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always wanted to take over, I cannot say if this is truer today than yesterday. But it is certain that new technologies - and the phenomenon of zapping have multiplied, helping the exponential rise of the number of contenders bursting to get the top spot and now it’s more difficult to define if the emergence of artists is based on true and lasting values. The preemption to rapid stardom, that is erected as undisputed reference as blurred the lines. It was to be expected.
Many think there is commercial music that fill stadium and good music that has a small audience why? some would say the good musicians are rare diamonds and necessarily very few can afford the luxury of having them is that true? Or rather it is related to the refusal of some to accept anything just to be in front page, the ideal as Jacob Desvarieux stated, is to do good music marketable to many at the since time, is this still possible?
That is the problem of "serious" music, elitist by definition, opposed to "pop" music, popular by definition too. It is a fact that we cannot celebrate and deplore both. Jacob is absolutely right: this is the task that falls to any artist because, in short, perhaps is this, the definition of masterpiece sophisticated and popular all at once. Are masterpieces still possible? We must wait the test of time to answer really. Only Time will tell..
Is this anecdote true? while you worked with James Brown you were asked to give him all the product of your artistic work is it true? why this album with James Brown was never released?
It’s true and, in view of this disagreement, it is the same reason why it was never released. In a state of law, marketing cannot be done with the agreement of the parties involved.
As a studio musician you've never had the frustration of working for the success of others?
No, as I have already explained, It’s only my music I do in the end. The case of the group
Level 42 is eloquent in this regard. Also, a system of remuneration for neighboring rights has been established and strengthened throughout the world (rights of interpreters, musicians, producers, etc., other than pure copyright) rights that show the collegiality in the creation of what the public receives final.
It is impossible to mention all the artists you have worked with, however I would like to hear a word about each artist that I would quote for your work and collaboration. 1985 Mick Jagger She's the Boss- how was it?
Funny, because what we envisioned together a few months ago, in view of the praise he made to me about the album "A Child's Adventure" of Marianne Faithfull, it should have been different much more intimate. By choosing Bill Laswell as a producer, he finally opted for a more rock and more aggressive approach. It is a hard worker who has my respect, and who had the elegance to send me an autographed copy, it's rare.
1979 Myriam Makeba- Comme Une Symphonie d’Amour?
Funny too, because you imagine that, given her absence during my session, and I was not told that it was her singing, I have long wondered during my track recording session, who was this voice so resembling ...
Flashmag October 2017 www.flashmag.net