Intervju sa Billy Cobham-om

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Bili Kobam (Billy Cobham) je američko-panamski bubnjar svetske reputacije. Kritičari ga smatraju jednim od najboljih bubnjara džez fuzije svih vremena. U svojoj zavidnoj karijeri svirao je sa velikanima poput Majls Dejvisa (Miles Davies), Džon Mekloflina (John MacLaughlin), Tomi Bolina (Tommy Bollin), Karlos Santane (Carlos Santana), Džordž Bensona (George Benson) i mnogim drugim svetskim muzičarima. Iza sebe ima i odličnu solo karijeru koja je počela remek-delom fuzije "Spectrum". Juče je Bili po drugi put gostovao u Nišu, a dan uoči njegovog koncerta balkanrock.com je uradio ekskluzivni intervju sa njim. Intervju Vam je predstavljen i na engleskom i na srpskom jeziku.

Srpska verzija:

Nekoliko godina svirate sa Kalčr Miksom (Culture Mix). Šta nam možete reći o bendu?

Zajedno smo sedam, osam godina. To je bend (smeje se)... članovi... metalne bubnjeve svira Džunior Gil (Junior Gill), gitaru Žan-Mari Ekaj (Jean-Marie Ecay), klavijature i violinu Kristof Kravero (Christophe Cravero), bas Fifi Čajeb (Fifi Chayeb) i perkusije svira Marko Lobo (Marco Lobo). Zovemo se “Culture Mix” (u prevodu kulturni miks) jer je Džunior englez ali mu je porodica iz Trinidada, Žan-Mari Ekaj je francuz ali i baskijac iz San Sebastijana, Kristof Kravero je iz Pariza, Čajeb je tunižanin i Marko Lobo je iz Brazila. Ja sam iz Paname, dakle to je mešavina kultura.

Na vašem zadnjem albumu “Fruit from the Loom”. Ponovo ste snimili pesme poput “Spectrum” i “Crosswind”. Zašto ste odlučili da oživite prošlost?

Zato što vas prošlost nikada ne napušta, znate... to je ciklus. I za mene ja idem i dolazim, idem i dolazim... ali kad preuredim svoju muziku, ideja je da pokažemo gde smo bili i gde smo sada sa istom muzikom.

Svirali ste na Majls Dejvisovom (Miles Davies) “Bitches Brew” albumu koji se smatra jednim od najvažnijih dela džez rok fuzije. Kako je ta ploča uticala na vas?

Ne znam. Mali sam udeo imao u njemu. Bio sam samo još jedan muzičar koji je bio uključen u muziku koju je Majls stvarao i uređivao u to vreme. Lično ne mogu reći tačno kako utiče na moje sviranje, znam da utiće malo ili je možda uticaj veći nego što znam, ali nesvesno, dakle, ne znam.

Zašto ste napustili Mahavišu orkestar (The Mahavishu Orchestra) 1971. godine?

Nisam ih napustio, otpušten sam. Velika razlika (smeje se). Mislio sam da nastavljamo sa radom ali tada sam saznao da sam zamenjen zajedno sa ostalim članovima benda. Osim Džona, on je bio vođa. Sve nas je zamenio. Zato ste odmah posle toga imali ljude poput Žan-Luk Pontija (Jean-Luc Ponty) u bendu.

Zašto ste se onda vratili 1984?

Ponovo sam bio unajmljen (smeje se). Veoma jednostavno. 1984. sam ponovo unajmljen da sviram sa bendom I odradim koncertnu turneju. Završio sam svirajući na albumu, deliću albuma i nikada nisam uključen u koncertnu turneju.

Vodite ovogodišnju bubnjarsku radionicu. Koji je vaš pristup?

Prva stvar je otkriti ko su ljudi, koji je njihov nivo znanja, koliko dobro sviraju. I potom biti otvoren za predloge… davati im sugestije i dobijati informacije od njih. To je cela ideja pokušaja da im pomognem da napreduju.

Ovo je drugi put kako svirate u Nišu. Da li ste videli grad?

Ne mnogo, ne jer radim. Idem od intervjua do uličnih vašara i sledeće što znam je da je vreme da se pripremim za svoj koncert.

Možete li uporediti Nišvil sa drugim džez festivalima širom sveta na kojima ste nastupali?

Mogao bih… Pokušavam da se setim nekog dobrog. Rekao bih… možda u Gracu, Austriji.

Poruka čitaocima našeg vebsajta?

Poruka čitaocima… Molim vas pročitajte ovaj intervju (smeje se). Ima poruku (smeje se ponovo).

Interesantno, hvala vam

Intervju uradio: Miloš Najdanović

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English (original) version:

You have been playing with Culture Mix for couple of years. What can you tell me about the band?

We’ve been together for seven, eight years. It is the band (laughs)… members… playing steelpan, steel drum Junior Gill, playing guitar Jean-Marie Ecay, keyboards and violin Christophe Cravero, playing bass is Fifi Chayeb and playing percussions Marco Lobo. We call it “Culture Mix” because Junior is English but family is from Trinidad, Jean-Marie Ecay is French but Bask from San Sebastian, Christophe Cravero is from Paris, France; Chayeb is Tunisian and Marco Lobo is from Brazil. And me I’m from Panama, so it’s a mixture of cultures.

On your latest album “Fruit from the Loom” you have re-recorded your old songs like “Spectrum” and “Crosswind”. Why have you decided to revive the past?

Because the past never leaves you, you know...It’s a cycle. And for me I go and come and go and come... but when I rearrange my music, it was the idea to show where we were and where are we now with the same music.

You played on Miles Davies’s “Bitches Brew” which is considered to be one of the most important albums of jazz rock fusion. How did it influence you?

I don’t know. I had such a small part in playing there. I was just another musician involved in the music that Miles was creating and directing in that time. I personally can’t say exactly how it affects my playing, I know that it does in some small way or maybe it is bigger even than I know, but not consciously, so I don’t know.

Why did you leave The Mahavishu Orchestra in 1971?

I did not leave them, I was fired. Big difference (laughs). I thought we were continuing and then I found out that I was replaced along with the other members of the band. Except for John, he was the leader. He replaced us all. That’s why you had immediately after that people like Jean-Luc Ponty involved in that band.

How come you came back in 1984?

I was hired again (laughs). Very simple. In 1984. I was hired to perform with the band and play a concert tour. I ended up performing on the recording, the proportion of the recording and I was never included in the concert tour.

You’re the instructor of this years drum workshop. What is your approach?

First thing is to find out who the people are, what their level of proficiency is, how well they play. And then to be open to suggestions… giving the suggestions and receiving information from them. That’s the whole idea of trying to help them progress.

This is the second time you’re playing here in Nis. Did you see the town?

Not very much, no, because I’m working. I’m going from interviews to street fair and next thing I know I have to prepare for my concert.

Can you compare Nisville to other jazz festivals you played on around the globe?

Yes I could… I’m trying to think of a good one. I would say… maybe in Gratz, Austria.

Message to the readers of our website?

Message to the readers… Please read this interview (laughs). It has a message (laughs again)

Very interesting, thank you

Interview done by: Miloš Najdanović