Typical rhythmic constructions of the folklores from Europe of East had help you to approach the drums, even for integrating into it?
Not really. In Hungary, I did not hear the traditional musics. Curiously, I had really interested me when it was necessary to turn with this formation (see higher, NDR) in France. I have due to learn the balkans rhythms, asymmetrical, the 7/8. I can now from time to time transpose that on the drums. It is a very special feeling... The hungarian folk is not very rich rhythmically, contrary to the rhythms of Balkans which are much more subtle. I start again today to listen to many folk music and more and more African music. It is fabulous, Africa! The secret comes from over there. The story of humanity, music, jazz. In my studies, one said nothing of these musics to us. One made us listen to Fats Waller, Bennie Goodham whereas us one doesn't matter, preferring to throw usself on the modern discs. It was said, wrongly, that it was old whereas it is one of the more recent arts.
You have interested in the free jazz...
I was fascinated by this music! I remember a splendid concert with the deceased drummer Stu Martin. I found that brilliant. I have understood that the free did not be a kamikaze music in which you sink with closed eyes but, in fact, a advanced and very structured design from freedom. There was always an interior pulsation. I like the free when this pulsation is suggested. Jack DeJohnette said that in each noise there was a rhythm... it is right. I try always to seek a kind of rhythmic movement even it is not regular.
Like the style of Jon Christensen for example?
Yes, although Jon gives you the illusion that he plays light and airy, actually its blows weigh, do not float and are very supported.
Jon Christesen had the sufficient luggage, with Dexter Gordon or Bud Powell for example, to be able to conceptualize its step then. One exist not in the vacuum! It is necessary to rub with this "schooltype". To understand all that, it taked me time. That to admit that to advance it is necessary to move back from time to time, to seek behind without stop on the way.
"Impromptu music had learned to me that one needs the others. "
| Which were your significant meetings? There is a certain number of it! Jacques Pellen of course, the Italian pianist Enrico Pieranunzi, Pale Danielson (Norwegian double bass player), the Canadian trumpet player Kenny Wheeler. I had picked up my future wife on one of her discs with Keith Jarrett... It was a dream to play with him; it was realized in the quartet with Jacques. I have so understood many things while playing with the pianist Francis Lockwood. Especially that the piano and the drums were very dependent, much more than the bass and the drums. There are pianists who can make you play, other not. Hear McCoy Tyner and Elvin Jones or Richie Beirach and Billy Hart! Francis made leave the things of me that I haven't ever imagined. Obviously, there is Barney Willen which made me very early confidence, asking me simply to take fire... but with the swing. Also the meeting with Riccardo DEL FRA (Italian double bass player), with Éric Barret or the pianist Danilo Rea... You cheeks in different musical contexts: be-bop, Celtic jazz, modern jazz... Do you find you again? The experience comes after having touched with much different univers. It is necessary to be put in unusual situations. These meetings have consolidated me in this way. One should not be categorical on the other musics but remain very open and very humble. Which are your weak points? I undoubtedly think that I am too "rythmic" and not enough "sonority". I have nevertheless progressed! The drums is a very complex instrument. To understand why the large case is granted acute to no obstruct the double bass... You often use the Chinese cymbal like a ride... Stu Martin had only that Chinese and it was fabulous. Sometimes when I feel me well on scene, I do all with this cymbal. It is damage not to entirely exploit the multitude of sounds that she can offer. |
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| MATERIAL Pearl MLX 18" , 10" , 12" , 14". Clear case 6" 1/2. Several sets of cymbals according to the music. |
| DISCS TO LISTEN Gritz - Méchali - Couturier - Larché: "Acte IV" (Gimini/Night & Day) Jacques Pellen: "Celtic Procession" (Silex/Audivis) Barney Wilen: "Modern Nostalgia" (IDA/OMD) |
After more than ten years being played much and in varied registers, how do you see your future?
I haven't more desire for making things on the right on the left, for making this trade. I now prefer to build stories. Music, it is emotional and the emotion is not easy to feel if you connect gig on gig. One needs to claim himself while playing in concepts and with musicians whom you really smell.
It's you sometimes happened to feel your limits?
Yes, and that was very painful. I was saturated, I could not look at any more the instrument. I have takes stock of my play and there is proven that it were too many impersonal things. Since, I set out again. I think of determining my step and I seek it in all the concepts of music without premeditating it.
You like that it has there another instrument which accompany you when you choruse?
It is the case of all the instruments except the drums. Why? Éric Barret had it understood, he accompanies me often with the saxophone at the time of my solos and that really functions. I have horror on this side circus where the drummer is alone. The solo of drums depends on the preceding soloist. It influences you, it is a sequence. If that occurs quite front, that unrolls naturally. I like very much this collective side. Impromptu music had learned to me that one needs the others.
You have a project from album under your name...
Yes. What is not synonymous of solo album, of leader. Everyone pushes me to do it. I do not regard myself as a composer. I do not want to assemble my own group but right being the instigator of a meeting in studio. I have absolutely need to hear the sonorities of guitar of Jacques Pellen... I would like also to be able to make come John Surman, Pale Danielson, Kristen Nogues, Éric Barret... Only friends and not guests with which I haven't anything divided. The exoticism side, it is not my trick. I have only write three pieces for the moment. In fact, everyone can come with its composition, it is open. I do nothing but cause situations.
Remarks collected by Frédéric Soupa
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