David Benoit: A smooth operator staying true to himself<\/p>\n
Hera Diani, The Jakarta Post, Jakarta<\/p>\n
Jazz pianist David Benoit felt he had to give a proper greeting
\nto his audience, so he asked for the lights to be turned up.<\/p>\n
But it took the lighting person in the Mutiara Ballroom of
\nGran Melia Hotel, South Jakarta, a few long minutes to figure out
\nthe instruction.<\/p>\n
So, he went ahead and greeted them anyway.<\/p>\n
Benoit has every right to treat Indonesian audiences with due
\nrespect; they love the fact that he keeps coming back, with the
\nconcert last Wednesday his fourth visit here.<\/p>\n
I saw him in Bandung in 1996 when Benoit shared the stage with
\nguitarist Earl Klugh. It was a great concert, and the same can be
\nsaid for the one last week.<\/p>\n
Accompanied by a drummer, a bassist and a sax player, Benoit
\nplayed with his trademark virtuosity, belting out around 15 songs
\nto an enthusiastic audience.<\/p>\n
Kicking off the concert with Snap, an upbeat number from last
\nyear's album Fuzzy Logic, he offered up old hits, like Kei's
\nSong, Every Step of The Way and the Charlie Brown Theme, and new
\nones from the new album Right Here Right Now.<\/p>\n
Released last week, the album is Benoit's 23rd recording (the
\n15th with the noted GRP record label) in his 25-year-career. Yet
\nhe says it will be his last with GRP as he has decided to move
\non.<\/p>\n
According to Benoit, management changes have led to the label
\ninterfering too much in the creativity process, and it's
\nsomething that bugs him.<\/p>\n
On the morning prior to the concert, The Jakarta Post and a
\nfew other local media had the opportunity to interview him on
\ntopics such as the trend in major record companies swallowing up
\nsmaller labels, the jazz scene today and how he still hopes to
\nwin a Grammy.<\/p>\n
Here is an excerpt of the interview.<\/p>\n
The Jakarta Post: It's the fourth time you've come here. Do
\nyou like Indonesia that much?<\/p>\n
David Benoit: Well, the Indonesians must really like me
\n(laughs). Yes, I do like Indonesia. A lot of my friends are
\nreally surprised that I still want to come, with all the
\nbombings.<\/p>\n
But we have to share the music with the world, that's our job.
\nIf we stop doing it, that's exactly what the terrorists want.
\nThey want us to be afraid.<\/p>\n
Terrorism, the 9\/11 tragedy -- does it affect your creativity?<\/p>\n
I wrote a very orchestral emotional piece, but the record
\nlabel doesn't want that kind of music (on my latest album). It's
\na very different kind of time we're in right now. Record
\ncompanies, they're very conservative, and they want to stick to
\none, you know, just keep it happy (laughs). So, I'm planning to
\nrelease this piece of music on my next record, to feature a lot
\nmore of my orchestral symphonic music.<\/p>\n
Speaking about conservative, is that why Fuzzy Logic is
\nmusically different from your previous records?<\/p>\n
Actually with Fuzzy Logic I wanted to try experimenting with
\nsome funky music, some European music.<\/p>\n
The new record Right Here Right Now, I actually wanted to put
\non some more orchestral music on that album. But the record
\ncompany said no, I have to be honest. I'd just have to be honest
\nbecause that's just too bad. But it's also my last recording for
\nthat label so I can afford to be a little more honest (laughs).<\/p>\n
So, I'm looking for a new record label, the way they used to
\nbe -- which was very friendly about artists and letting them do
\nwhat they wanted. So, I'm looking to get back to that situation.<\/p>\n
So, you will no longer be with GRP?<\/p>\n
Doesn't look like it. They have, surprisingly, made an offer
\nto have me stay. But I have four other offers from other
\nrecording labels. All smaller labels. So, I'm looking at all
\nthose offers.<\/p>\n
But the most important thing with anybody is letting me be
\ncreative, not just fitting into the narrow category of smooth
\njazz.<\/p>\n
Because I've always in my career as, you know, been able to do
\ndifferent kinds of records. So, this is just a recent thing where
\nthe record company has changed their rules.<\/p>\n
You've been nominated for a Grammy Award three times but never
\nwon one. How do you feel about that?<\/p>\n
It's a mixed feeling. To be nominated for a Grammy Award is
\nreally a big accomplishment in terms of the overall. I'm happy
\njust to be nominated.<\/p>\n
But that's one reason for the record company, because if we're
\njust making music that is just really average, there's less
\nchance to win a Grammy. When you win the Grammy, that means
\nyou've come up with something that is musically brilliant.<\/p>\n
So my song about 9\/11 has more chance to win the Grammy than
\n(doing a cover of Herbie Hancock's classic) Watermelon Man
\n(laughs). I mean, I just wanna be given the chance to at least do
\nwhat I think can get me a Grammy. Although, like I say, I'm happy
\njust to be nominated.<\/p>\n
There is that prolonged debate with purists who think that
\nsmooth jazz is not jazz. How do you position yourself on
\nthat ...?<\/p>\n
I'm somewhere in the middle. Being one of the people who
\nstarted smooth jazz, I need to be allowed to do other things. I
\nlike all kinds of music. I'm not a purist, no.<\/p>\n
I just don't want to have those restrictions from a record
\ncompany to do just smooth jazz. I do smooth jazz but it's not
\nenough for me, 'cause there's not enough musical substance in it,
\nyou need to do other stuff. It's important to do other things.<\/p>\n
You're also working on a play about Marilyn Monroe, right?<\/p>\n
Yes, it's a musical called Something's Gotta Give, with 18
\nsongs in it. I hope to get started on that again, that has been a
\nlong process. This is in the third year.<\/p>\n
I recorded the title song from that musical on the new album,
\nbut it was taken off by the record company. They said, \"No
\nBroadway show music, this is smooth jazz, stick to that\".<\/p>\n
Is that what the market really wants or the record company
\njust doesn't want to take the risk?<\/p>\n
The large companies just don't want to take risks. The music
\ndownloading problem has just killed all the sales in America. And
\nso now they're just so afraid they don't want any music that
\nsounds too far out.<\/p>\n
It was very shocking to all of us when the label asked us --
\nnot even asked us, they told us -- to take the song off. There
\nwere the calls to the attorney, and I felt the best thing to do
\nwas to give me the copyright back in the ownership, so that I
\ncould put it out on other record.<\/p>\n
Will the unwillingness to take the risk kill new talent?<\/p>\n
I guess so, I think it's a big concern. I think part of the
\nproblem is that when GRP started it, it was just two men: Larry
\nRosen and Dave Grusin. They love music and they promoted it.<\/p>\n
And then it was butt out, like Universal. And Universal put a
\nguy in there whose only concerned about sales, and not about the
\nmusic.<\/p>\n
That's a trend right now because of these huge corporations
\nbuying small labels. They have more control and more power to
\ntell artists what to do.<\/p>\n
Do you think the 9\/11 tragedy has had such a huge impact on
\nthe jazz music scene? You know, like in the 1930s when swing
\nshifted to bebop?<\/p>\n
I don't think there is any real influence. It certainly
\nchanges the way we live. But I see a lot of artists are going
\nback to the old classic standards, like Diana Krall.<\/p>\n
Why is that?<\/p>\n
I think people are looking for melody again. I think the rap
\nmovement changed music, and in a good way. But it is less melody
\noriented and more beat oriented, with drum loops and everything.<\/p>\n
It's the same in Europe now with popular music called chill
\nmusic, with this drum beat, jazz sample ... but it's all based on
\ndrum patterns.<\/p>\n
Do you think the emergence of Norah Jones has really changed
\nthe jazz music scene?<\/p>\n
I think it's been great, the emergence of Norah Jones. She's
\nbringing back the melody song instead of this just drum pattern,
\nand monotonous drum beat.<\/p>\n
Like in Don't Know Why, we can't barely hear the drums
\n(humming the song).. the important thing is that melody.<\/p>\n
When I first heard it on the radio, I hadn't heard anything
\nlike that for so long. I was like, Wow, who is this?.<\/p>\n
Again, she stuck to her beliefs. I think what she's doing is
\ngreat. I think she sort of started a trend that I'm excited
\nabout, OK, let's get back to some songs again (laughs).<\/p>\n
That's why I decided to cover her song (on his latest album).<\/p>\n
Later that night, Benoit retouched that very song, accompanied
\nby local singer Nina from pop group Warna. It was not a very
\nappropriate choice, given Nina's less jazzy vocals.<\/p>\n
Before that, singer Glenn Fredly also popped out on stage,
\nsinging Earth, Wind and Fire's seminal hit After the Love Has
\nGone. Not bad, but the appearance of the two local singers seemed
\na bit unnecessary.<\/p>\n
Still, it was pretty liberating that amid all the tragedy and
\nfears surrounding us here, we still got the chance to watch a
\nworld-class performance from a loyal friend. At prices up to Rp
\n450,000 it was a pretty expensive treat, but it was worth every
\npenny.<\/p>",
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