms. By the change of millennia,
    he was looking for yet another musical landscape.
    <p>‘There are times I can revisit old ideas,’ he says. ‘I could do another
    Discord. I mean, it's possible. That work is still alive for me. Part of
    my reaching out into classical music, however, was to broaden out and reach
    a different kind of listener. I enjoyed doing it, but nowadays I have my
    doubts. The marketplace has narrowed.’
    <p>He still has the support of Sony Classical, which has the first right
    of refusal for any of his projects, after which he can take them elsewhere.
    ‘They could always support me more,’ he says. ‘But I am a difficult artist.
    I am not Yo-Yo Ma. I'm not Wynton Marsalis. I am always in-between.’
    <p>What’s also not entirely certain is exactly who Sakamoto's next audience
    will be. Or rather, will those who enjoy, say, his film music be ready
    to hear him highlight the Debussy prelude in Jobim’s ‘As Praoas Desertas,’
    the Satie chanson in his ‘Imagina’ the Chopin nocturne in his ‘Sabia,’
    the Bach cantata in ‘Canco em Modo Menor.’
    <p>‘Maybe they will hear it for themselves,’ he says. ‘But if only a few
    dozen Jobim fans make those the connections, that's all I need.’
    <p>--
    <br>ECLECTIC Japan
    <br>[Sound :: Lounge] http://groups.yahoo.com/group/SoundLounge</html>
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