A Quote by Dianne Reeves
Brazilian music has been a part of almost every record I've done, and I'd eventually like to record an entire album of Brazilian music.
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I've been touching instruments since the day I was born. My mother is Brazilian, and she listens to Brazilian music. My father was a musician, and I've seen pictures of him when he was in a band playing guitar and piano. He loved country music, Frank Sinatra, and stuff like that.
For me Brazilian music is the perfect mix of melody and rhythm. It just bubbles rhythmically. If I had to pick just one music style to play if would be Brazilian.
My mum is Brazilian and very proud. I'd love to do a Brazilian film. I've been brought up in the Brazilian culture. My mum brought me up on my own, I cook Brazilian food, I've never spoken a word of English to my mother.
My training in music has been very eclectic - as first a flute player from classical chamber music to jazz, Greek, Brazilian and African music to contemporary concert music.
My entire education in music was in reading interviews with bands like Stereolab and finding out about Brazilian music or a Romanian composer. You expose yourself to what people you look up to admire.
My feeling is that my body and all my things inside me - when I move, when I do everything - are Brazilian because my family is Brazilian, and my mother language is Brazilian Portuguese. But all the thinking in my life, all the treatment with people, I think I'm more from Spain. That's how I grew up.
My family is Brazilian and I feel Brazilian, even though I have never lived there. I was born and raised in Belgium so I also feel Belgian. I feel the blood of a Brazilian, but I understand both ways.
Some musicians make and record music; other musicians play in a band... I just make and record music, and I don't feel a part of anything in any music business.
I love the way I make hip-hop and I refuse to make pop-rap. I don't refuse to make mainstream music, which is why I did a soul record. There was no reason why soul music couldn't get played on the radio and I still wanted to have a relationship with my record label. So, I really enjoyed doing the Strickland Banks album. But there's no point in my trying to release underground hip-hop music on a major label. That part of my talent, or part of my art, had to live somewhere else and feature film was the perfect vehicle for it.
Brazilian football has always been very much admired in Japan and, of course, after my participation and so many other Brazilians, it was like they created a new style of play in homage to Brazilian football.
That one record changed everything for me. After Sgt. Pepper, it's the most influential record in the history of rock and roll. It affected Pink Floyd deeply, deeply, deeply. Philosophically, other albums may have been more important, like Lennon's first solo album. But sonically, the way the record's constructed, I think Music from Big Pink is fundamental to everything that happened after it.
Don't ask me what a typical Brazilian is because I don't know what a typical Brazilian is. But Romario was a typical Brazilian.
I like to listen to African music; I like to listen to Brazilian music that's not just Choro. I love to listen to Radiohead, I like to listen to James Brown - any music.
The spirit of Burzum never changed, but my ability to make music changed dramatically when I was imprisoned. It is more or less impossible to record music in prison, and the only music I could record was electronic music, when I was allowed to have a synthesizer for a few months in 1994 or 1995 and in 1998.
The one constant in this ever changing music business is the heartfelt and “ear to the ground” Indie Record Stores that avid music fans and artists alike know they can count on to keep music thriving locally. I tour all over the world, and it's these Indie Record Stores that many times make or break a market. People will always want an “album” to hold, not just have downloaded, and Indies fill that need and then some.
Whenever I approach a record, I don't really have a science to it. I approach every record differently. First record was in a home studio. Second record was a live record. Third record was made while I was on tour. Fourth record was made over the course of, like, two years in David Kahn's basement.
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