Hallo zusammen !
Diese CD „Shabaka And The Ancestors“ vom letzten Jahr, hatte es nicht in die Best of 2016 geschafft. Schwerer Fehler, vielleicht. Aber dieses Interview gibt Euch gelegenheit Ihn näher kennen zu lernen und auch seine Musik besser zu verstehen. Lohnt sich !!!
On “Wisdom of Elders,” Shabaka Channels the Spirit of South African Jazz
As a young boy growing up in Barbados, Shabaka Hutchings wasn’t immediately drawn to music. There was no bolt of lightning, no key moment that made him want to pick up an instrument. Instead, bored in a music class one day, a teacher asked him if he wanted to play, and handed him a clarinet. “There wasn’t really any choice,” Hutchings recalls. “I wanted to play the saxophone, but they were like, ‘We’ve got a lot of clarinets, so that’s what you’re gonna play.’”
Hutchings lived in Barbados until he was 16, playing clarinet in reggae bands, and creating other improvised forms of music. In Barbados, music wasn’t classified by genre: “If you played an instrument, you just played that instrument. There wasn’t any kind of distinction about what, specifically, you played.” Hutchings started developing an interest in jazz when he moved to Birmingham, England as a teenager. There, he met and studied under legendary saxophonist Courtney Pine. “It went from a point of me knowing nothing about jazz, to practicing with an established jazz musician and checking out the albums he was checking out, and seeing what the music actually is.”
Over the years, Hutchings has performed and recorded with jazz luminaries—the Sun Ra Arkestra, Mulatu Astatke, and the Heliocentrics, among many others. He recorded his new album, Wisdom of Elders, in Johannesburg, South Africa, with a crew of celebrated local composers. We spoke with Hutchings about the LP, the difference between the South African and London jazz scenes, and how current events influence his art.
What kind of music did you listen to growing up?
A lot of calypso. A lot of reggae. My mum was trying to get me to listen to jazz, but I didn’t want to hear it. I was at that age where I saw jazz in the way that a lot of young people saw it: Old people’s music. There was nothing connecting me to the actual culture of jazz. I had not heard it live in its original setting, so I really didn’t want to hear it. I was listening to a lot of hip-hop, a lot of ‘gangsta rap’ from the ‘90s. That was the thing on all the airwaves. In Barbados, smooth jazz is a big thing—the more accessible, mainstream thing. When I first came to England, that’s when I first started to really learn about jazz, seeing the many facets of it, and understanding how they relate to actual experiences.
What was your impression of the London jazz scene when you first got there?
I moved to London when I was 19. There were so many musicians, all doing specific things, which was certainly overwhelming. If you were into bebop, you could get that. If you wanted improv stuff, you could get that. If you wanted to be in the electronica/noise scene, you could get that. For me, I like hanging out with the people in those scenes. So it wasn’t about ‘I’m gonna find the type of music that I like.’ I wanted to go to all the places.
© Bandcamp,Marcus J. Moore