febrero 02, 2011

Cajón Power in Japan

Marco's picture made the cover on the december issue of JPC, a popular Japanese publication.
He held a masterclass at Komaki-Gakki, one of the most important drum shops in the nation, which went down really well.
Rumors are that his services will be required soon by a Japanese  music festival!

Congratulations Marco San... 

La foto de Marco hizo de portada en la ediciòn de septiembre de JPC, una popular publicaciòn musical Japonesa.
Ofreciò una masterclass en Komaki-Gakki, entre los màs grandes tiendas de percusiòn nacionales, que tuvo mucho exito.
Al parecer sus servicios van a ser requiridos pronto por un festival japonés!

Enhorabuena Marco San...

The Interview
 Translation courtesy of Yuri Ozaki.

Thanks to the oustanding performance within the DVD "CAJON POWER",
Mr. Marco Fadda is attracting  rising attention.
On his second visit to Japan, Oct. 2010, he has organized a work-shop at JPC.
and instructed the basics of how to play the cajon and also his original style of playing.
After the work-shop, we have interviewed his unique background and his foresight.

- Let us first ask you about the encounter with percussion instruments.
I first started to play the percussion instrument at the age of 11.
I have 7 brothers and my eldest brother is 10years older than me.
He loves music very much and he had (played) guitars and many pernussion instruments.
Although he was already self-dependent, every time he comes home, he used to talk to me about all sorts of music he knew.
One time I visited his house and found authentic instruments such as LP Conga and Bongo.
I asked him whether I can play these instruments and he let me touch all varieties of instruments.
From then, I got pulled in to percussion instruments.
Every weekend, I went to my brother's house and got together and jammed Santana's pieces with my brother's friends.
While I was a student, a Latin Percussion teacher (specialist) taught me the basics.
After graduating high school, I went to conscript service for 2years since there was a duty of national service in Italy during that time.
I started working at Genova Port conveying containers using a large crane after the 2years of conscript service.
Before working at the port, I was in a band and was in part of jams and concerts but I quit all these musical acts once
I started working at the port. This was to make time for practicing single-mindedly in order to improve my skills.
Not only practicing after work but I went to Spain, Cuba, Turkey, India and Peru during my weekends and holidays.
I really love all percussion instruments and am interested in all genres so I'd go to Cuba for conga and India for tabla.
I'd learn the method of playing at actual countries and practice when I return home to Italy. During this period, I spent my time
practicing, practicing and practicing. It was an input-period.
At the age of 30, I decided to quit my work at the port and started to work as a musician.
There were no places nor chances to perform and I had not one student to teach so I had to start from scratch.
I thought to myself, "from now on, I will act up to my own style" and started to output all my music which I've cultivated so far.

- Can you tell us the way of your practice more specifically?
When I find good musicians while listening to their CDs, I'd look them up on the internet, email them and go to their concerts.
The musicians which drew my attention, I'd approach and speak to. No matter whether they are famous or not.
I'd learn the techniques from them when I felt the need.
At first I had no acquaintances in any countries but since I am a jovial person, I get to be friends with anyone in a short period of time.
So I'd go and see them during my visit and I'd ask them to introduce their friends to me.
For example, my wife plays a Cuban style percussion and through her introduction, I got the chance to stay at a famous Rumba family while my visit at Cuba.
When I was working at the port, I had no musical acts but there was never a day not thinking about music. This remains the same now.
Everytime I hear music, I think to myself "how is this music being played?" and when I'm not doing anything, my hands move without thinking.
It seems like some kind of addicition. (LOL)
Learing a language is a difficult task for me but when it comes to music, I can pick it up instantly and my mind gets filled up by it.
I often think in my head the possibilities of combining different music.
- At today's work-shop, you have shown various techniques of performing the cajon. When did your current play-style establish?
P.7 It's only been around 10years since my current play-style has been established.
I believe that when I was about 30, I started to set-up my indivisuality in timbre, style and instruments.
The experiences and studies at various places during my time before becoming 30 has established my style.
My first encounter with the cajon was in my early 20s. A Bolivian friend who I was jamming together with has taught me.
I've listened to Flamenco CDs and knew the tone colour of the cajon but didn't know what it's exactly like nor the way to play them.
So I went to Peru, Spain and Cuba to study about the cajon.
My play-style of the cajon is an application of various play-styles of different instruments which I've seen in all sorts of countries.
For example, the play-style which I've introduced at the work-shop today, (the one which Darbuka and Bongo were the hints)
I did not learn this method of playing from a teacher but I've established it myself.
For example, the Darbuka play-style. I've met a musician playing Darbuka in Canada and I modified its play-style
originally to enable the performance on cajon.
Cajon is different with drum sets and also differs with other hand percussions which has its own way of playing such as conga.
I've took advantage of the point that there's no particular rule for playing the cajon and managed to establish many play-styles.
Cajon was a brand new instrument to us and I think this fact has allowed us to lead this result.
One of the magnetism of the cajon is that its sound does not fit into any of the genres.
Other instruments such as conga and tabla, conga is Latin and tabla is Indian. Most sounds are fit into "this genre of music"
but for this not true for the cajon. When you want "some kind of sound", the cajon is the perfect instrument.
Cajon can fit into any small composition of guitars or pianos. Playing the cajon has enlarged my work range.Now, cajon has become my main instrument. My work now is to introduce this instrument to many people who still doesn't know about cajon.

- You have visited Japan last August during the tour of Ms. Cecile Corbel. Can you tell us of your recent & future activities?
Yes. Last year I've landed to Japan for the first time to perform the theme song of a motion picture; "The Borrower Arrietty Trailer" by Studio Ghibli Movie.
Last April, I was in Peru to attend the "Festival Internacional del Cajon Peruano" which is an international festival of cajon.
I was invited by a famous musical family, Mr. Raphael Santa Cruz and I was the only European attending.
Many artists and musicians from the US and Latin America have attended this festival and carried out concerts and clinics.
I, myself had the chance to carry out a clinic as well. Many famous players have attended my clinic. I felt very nervous but I enjoyed it very much.
My recent activity is to bring forward the project of "Percussions and Voice".
I've composed and play the music of "Until being industrialized before the human race is born".
This music is only using percussion and voice. Instruments such as cajon is used and we also used stones and metals to express the music.
In my activity thus far, I played music which has groove so I'm thinking of playing something which is completely different.
I also would like to set up a "Cajon Orchestra" with around 20people, using all sorts of cajons such as Cuban cajon, Flamenco cajon, Peruvian cajon and so on.
It'd be interesting to make something such as a double-bass cajon. (LOL)
- Lastly, could you give an advise to the Japanese who are playing the percussions?
Firstly, when you play the instrument, don't think it as an exercise routine but to enjoy it as music.
Percussion instruments are not for playing independently. They are to play with people who plays other musical instruments.
It is important to have music always in mind and also important to learn about it continuously.
Secondly, it is very important to listen to other players' opinions, not just percussionists but players who play other musical instruments, too.

MARCO FADDA - Profile - 
Born in Genova, Italy: 1967.
Debut as a percussionist in "Avarta".
Won the victory with Daad Secchy at the "Percfest Memorial Naco" (The 1st International Percussion Festival) held in 1997.
Joined the tour + CD prodction of Billy Cobham, Stanley Jordan, Greg Brown, Sting and Ronnie Jones. Enterprises mainly in Europe energetically.
The DVD "CAJON POWER" which has been published in 2008, costarred with Billy Cobham and Giovanni Hidalgo.
Visited Japan in August 2010: assisted the Japan tour of a French singer "Cecile Corbel",
October 2010: assisted the Japan tour of an Algerian singer "Akim El Sikameya".

Marco Fadda's Work shop report.

On 3rd October, Marco Fadda's work shop has been held at JPC.Although the notification was less than two weeks, the work shop has achieved its quorum. This shows how Marco is attracting attention.
Firstly the demonstration of the performance. He has performed all sorts of play-style of the cajon.
The hall was drawn into Marco's music instantly by his performance!
After the demonstration, he started to lecture the basic method to play the cajon.
The main points of playing the cajon is the bass sound, ghostnote and the slapping.
All participators began to make the sounds after watching & listening to Marco's performance.
They start with the bass sound. Marco lectured two methods.
One is to use the upper part of the hand and to let go of the top head instantly after hitting.
The other is to use the whole palm and press the top head.
Marco creates various tones by changing the way of using his hands delicately.
Not just one "bass tone", these two methods clearly differentials the tone and it widens the range of expression!
Macro lectures on ghostnote and slapping after this.
"The point is to always have the rhythm of the ghostnote in your head when you move your hands!" as Marco strongly advised.
The practice of 4beats each for bass ==> ghostnote ==> slap has been acted out.

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