Jazzadezz Concert @ The Ark 8th of April 2011
© 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.
Alin Zabrauteanu – Jazzadezz
Alin Zabrauteanu este unul dintre cei 3 membrii Jazadezz, mai precis chitaristul/claparul/compozitorul/producatorul trupei.
Mai jos aveti un interviu foarte interesant.
Cum simti ca este perceput grupul Jazzadezz de catre public?
Imi place sa cred ca prezinta interes din start pentru oricine. Fie pentru ca nu au mai auzit aceasta combinatie de genuri si subgenuri, fie ca sunt putin confuzi daca e sau nu e jazz, ori fie pentru simplul fapt ca suna melodios si placut. Ideea e ca se intelege ca nu cantam jazz si nu ne propunem sa fim o formatie de nisa. Nu ne cautam noi publicul, desi vrem sa-l filtram cu un anumit tip de rafinament. Prin atmosfera pe care o cream vream sa aducem un aer mistic si de visare care sa se concretizeze si mai mult in live, unde vizual trebuie sa fii la acelasi nivel cu cel sonor. Pe viitor ne dorim sa imbinam vizualurile lui Vali Chincisan, cu o scenografie, niste lumini si eventual niste costume bine gandite. Numai ca pentru asta ai nevoie si de niste spatii adecvate.
Care este procesul vostru creativ?
Nu avem retete si incercam sa le evitam pe cat posibil. Albumul Inimani Mal are o poveste aparte si procesul de productie a fost oarecum diferit fata de cel de acum. Acolo toate piesele au fost compuse pentru chitara si voce, dupa care le-am reorchestrat in studio si peste acel material si-a adus aportul Calin cu instrumentele de suflat. Piesele s-au transformat iar cu primul album ne-am cautat un sound aparte. Ne-am gasit cateva elemente care ne definesc pe noi ca persoane in primul rand si poate abia apoi ca artisti si cu ele mergem mai departe, in diferite forme. Nu ne oprim la un sound anume, cautam tot timpul ceva nou dar care simtim ca ne reprezinta. In prezent lucram la un album nou, unul mai clar si mai direct, mai cursiv si mai dinamic, in care plecam de la niste improvizatii, parti instrumentale care ii confera o mai mare libertate Dezdemonei si peste care Calin aduce culoare si substanta cu instrumentele de suflat. Vom avea de asemenea si mai multe bucati instrumentale, unde fiecare isi poate doza mai bine energia pe care vrea sa o transmita. Pentru noul album, avem un concept in spate care ne ajuta foarte mult si ne ofera un echilibru in creatie, dar despre el as vrea sa vorbesc cand avem albumul gata.
Foarte multi artisti din Romania nu au casa de discuri si prefera sa se promoveze singuri. Crezi ca e o metoda sau o necesitate pentru pastrarea integritatii artistice?
Casele de discuri asa cum le stim noi sunt in coma de ceva vreme. Traiesc din acei artisti care trebuie sa ajunga la radiourile care rasuna in taxiuri si pe santiere sau pe tv in saloanele de manichiura, coafor sau frizerie… Ofera produse care pot merge in gol fara sa deranjeze masele sau sa le suprasolicite. Pentru restul exista internetul si eventual label-urile de pe net care iti pot oferi un plus de promovare. A fi independent e o solutie dar trebuie totusi sa ai niste cunostinte de marketing si in special marketing online in spate. Daca muzica ta e pe toate siteurile importante si are review-uri pe bloguri cunoscute si apreciate, poti functiona la fel de bine independent.
Am observat ca aveti buton de PayPal pe site, folosesc vizitatorii acest buton, va platesc pe PayPal?
Avem dar nu cred ca a fost apasat de prea multe ori. Pana la urma avem albumul gratis la download asa ca cei care vor sa plateasca o fac doar daca vor.
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Spune-mi cate ceva despre proiectele tale legate de muzica de teatru
E o zona fascinanta si din pacate prea putin abordata in Romania. In prezent sunt la un master de sound and light design la UNATC. Sunetul e inca lasat undeva pe ultimul loc in majoritatea productiilor teatrale romanesti desi are un impact dramatic major. In materie de sound design, teatrul e un spatiu extrem de ofertant. Uneori te intrebi ce cauti pe scena ca muzician si daca locul tau e acolo. In teatru e mai confortabil. E cu adevarat placut sa observi ce influenta are sunetul in desfasurarea intregului spectacol. E de admirat ce face Vlaicu Golcea in aceasta zona. Mi-as dori sa aud ceva Makunouchi Bento in teatru. Momentan lucrez la un spectacol multimedia cu trupa Turet – “Eu si Cristina”, care va aparea la primavara si unde sunetul are un rol major. Dupa care incep lucrul la un spectacol de dans contemporan, ceea ce imi doream de mult sa fac.
Cum abordezi sunetul de teatru si ce set-up foloseti?
Din setup-ul meu pentru o piesa de teatru face parte Ableton Live impreuna cu un midi controller (uzual un Trigger Finger). Cu un astfel de software peisajul sonor se poate diversifica foarte mult. Pe langa partea de sampling prestabilit se pot folosi foarte usor multe efecte live, cu resurse minime. In prezent partea de multimedia trebuie tratata mult mai atent, in primul rand de catre regizor, care trebuie sa inteleaga potentialul dramatic al acesteia si nu sa se rezume doar la a avea o muzica luata de pe net si pusa de pe un cd player, eventual doar la sfarsitul spectacolului, sau in cazul luminii doar la a avea lumina pe fata actorilor. Intr-adevar actorul reprezinta elementul de baza al unui spectacol de teatru, insa partea de multimedia trebuie tratata cu aceeasi importanta.
In cea mai mare parte, compun muzica special pentru moment. Insa trebuie sa spun ca e o diferenta intre ce inseamna muzica pentru teatru si ce inseamna sound design. Cand spui ca faci sound design, inseamna ca trebuie sa integrezi muzica in toata atmosfera sonora. Chiar si atunci cand e nevoie de o anumita bucata clasica, incerc sa o integrez remixand-o sau folosind fx-uri potrivite. Sper doar ca regizorii sa inteleaga cat de penibil e ca inca sa folosesti Queen intr-un spectacol.
Unde e cazul, prefer sa fac sesiuni de field recording. Momentan lucrez la o piesa multimedia, o ora de audio-vizual, numita “Eu si Cristina” (impreuna cu trupa de teatru independent Turet). Un personaj pe scena, impreuna cu un VJ si cu mine pe partea de audio. Toate trei elementele merg impreuna cap-coada, asa ca provocarea e mare. Pregatirea unui astfel de performance, necesita si field recording si sampling din alte surse si muzica compusa, plus partea de live. Procesul e cu totul altul fata de cel strict muzical. Teatrul este foarte ofertant din punct de vedere creativ, as zice chiar mai mult decat sunetul de film. Si daca intervine si o parte live in spectacol, avem deja sanse sa fie foarte bine.
Ce credeti ca lipseste in momentul de fata in Romania pentru o explozie a creativitatii talentului local?
Nu lipseste nimic. Avem toate resursele de care avem nevoie, poate doar mai putin cateva spatii adecvae de concerte. Dar pentru creativitate avem tot ce trebuie.
De ce atunci nu are loc o explozie de talentului local?
Ti-am spus, ca eu cred ca sunt toate conditiile in romania sa faci lucruri ok.. e loc mult pentru asta asa ca nu depinde decat de artisti. Multi zic ca ce bine ar fi fost in afara.. problema e ca daca aici nu se remarca unde piata nu e atat de saturata, atunci ce ar fi facut in Anglia unde sunt foarte multi si foarte buni, sau daca nu merge aici, atunci de ce nu au nici un feedback din afara.. nu stiu.. cred ca din cauza ca e prea multa lamentare si frustrare si prea putina concentrare pe a face lucruri personale si bine produse.
Puteti asculta si documenta mai mult despre Alin si Jazzadez @: www.jazzadezz.ro
© 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.
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 @: www.jazzadezz.ro
© 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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