Alin Zabrauteanu – Jazzadezz

Alin Zabrauteanu is one of the 3 members that make-up Jazzadezz, he is the guitarist/keyboard player/composer/producer.

Below you have a very interesting and insightful interview with him.

How do you feel is the public percieving Jazzadezz?

I like to think that anybody finds it interesting from the first listening, be it because they haven’t heard such a musical combination before, because they’re confuzed if it’s jazz or not, or simply because it sounds melodic and pleasant. You can understand that we’re not playing jazz and we’re not looking to be a niche group. We don’t seek our audience, although we would like to filter it with a certain kind of subtelty.

Through the atmosphere we create we want to bring a certain dreamy mystical air, which materializes even more when we play live, where the visuals have to be on par with the music. For the future we would like to fuse Vali Chinchisan’s visuals with scenic movement, lights and some proper costumes, to manifest this though you need the proper space.

What is Jazzadez’s creative process?

We don’t have a set formula and try to avoid this as much as possible. The Inimani Mal album has a peculiar story and the production process for it was somewhat different from what we are doing now. All the songs were composed for voice and guitar, after that, we did a different arrangement in the studio and Calin came in with his wind instruments and played over that. The songs came together and with our first album, we looked for our own sound . We found some elements that define us foremost as people, and secondly maybe as artists. It’s with these elements that we went forward, under various forms.

We don’t get stuck on a certain sound, and we are always looking for something new, but something that represents us.

Currently we are working on a new album, this one is much more clear and direct, much more flowing and dynamic; we start with improvisations, instrumental parts that give Dezdemona much more freedom, on top of which Calin brings color and substance with the wind instruments. We wil also have a few instrumental pieces where each one of us can spread better the energy they want to transmit. For the new album, we have a concept that helps us a lot and gives us equilibrium during the creative process, however I would like to talk about this when the album is finished.

A lot of Romanian artists don’t have a label and prefer to promote themselves. Do you think it’s a choice or a necesity for keeping intact the artistic integrity?

Labels as we know them have been in a coma for a while. They live off those artists that play on the radio in taxis, construction sites, tv’s, or beauty salons… They offer products that can be looped without disturbing or straining the mases. For the rest of us, there is the internet and maybe the internet labels that may give you a little extra, promotion wise. To be independent is a solution, but you need to have some marketing knowledge, especially online marketing. If you music is on all the important websites and you have reviews on the blogs that matter, you can function as an independent artist.

You have a PayPal button on your website, do your visitors use this button, do they pay your for the free album that you offer as a download?

We do have a PayPal button, but I don’t think I has been pressed too many times, in the end we give the album away for free so people pay for it only if they want to.

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Tell me a few things about your theater music/sound design projects.

Theater music is fascinating and unfortunately an overlooked domain in Romania. I am currently doing a Sound and Light Master degree at UNATC. Sound is still regarded as pheripheral in Romanian theater productions, although it has a major dramatic impact. Sound design wise, theater is a very fertile medium, sometimes when performing on stage as a musician you ask yourself what are you doing there. Theater sound design is much more comfortable, it is truly rewarding to notice the influence sound has over the show’s timeline. It is truly admirable what Vlaicu Goicea does in this area, I would like to hear something like Makunouchi Bento in theater. At the moment I’m working with the Turet theater group on a multimedia show called “Cristina and Me”, that is going to come out in spring and sound plays a major role in it.

How do you aproach theater sound and what set-up do you use?

I use Ableton Live and M-Audio Tigger Finger. With this kind of software the soundscape can be almost limitless, on top of the pre estabished samples you can very easily use a lot of live effects, with minimum resources. There is a need at the moment for directors to understand the dramatic potential and possibilities of this set-up and embrace it, and not constrain themselves to some burned cd with music downloaded off the net, many times using it just at the end of the show, or if we talk about lights, just to have the lights on actors faces.

The actor is of course the main ingredient in a show, but the multimedia part must be treated with the attention it deserves.

The music I compose is usually custom taylored for each show, however theater music and sound design are obviously two different things. When you do sound design, you integrate the music in all of the soundscape, even when I’m using a classic piece, I try to fit it in as perfectly as possible remixing it with the appropriate effects; I hope directrs will understand how ridiculous is to keep using Queen as the soundtrack to a show.

Where necesity demands it, I do field recordings to get my sounds, at the moment I’m working on a one hour long multimedia piece called “Cristina and Me”, together with the independent theater group Turet, a character on the stage, a VJ and me doing audio. All three of us are involved from start to finish, so it’s a big challenge. To prepare such a performance you need field recording, sampling, composed music, plus the live part where all of these come together, the process is totally different to composing music. Theater is a very fertile medium, creative wise, I would say even more than sound for film, and if you have a live part in the show, you’re pretty much guaranteed to be in for a great ride.

What do you think it’s missing in Romania at the moment, for an explosion of the local talent to take place?

I don’t think there is anything missing. We have all the resources we need, except maybe a few more proper spaces, for creativity we have all we need.

Why then do you think, an explosion of local talent and creativity is not taking place?

As I’ve told you, I think Romania has all the conditions for local creativity to flourish, there is a lot of space available and it only depends on the artists. A lot of them say that they would have fared better outside Romania. The problem is if they are not doing anything here, where the marked is not so saturated, then what are they going to do in England for example where there are a lot of artists and really good ones too… or if it’s not working here, why don’t they have any kind of feedback from overseas?… I don’t know.. I think there is too much procrastination and frustration and too little focus on producing quality things that represent the artist that is making them.

You can listen and learn more about Alin and Jazzadez @:

© 33madspirals 2011. Unauthorized use and/or duplication of this material without express and written permission from this blog’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to 33madspirals with appropriate and specific direction to the original content.


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