From: Wesley (wesleyhongkong@earthlink.net)
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 --------------A4782E62487BDA8A2BF8BD87 Content-Type: multipart/related; boundary="------------5704908BD490216455949183" --------------5704908BD490216455949183 Content-Type: text/html; charset=iso-8859-1 Content-Transfer-Encoding: 8bit <!doctype html public "-//w3c//dtd html 4.0 transitional//en"> <html> <b>Feature :: Morelenbaum2/Sakamoto - Gramophone</b> <p>source: Gramophone <p><b> Sakamoto: Confounding categories</b> <br><b> Ken Smith talks to composer Ryuichi Sakamoto about his latest recording – an album of bossa nova – and about resisting being pigeonholed</b> <p> 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> <p><b> Resisting concrete categories</b> <br> 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> <p><b>Film scores</b> <br> 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> <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 & 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> --------------5704908BD490216455949183 Content-Type: image/jpeg Content-ID: <part1.3D837940.F8184BB4@earthlink.net> Content-Transfer-Encoding: base64 Content-Disposition: inline; filename="C:\DOCUME~1\VALUED~1\LOCALS~1\Temp\nsmailFT.jpeg" /9j/4AAQSkZJRgABAgAAZABkAAD/7AARRHVja3kAAQAEAAAAHgAA/+4AIUFkb2JlAGTAAAAA AQMAEAMCAwYAAAO5AAAG3gAADV7/2wCEABALCwsMCxAMDBAXDw0PFxsUEBAUGx8XFxcXFx8e FxoaGhoXHh4jJSclIx4vLzMzLy9AQEBAQEBAQEBAQEBAQEABEQ8PERMRFRISFRQRFBEUGhQW 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