> Interview with Adam Holzman
> Sound of Vienna: Wiener Concert Schrammeln
> Inspired passion à la BASTARDISTA: Interview with Célia Mara
Adam Holzman in Conversation with Maresa Rutter
Born in 1958 in New York City as the son of Elektra Records founder Jac Holzman, Adam Holzman is regarded as one of the top keyboard players in the world. A member of the Miles Davis Band from 1985 to 1989, he performed with the trumpet legend in more than 200 concerts worldwide and can be heard on two Miles Davis albums. In 1988 he became Miles's musical director. Adam also performed and recorded with a number of other legends of the music scene, including Grover Washington, Jr., Stevie Wonder, Michel Petrucciani, Wayne Shorter, and Chaka Khan. In January 1993 Adam was nominated Best Electric Jazz Keyboard Player in Keyboard magazine. Adam released several albums and toured almost all over the world, not only as soloist, but also with his band Adam Holzman & Brave New World. Adam Holzman is a composer, a musician, a producer, an illustrator, and a teacher. For the past ten years Adam has taught the Electric Miles jazz ensemble at The New School University in New York City, and he has also taught at the Outreach Music workshop in Schwaz, Austria since 2001.
Mr. Holzman, on June 3 you are going to perform at the ACFNY with Shmuel Barzilai, the cantor of the Viennese Jewish Community. What can the audience expect from that collaboration?
The concert will be a mix of different styles. We plan to start with a few traditional cantorial pieces and then add different elements as we go on, incorporating contemporary jazz and world music. We will have percussion and guitar in addition to voice and keyboards.
How can we picture the combination of Jewish cantorial singing and contemporary jazz? How do these two styles match?
Jewish cantorial singing and contemporary jazz both contain flexible musical forms. The chord structure of a lot of traditional Jewish music is not that different from some jazz chord changes, and both styles employ open-ended modal-type improvisations. I think the combination will be great!
How was the idea for this project born?
I am not really sure, actually. I was contacted by Michael from the ACF. I think he thought of the combination after seeing me perform with popular Austrian musician Franz Hackl.
What role does religion play in your life?
I am not particularly religious, at least in the traditional sense. We celebrate the holidays, that's about it.
Which associations do you have with Austria?
I have been very fortunate to have spent quite a bit of time in Austria. Every summer I work with Franz Hackl at the Outreach Music Workshop in Schwaz, and we have done many very interesting and unusual projects over the years. I also know a lot of people in Innsbruck and Vienna, so I always have a good feeling when I visit Austria.
Is music a natural, inherent gift or could anybody learn to be a good musician?
I think it depends on a lot of things, for instance what a person’s goals are musically. I feel anybody can gain something from learning at least a little bit of music. Playing professionally is another matter, of course, but I don't feel comfortable saying what is "good" or "bad." If you enjoy it, then it's good, or at least a good start.
What would Adam Holzman do if he wasn’t a musician?
I probably would be a cartoonist. I have a little cartoon business on the side called Big Fun Comics. Check out www.bigfuncomics.com
How important is it for you to create something that will last for generations to come?
It would be great, of course, but since there is no way one can plan for that, the best thing to do is just do the best you can! If it's good, hopefully people will still like it years from now...
Sound of Vienna
by Lena Eder-Schützenhofer
Schrammel music used to go hand in hand with alcohol. It first emerged in the 19th century in the Viennese heurigen wine taverns on the outskirts of the city. Still today a popular part of the Viennese life, people gather at heurigen to socialize and enjoy local wine. Class distinctions disappear in this setting, and nothing can compare to the sentimental effect of the sweetly maudlin sound of Schrammel music. This unique form of music is named after its originators, the Schrammel brothers. Both were masters of the violin and would go from tavern to tavern playing music in a quartet with a contraguitarist and a clarinet player. They became wildly popular with people from all walks of life. During their seven years together, the Schrammel brothers created a number of compositions that gained world renown. It is noteworthy that even great composers like Johann Strauss and Johannes Brahms were Schrammel aficionados.
Typical Schrammel music features contagiously catchy melodies that create a melancholic yet humorous ambience, punctuated by rapidly changing tempos and rhythmic variations. The tunes have a soulful quality that activates emotions of joy, sadness, and contemplation.
The Neue Wiener Concert Schrammeln ensemble is a jewel in the contemporary Viennese Schrammel music scene. Described by the RadioKulturhaus as “some of the best that this city of music has to offer,” the quartet succeeds in honoring the genre’s traditions while producing subtle reinterpretations and new compositions. The group consists of Peter Uhler and Valmir Ziu on the violin, Peter Havlicek on the contraguitar, and Günther Haumer on the button accordion.
On Monday, June 7, at 7:30 PM, the Neue Wiener Concert Schrammeln will delight New York with their interpretations of Schrammel music at the Austrian Cultural Forum New York.
www.concertschrammeln.at
Inspired passion à la BASTARDISTA
by Lena Eder-Schützenhofer
Célia Mara is a poet with a mission. Praised by critics all over the world, the Brazilian-born artist, songwriter, musician, and singer is as constant a presence in the world club scene as she is in concert halls and at open-air festivals, and with good reason. Fluent in five languages and several instruments, Célia is the front lady of a band whose members hail from different genres. To contain such multifaceted sounds, they created their own style, they call bastardsound: European turntablism meets Brazilian intellect.
The vibe created by this unique blend of Brazilian, Afro-Cuban, hip-hop, lyricism, and electronic mirrors the colorful personality of Célia, who has never stopped expanding. Her lyrics are strongly political, expressing both what she’s for – rebellion, emancipation and liberty – and what she’s against: literal and figurative borders. As part of the Brazilian diaspora movement, themes like migration and discrimination are particularly resonant. Yet while addressing crucial themes, she still manages to get the crowd moving. Célia Mara represents the diversified Europe, global urban culture at its finest.
We are very fortunate that Célia Mara is currently touring in the U.S. Though it was her first day in New York, she was very willing to sit down for an interview.
Has your opinion of Austria changed in the 19 years that you’ve been living in Vienna?I always think every day is a new day. It’s just like in a relationship: you grow together. I grew and Austria also grew. So we've been growing together, and I think that's what makes it interesting.
What is home for you?
Home is where I have my family, where I can pursue my career, where I am fulfilled, and where there is reciprocity. I have Brazil and I have Austria.
When you’re in Austria, do you yearn for Brazil and vice versa?
That’s the fate of an emigrant. This yearning is part of my life.
Your music is very political…
My existence is very political. Politics starts the moment there is more than one person.
When did you first develop political awareness?
At home. I grew up in an atmosphere of discussion and expression. And I think you just take that kind of thing on naturally, without having to consider it.
Do you have a favorite audience?
My favorite audience is one that accompanies me through the night in rapture. The greatest thing about my audience is that it’s mixed. There are no age limits, but there is a political opinion and a political sensibility. If they can’t come to me, I have to go to them. That’s why I’m here in New York. It’s my first time in New York – it’s like a dream. The American Dream (laughs). For me, the dream is to be here now and play my music and spend a wonderful time with people.
You once said in an interview that you’re a witch and a saint. When do you see yourself as a witch and when as a saint?
I think this duality is really important. Sometimes you have to be tough, assert yourself, say something bad, and do a little magic. Upsetting order is a game for me. And I’m ambassador of sorts. Actually, I want to change the world. And through messages I try to help people grow. People need the right information. We’re surrounded by information all the time. But somebody has to show us the right way, show things that people may not have seen yet.
The Austrian Cultural Forum presented Célia Mara on May 03.
Sources: www.celiamara.net, FLY global music culture online (http://www.flyglobalmusic.com/fly/archives/latin_america_reviews/celia_mara_-_ba.html), Songlines magazine online, ZIB 2, Globalista press releases
