In our column “Artist of the Week” we are following with great interest the musical way of artists, which we have “discovered” for you.

Seven is one of those artists who is known mainly in the German-speaking countries. In 2016 he took part in the TV show “Sing my song” in 2016 where he impressed the audience with interpretations of known German singers like Samy de Luxe, Nena and BAP.

This was followed by numerous appearances in Germany, Switzerland and Austria, as well as by the albums “Best Of 2002-2016” and “4COLORS”. And in 2017, the visitors and fans of the International Jazz Festival in Bansko enjoyed his very successful premiere in Bulgaria.

What has happened since then? How does his musical journey continue? To answer these-and other-questions, I met the singer before his gig in Christikirche, Bochum, where we spoke about his current tour and music.

Seven with his band and the guest of the evening Roman Lob, Photo: desenze

Seven, we remember quite well your 4COLORS tour. Now follows the Soulmate tour. How was the idea for this tour born?

Around 2011/2012, for the first time in Switzerland, I did a tour that took place in concert halls with setas and an intermission between the two musical parts of the evening.That felt different than the usual concerts or performances, because it lets you be more emotional and play calmer pieces than the ones played in a cllub athmosphere.And I wanted to do it again. Also, I wanted to confuse or, rather, to surprise, our fans from the last two tours in Germany.

Seven and his Band in the Christikirche Bochum, Photos: desenze

Since I didn’t want to do the same thing again, another dream of mine- that I have had for a long time- fitted in perfectly. I had the dream to play with all these artists, and in particular with all the German artists, I have met in the recent years. It’s not always convenient or there is time to record a song together, to work together in a studio, etc. Everybody has their plans, their world and their stories. And now I had the chance to play with all these musicians, with whom I – except for Wolfgang Niedecken and Stefanie Heinzmann – had never sung together on stage before.

And that’s a challenge for us, for me and my band. Every night, the audience gets something that happens only once and for the first time our nervousness rises. For example, now we rehearsed the songs for tonight. And that gives the whole tour experience yet another excitement, feeling of somehow being “naked” because you can smell the music and see through everything. That’s why the concept of a concert where people sit is appropriate here.

Seven and his Band in the Christikirche Bochum, Photos: desenze

Now it was the right time to combine these two ideas and with “Soulmate” it’s very clear what it means: I have a friend with me every night and we make Soul together. That’s how the idea came about.

And how did you choose these friends?

I have known many of the artists for several years. Some of the others I met in the past three or four years. And every time I meet good singers, great artists, I’m very curious about what will happen if we make music together. I have been in my own garden, doing my own thing, for a long time. At the TV show „Sing my song“, I had the opportunity to interact with other artists and make experiments with the music; that opened the door for a new feeling, new desire, which grew even stronger after the show.

Seven, his band and Roman Lob in the Christikirche Bochum, Photos: desenze

Besides, I think it’s important, because we make music together. And these musicians are all desired candidates that I called and asked if they would like to join me. I am very proud and and very touched that everyone agreed and said “Hey, what a cool idea, beautiful set-ups and cool locations. We’ll be glad to come over there.”

It is a pity that it is not possible to attend all concerts.

Yes, it is interesting. We have never had so many people who followed us in different cities; because every evening at least three songs are different, with a different artist and the feeling is different, because each location is unique and each guest gives the evening a different groove.

We always play the guest’s songs, my songs, as well as some other performers’songs. So, we both have to leave our comfort zones- which is risky, but exciting. That’s what the audience feels and that’s exactly what I like.

Seven & Band & Roman Lob in the Christikirche Bochum, Photos: desenze

You recieved an offer to be a host of the TV exchange concert in Switzerland. What’s new?

By the end of 2019 we will have recorded the show in Gran Canaria. We found a cool location there, on a slope overlooking the sea. The program will be broadcast in early 2020.

This format requires a lot of specific expertise. That’s why we work in collaboration with the German expert team of “Sing my song”, to deliver the same quality as in Germany.

And that’s important to me, because in Switzerland we have so many good artists and no platform to show that. Our aim is to develop some pride for Switzerland as a music venue and to celebrate Swiss music and cultural heritage and to show: “Hey, live music on TV – we can do that too”.

Now a slightly mean question: who were you most looking forward to playing with at the Soulmate Tour?

That is a really mean question! Of course, I’m looking forward to everyone. But the tension is greater with the artists I have never worked with. For example, with Mietze Katz. We participated together in a TV show, but I have never sung with her and I was very curious how our voices would fit together.

And how was it with Roman Lob, who you are performing with tonight?

Together with Thomas D. we wrote many songs for Roman‘s album. So, we already know each other musically, but we have never been on stage and have never sung a duet together yet. However, I knew that it would work with our voices. And today, we play in a special location (Christikirche Bochum). I have never played in a church and am really curious how it will be tonight.

Roman Lob & Seven, Photo: desenze

What are your plans?

We are in the middle of a new production and I still can’t say for sure when we’ll be ready. Every night during the tour we perform part of the new pieces- a thing I haven’t done so far.

But I’m impatient and I need to know how this new sound, that I discovered for me, reaches the audience.

You are always in contact with the audience; on stage and through social media. But what do you want to tell your fans today through our magazine?

What I cannot say often enough is: exactly three years have passed since the show (“Sing my song”) was broadcast. I’m doing a tour now, but I do not have a new album and a new song on the radio-however, people come anyway. And that’s with this concept, where they ask themselves: “Why should we sit down? What’s that? Still, we want to dance!” This concept raises questions, but people come and have confidence in us. And that, especially in today’s fast paced world, is something very special.

Seven and his Band in the Christikirche Bochum, Photos: desenze

Besides, I think if I’m bored, maybe the audience will get bored too. That’s why I always take risks to surprise myself and the audience with something new that challenges me, and where I can always learn from and try new things.

Thank you very much and good luck tonight!

www.sevenmusic.ch
www.facebook.com/sevensoul

The International Jazz Festival in Bansko is one of the biggest summer musical events in Bulgaria and one of the foremost international cultural happenings on the Balkans.

Since its foundation in 1998 the festival has been held every year in August in the small town of Bansko. The concerts are free for the public.

Traditionally, the programme features styles and groups representing almost all jazz trends. During the festival week jazz is also played on various smaller stages in the large resort complexes and restaurants.

banskojazzfest.com

XXII JAZZ FESTIVAL BANSKO 2019
6 – 10 August

PROGRAMME

August 6, Tuesday

Vassil Petrov & Camelia Todorova & Big Band Blagoevgrad (BG)

Jazz Dynamos (UK)

Maceo Parker (USA)

August 7, Wednesday

Lina Nikol & Live Band (BG)

Viktor Tóth Arura Trio (Hungary)

Silhouette & Vinx (USA/Hungary)

Malina Moye (USA)

August 8, Thursday

Spectrum (BG)

Sara Jane Ghiotti (Italy)

Jamal Thomas Band (USA/Europe)

August 9, Friday

Jayus Jazz (Serbia)

MEY feat JCAT with special guest Dimitar Liolev (BG/France)

Ray Gelato & The Giants (UK)

August 10, Saturday

Mike Sax & X-KEY (BG)

Hristo Yotsov’s Project “Jazz Cats 2” (BG)

Gadjo Dilo (Greece)

Tony Momrelle with special guest Vanessa Haynes (UK)

Interview by Dessislava Berndt with the GRAMMY® Award-nominated Norwegian singer, multi-instrumentalist, songwriter and producer Jarle Bernhoft
Proofreading: Polina Georgieva

Bernhoft and The Fashion Bruises, Photo: desenze

The first time I discovered Bernhoft was at the Traumzeit festival in Duisburg 2011 and brought him to your attention with the following interviews in our column “Artist of the Week”.

Artist of the Week – Jarle Bernhoft 2015
Artist of the Week – Jarle Bernhoft 2012
Artist of the Week – Jarle Bernhoft 2011

Since then, with curiousity and with great pleasure, we‘ve been following the musical way of this extraordinary musician and a very sensible and intelligent person.

Tonight, he played in the iconic club Gloria in Cologne with his band. We met before the gig and spoke about his current tour and music.

To put a face to the interview Jarle sent some video greetings for our readers here:

Jarle, we‘ve known for seven years now, and we‘ve kept track of your musical development. But how do you see your development as a musician so far?

In terms of music, so far I am very happy. I am still able to do what I like. But the music business is changing in a very fundamental way. Objectively speaking, I think it is harder for an artist like me who is not world stadium touring and selling tons of records.

Bernhoft and The Fashion Bruises, Photos: desenze

It is more difficult now because it is a concentration of power and resources to enormous artists like Beyonce and Jay Z. And of course, it helps to have your own streaming providers like they have. Today, everything is much more dependent on social media awareness and being a celebrity.

I am not complaining for myself but as I see it, it is harder for the musician in general to continue existing and doing what they do.

Bernhoft and The Fashion Bruises, Photos: desenze

Would you like to be like Beyonce and Jay Z?

No, I don’t want to be a celebrity. I want to create good music. It is harder to come across with your music if it is not accompanied by spectacular visuals and you don’t have a social media presence.

It is not that I am worried for myself but it is sad for the music world in general that now as if you have less diversity. There are certain musical elements now, that in just a few years‘time we‘ll look at with the same laughter and irony we look at the guitar solo from the 80s., for example. But back then, if you didn‘t have a guitar solo, it wasn‘t worth listening to your music; we believed we should all have that kind of long hair…

But, I don’t do my music according to fashion trends.

Bernhoft and The Fashion Bruises, Photos: desenze

But you have The Fashion Bruises:)

Yes, but we are not dependent on fashion…

Do you mean that your audience changed trough the years?

I certainly can tell that my audience is smaller than 6 years before. 6 years ago I had this YouTube hit and the new solo thing that I did was stuff that not many had done. I am now sick of this multi-layering myself. At the moment, I am very keen to play with other people. So, there are fewer people but the quality is better.

And what about your music and your style of music?

I am more conscious about what I want to say with my music as well as to what genre it belongs. I like to play the electric guitar exploring the different sonic landscapes and exploring what an electric guitar can do. I turn it up so it sounds more rock ‘n roll and there are definitely rock ‘roll elements in the new music.

Bernhoft and The Fashion Bruises, Photos: desenze

I still play some old songs but it comes a bit louder. I don’t listen too much to the old recordings. I certainly don’t feel ashamed by that. But what I do now is more organic, more focused on human voice and wood drums.

You said that now you are very keen on working with other musician? Who exactly?

At the moment, with my band. We recorded the album together. We collaborated with few artists but now it feels really good to play together. They want to take part in creating and recording the music. And they put a personal stamp on it. Right now it feels like the perfect place to be – and socially, as well. We are good friends travelling around; it is amazing.

You started in Manchester a big tour through Western Europe and will continue with it in 2019 going to the USA?

Yes, the whole November we are in Europe and then, in December we are going to America. In January, we will play again in Europe.

With this tour we are now more focused on Western and Northern Europe and the United States. But in spring I think we’ll go to Asia and Australia as well.

Bernhoft and The Fashion Bruises, Photo: desenze

And what about Eastern Europe?

To be honest, our album was not released there. I played in Russia and Poland but I‘ve never been to Bulgaria.

How was the audience in these countries?

Great, it was amazing.

You like cats, water as a source of inspiration but also spreading peace, love and understanding in general. Has something changed?

I still love sitting next and listening to running water. But I am now more inspired by world debates. It is hard to exclude yourself from what is going on politically in the frame of mind of Europeans and Americans. It changed dramatically in the last 2-3 years.

You can’t really get away from the challenges caused by politics. It is interesting to see that everything causes effects to the songwriting. There are challenges for the humanity as such.

So, running water is now a bit in the background:)

You are always in touch with the audience during the gigs. How do you plan to interact with them tonight?

I always try to reach out to the audience. It is different when you play solo and when you play with the band.

When playing with the band I need to be the arrow head, to take the energy on stage and focus and spread it to the people. When I play solo I can feel the vibe of the audience better and I am taking it in another way. Solo playing allows more room for certain dynamic.

I love doing both. But now I have a strong focus being a dictator on stage and instead of asking people how they feel I’m commanding them what to feel.

You played several times in Cologne. Do you like some cities more than others?

I like to play anywhere because I like playing in general. Berlin used to be a difficult city for me before, but the last time it was amazing. I felt I was connected to the people in Berlin much better than before. Stuttgart was a very positive surprise, too. Hamburg is great, and Cologne is fantastic every time.

Every place this time was much better than I expected. It might be because of this band energy that connects people.

Jarle, thank you very much for the interview, good luck tonight and see you soon!

Jarle Bernhoft is a Norwegian singer, multi-instrumentalist songwriter and guitarist. Bernhoft co-founded, and performed lead vocals for the rock band Span in 1999. After their split in 2005, Bernhoft became a solo artist. His first studio album, Ceramik City Chronicles, was released in 2008. It reached the Nr. 4 on the Norwegian album charts. In 2010, he released “1: Man 2: Band”, where one half is a recording from his solo show at a jazz café in Oslo (Kampen Bistro), and the other half is a recording from his concerts in Rockefeller and Molde Jazz Festival with a full band.

Since making his solo debut on 2008’s Ceramik City Chronicles, he’s quietly amassed a catalog celebrated by fans and critics alike, spanning full-length offerings Solidarity Breaks [2011] and Islander [2014] as well as EPs Stop/Shutup/Shout It Out [2016] and The Morning Comes [2017]. Highlighted by “Come Around” and “No Us, No Them” [feat. Jill Scott], Islander received a 2015 GRAMMY® nomination in the category of “Best R&B Album.” Along the way, he performed on Ellen and Conan in addition to earning acclaim from NPR, USA Today, and many more.

Joined by The Fashion Bruises, the process for the new album “Humanoid” commenced in old school fashion. Rather than rush into the studio, they spent time in the rehearsal room. They recorded at Oslo Klang in Norway for only two weeks with Bernhoft behind the board in the producer’s chair as his infant son crawled around the space.

The group introduced the album with the first single “Buried Gold” [feat. Raelee Nikole]. Over a funky beat driven by lively guitars, he locks into a hypnotic duet with Raelee. Their voices entwine in an undeniable back-and-forth, speaking to a central theme.

“The song represents what the album is about,” says Bernhoft. “It’s a dialogue between an optimist and a pessimist who are both engaged in fisticuffs daily within me. I’m shifting between disillusionment and re-illusionment, which is the state of things. I remember when the Brexit vote had just come in. Not too long after was the American presidency vote. It’s was if the world was unraveling. I felt torn between wanting to pick up the gloves and fight or just saying, ‘Fuck the world.’ Both of my viewpoints come across. Raelee really shines on it too.”

Elsewhere, handclaps, acoustic energy, and warm reverb bottle a sun-soaked sensibility on the West Coast-inspired “California,” while “Don’t Give Up” offers up a powerful send-off highlighting the expanse of his voice. In many respects, the title track remains the perfect representation of Humanoid. A hummable guitar riff gives way to a lively chorus that’s downright impossible to shake. “It says something about the man-and-machine relationship,” he admits. “I’m not sure whether to be optimistic about it or not. You’ll see people at dinner or in a café staring at their screens and not acknowledging each other. I’m thinking of how we interact, talk to each other, and whether or not we’re enhancing our lives or amputating them with these interfaces we use. I’m trying to find people, but I can’t see them behind their screens.”

In the end, Bernhoft has got the power to make people put down their phones, get up, dance, and maybe even think. “You can dance to this one, but you might have some deeper thoughts,” he leaves off. “All said and done, I’d love to just reintroduce a connection.”

http://bernhoft.org/

Satish, you will be for the second time with your dancers in Wuppertal. How was your first time here?

It was an excellent, heartwarming, welcome feeling. The audience, musicians and the Hall’s energy were so open, that we- the dancers and I, could give ourselves up to it completely and express the art the way it is supposed to be.

Satishkoemar Myre-Makhan at Historische Stadthalle Wuppertal, photo:desenze

We, as artist / Dance Company, are there with our art to show, as well as to spread the energy. So the audience was filled with happiness. And that’s what I felt during the performance and after.

The piece you will present in Wuppertal is called “Indian Swan Lake”. Why did you choose the “Swan lake” ballet composed by Tchaikovsky for another interpretation?

Since I was young I’ve admired the ballet dancers and performances. The one that I was really touched by was “Swan Lake”. And during that period I was learning Bharatanatyam. While watching the ballet I was thinking: “how could this be with Indian dancing?” Not that I wanted to change the concept. I love ballet in its original way. But as an Indian dance student I was already thinking about changing the choreography in the Indian dance way. So, for years it was turning around in my head. And then I thought: why not making an Indian piece of it!

Tickets unter: www.wuppertal-live.de

I’ve explored many ways to create, but not to copy & paste. I want it my way. So, the original ballet will not get any harm. This is because I respect choreographers who create from their heart. And sure, the storyline stays almost intact in my story. So, all audience can relate to it, even now it is with Indian dancing and music. The first creation was in 2014, and it was a great success.

Satish Dance Company, photo: Ron Hey (Ronnos)

Now we are bringing it back after 4 years. This was possible with the support of Prasanth and Yalini (PYS Eventmanagement). During a dinner in 2017 they asked me if I could do a performance which is open for all audience. Some people like classic dance or Bollywood or contemporary. Why not mix everything in one performance? So I was exited again and started to look for a dance group. Now we are so far, on September 8 we have a try out in Amsterdam and on 28 September will be the premiere in Wuppertal. Two further performances will follow on 6th and 7th of October in Amsterdam.

Satish Dance Company, photo: Ron Hey (Ronnos)

We also will show significant art form of our south Indian classical art before the main program.

How do you create a piece?

Sometimes I am inspired by the music that I hear, or from the storyline itself. And sometimes I let dancers move freely and get inspired by the movement. I connect my mind and heart with the movement and the energy.

Who inspires you?

I get inspired by many things. Mostly it works when I decide to make a performance and the theme is clear, I open my spiritual sense, and call all energies, movements and surroundings that can give me inspiration to create. It can be also a person, music, movies emotion etc. For Indian Swan the storyline is clear, but the music and dancing are mix of Indian dances. Yes, I try to connect all the dancing and music.

Satish Dance Company, photo: Ron Hey (Ronnos)

How did you get into dance and your own dance company?

The moment I was touched by great happiness was when I saw dancing on tv when I was young. I tried to recreate the movements that I saw by trying to dance.

Satish Dance Company, photo: Ron Hey (Ronnos)

I was born on June 30, 1975 in Parimaribo, Surinam (a former colony of the Netherlands). My parents are both descendants of Indian migrants who came via Surinam to the Netherlands. It’s unknown which area in India they came from exactly or how many generations ago.

Mr. Makhan and Mrs. Kamlawatie gave me the name of Satishkoemar Makhan. I am their fifth and youngest child. I have three sisters and one brother.

At the age of four we moved to the Netherlands because my father’s family had already immigrated. They offered my father a job. The Netherlands became my second home country. From what I remember we weren’t raised very devoutly in the Hindu faith. I learned the basic gods and basic principals of Hinduism. My parents didn’t give me a very strict upbringing and we were free to choose the path of life we preferred. This side of my liberal upbringing had its advantages, but subsequently there are many sides of our religion which are unfamiliar to me.

Satishkoemar Myre-Makhan at Historische Stadthalle Wuppertal, photo: desenze

On special days we watched videos of Indian Bollywood movies. Most of them were movies with a religious or spiritual theme concerning mythological stories of the world of the gods. I was always fascinated by the dances, the clothing, the jewelry, and the music, which sounded different from the familiar Bollywood songs. These were mystical noises, sounds and tones which touched me deeply and transported me into a dream world! I imagined that I could already dance those magical dances and make such divine music! I mimicked the movements secretly. This was the start of what has become the passion of my life. I danced every day and lost myself in the movies.

On my 15th birthday my uncle gave me a ticket for a performance. It was the first time I saw a life performance of Indian dance. It was a group from Orissa (East India) and I was immediately smitten. In the intermission I found a flyer of a dance teacher looking for students for Indian dance. I signed up at once for a trial class and remained there for three years. After that I auditioned for a performance. After being accepted I received a scholarship to do my program with them. My passion for dance grew in leaps and bounds and in the year 2000 in Delhi (India) I was initiated as a dancer and dance teacher. I turned my passion into a part-time job. Besides dancing I am also a home care nurse.

Dancing has become a huge part of my life. It’s more than just passion, it’s my way of life, and it keeps me in balance.

What is Bharatanatyam?

Bharatanatyam is over 3000 years old and is a pure classical dance form. The techniques, rituals and dance numbers are derived from the old Vedas: the ancient scripts and verses. They are drenched with themes of life such as love, struggle, hate and envy. But also devotion, prayer, ecstasy, moods, feelings and so on. To me it is not just an entertaining dance art that you perform mindlessly.

Through my years of experience, I‘ve understood why Bharatanatyam is elevated to art. The more knowledge you accumulate while learning the meaning of the stories in the dances, the more dance turns into art. Making a successful performance is like finding a treasure chest. Not in the material sense, but you are still laden with richness of new ideas, information and insights which seem inexhaustible.

For example, you’ve learned a dance item, you form a frame, a basis, where you lay a foundation. Then you shift to the mood and look at the character that you’re playing. What emotions belong here? Where does it lead?

So you create an environment around you. Who is there with you, which raga and music do you need? This way you build layer by layer until you have a complete picture. You create a piece where you literally take the public with you to your creation. To me that is the ultimate art of Bharatanatyam. That the public or spectator can take the story you formed into his or her own imagination, creating a circle of contact.

Bharatanatyam is art to me. It conveys basically a feeling of tranquility and aesthetics. When the audience first experiences this kind of art they feel drawn into a state of receptivity. If people get more exposed to this kind of dance art they often experience an emotional response which is a reflection of one’s inner self. As practitioners of this form of art we are the medium, an important intermediary to the audience.

The dancers are the foundation, creating a bridge between the art form and the spectators. It’s impossible to experience the dance in its pure form if it’s presented without the right foundation. If Rembrandt hadn‘t had the in-depth knowledge of how to portray people, he would not have become one of the world’s most famous painters!

A Bharatanatyam dancer is an artist who connects the world of the gods with the earth. The dancer strives for balance and brings people closer to a godly experience. Therefore, I – as a dance guru, together with my students, take a high responsibility upon us when we learn a dance or perform it. When I dance or teach, I give a part of myself in the transfer of the art to the audience. I stay hopeful that this art will be passed on to the next generation. This is the way that it started more than 3000 years ago and I believe that it should be carried on this way.

Could you tell us something about the dancers?

Sure. Some dancers never had danced before; once they worked with me for a wedding dance piece. And then I saw some people who really were passionate when they dance/move. And because most of my dance company dancers only want to dance the classical Indian dance, I was short on dance crew. So I asked if the wedding dance group want to perform. They all said YES, and I started to practice with them. They are not trained in any Indian dance form but they created dance movements that I also got inspired by.

And I related the movements to the Indian contemporary dancing. They reached a level of dancing where I‘m satisfied and so, they are dancing next to my trained classical dancers. We are basically an amateur dance company, where everyone is welcome. I reached my goal with this new group. And I am the happiest person. They are dedicated and first of all they love to dance.

What’s your life philosophy? And your daily routine?

My life philosophy is: love yourself and the rest will be how it is. Never follow the crowd.
I try to enjoy every moment and do the things I love. Not the way everyone does, but what I want.

Satishkoemar Myre-Makhan at Historische Stadthalle Wuppertal, photo:desenze

Do you have other passions?

Yes, I like baking cakes, making all the costumes for the dance company, watching scary movies (weird passion, but this is the only way I can stop my head of thinking about dance). Listening to music, having coffee and cake with friends. Cosy moments with my loved ones. More and more, I just love life. At the end, everything that gives me happiness is becoming my passion.

How do you choose the music and the choreography for your pieces?

Just by listening to Indian or fusion music.

How can you describe yourself as a person?

I’m a very open- hearted / minded person. I try to do my best to create love in everything. Take care and treat people the way I want to be taken care of and treated. I reflect as a mirror to others. And I don’t mind to be like a chameleon, blend in without losing myself.

What are you dreaming about?

That my dancers dance better than me and invite me to their own performance they created.

Please, let us know about your future plans.

I update all my events on my website www.sidt-indiandance.com feel welcome to see;-).

Satish, thank you very much for the interesting interview and good luck for the premiere in Germany!

The Festival Klangart is held for the 10th time this year in Wuppertal. Art, music and nature can be felt and appreciated together with world known musicians bringing the richness of their musical cultures.

I am lucky to exclusively present to you the Fado singer Carminho who performed there on July 22. The show of Carminho and her musicians was very impressive and ended with standing ovations.

Carminho shared with the audience some very personal stories and with a lot of humor made sure best mood and welcome feelings were there all the time.

Carminho, photo:desenze

Carminho, are you for the first time in Wuppertal?

Yes, we‘ve just arrived. I saw this beautiful building (editor’s note: Villa Herberts, called also Villa Waldfrieden) and was fascinated by all of the rooms and the details, the pictures, the curves, the decoration of the house…

Carminho, photo:desenze

I also walked through the amazing park till his end to the exhibition of Markus Lüpertz with his big sculptures.

Exhibition Markus Lüpertz in Skulpturenpark, photos: desenze

Besides them, I walked along the sculptures of Tony Cragg positioned in the middle of the nature. For me, this is like a museum in the jungle. It reminds me of the museum Inhotim where I was very inspired – a 1200-hectare park in the south of Belo Horizonte Brazil, with a lot of pavilions and exhibitions in the middle of the jungle. I am looking forward to singing at this beautiful place (editor’s note: Skulpturenpark Waldfrieden Wuppertal) tonight.

Carminho, photo:desenze

And what about the reaction of the audience in Germany, where you have been several times?

Since 2010 I‘ve been coming to Germany for concerts. Last time I was in the Philharmonie in Cologne and also in the Elbphilharmonie in Hamburg.

It is incredible to see the reaction of the audience in Germany. You don’t expect it. We, Portuguese people, are very Latin and expressive. And we expect more coldness from the people here. But it is completely the opposite. The reactions are warm and with knowledge and interest about the culture, the language, the instruments and why we sing. Because Fado is a language and a way of living, not only just music, I am often asked to explain the process of becoming a Fado singer.

Since 2011 Fado is part of the UNESCO Cultural Heritage. What does Fado mean to you? Why did you choose to sing Fado?

I didn’t choose Fado. Fado probably chose me. My mother is a Fado singer and she did a lot of Fado sessions at home when I was young, about 1-4 years old. And I saw and listened live to Fado and was touched thereby. So, it is something that gets into you without understanding why and what it is. It is like learning a new language, like you learn to speak your mother tongue. It is for me like the Portuguese language. I don’t know how and when I learned it, but at the end I know how to speak Portuguese, the language of Fado.

Carminho, photo:desenze

Did you get some lessons in singing?

In my family history, my mother has a Fado house where I could learn everything and listen to the poets and the musicians and to the advices of my mother. The stories in the songs are more or less everything. I had no lessons in Fado singing, because there are no schools and books of Fado. You need to listen to older singers and to think by yourself, to draw conclusions about your life and about what you have to say.

Carminho, photo:desenze

Do you like the traditional Fado or the mixing with other styles?

I like and I do traditional Fado as it is. Of course, I like other kinds of music and the Portuguese music is rich, it is not only consisting of Fado.

Fado is the main genre but you have different folklore music and influences from the islands, from North and South Portugal. And I like to sing everything. For example, I have an album only with Tom Jobim songs. It was an invitation from the family, from his son (editor’s note: guitarist Paulo Jobim) and his grandson (pianist Daniel Jobim) and we did an album together (also with the cellist Jaques Morelenbaum and the drummer Paulo Braga). And I went to Brazil where I sang songs only from Brazilian composers and duets with Brazilian singers like Chico Buarque.

I am open to do something different like this and I had the amazing opportunity to sing and to work with this incredible family. They are an inspiration for me and to work with your inspiration is something that can happen only once in life. And I had the honor and the luck, but I also worked hard to achieve this.

Carminho, photo:desenze

Fado come into my voice, I don’t know how because Fado is not a kind of music but the way of looking to the lyrics, to the music and to match both even if you sing other kinds of music. But matching traditional Fado with different instruments – I don’t do this because I don’t have the potential to change Fado. Then again, Fado is rich enough to be explored and there is no need to change and to put other instruments. I like the pure Fado but I am open to other kinds of music.

You also composed some Fado pieces. How was it and why?

This was another way to express myself. It is not very common. The singer is traditionally a woman and the composers are men. So in this men’s world women suffer this oppression, as the story says. The border is not so clear. But we need each other. Fado is not working for a single person. Furthermore, now we have the opportunity to change it.

We don’t need to restrict the music to men and the singing to woman. We are free to do what our hearts say to us. I don’t consider myself as a poet because I respect the poets too much. But I like to take some risk and to try something new.

Is Fado by woman’s singer dominated?

If you go to a Fado house you will find both a woman and a man Fado singer. But the most popular combination you have is a woman singing and a man playing Fado. You need to believe what you sing, so maybe there is Fado only for woman or for man. But if you sing about feelings, it doesn’t matter if you are a man or a woman.

It is a men’s world and also in the Fado world traditionally it was the men that played and composed the music; also, most owners of the Fado houses were or are man. Then, they married with good Fado singers to show off to everybody. There are examples of men trying to stop the woman from singing because of jealousy. The woman married and started to cook and sometimes she sings for the crowd in the Fado house but not to make an international career…

Maybe Fado needs to express feelings and that is not so much the nature of men. When they want to show feelings it is strange and it can be linked to reality, since Portuguese men have to be tough and not to express too much feelings. But I hope this will change because in Lisbon we need the change and the Fado progress to come from the inside.

You worked with famous musicians like Mariza, Pablo Alboran and the Jobim’s family. What kind of experience is it working with such musicians and singing in other language?

I like to sing in Spanish and it doesn’t matter in which language I am singing.

Usually, the experience working with other colleagues was good. Nevertheless, I have to be and to remain myself, to be and to remain what I am.

If you are singing in other language or with other musicians you need to know who you are. In this union you have to be something special. But there are a lot of temptations when they are very popular or very pop or very different.

Would you please tell us something about your plans?

We are doing a tour and then my next album with compositions and lyrics, also mine. I hope to finish the album by the end of the year and to come soon again to Germany and hopefully to Bulgaria.

Carminho, photo:desenze

A few years ago you were in Bulgaria. How was it there?

I was once in Bulgaria but it was wonderful. Small countries have restrictions because of the size and geography, and also there are rich and poor countries. Poor countries have difficulties to open the way to culture for everyone. And that is so important. For me it is a blessing to sing in such places where a lot of people don’t have the opportunity to go to so many concerts. And they cannot choose all the time between different events. If people give you the feeling that you are so special being there and singing for them, this is wonderful.

How can you describe you as a person?

I am decisive, trying to be loyal and genuine in what I do. And I am always following my instinct.

Why did you do the voluntary year travelling around the world?

I did a tour around the world because I was lost. I was singing almost six years in a Fado house and had some 4-5 proposals from big music companies to make an album. I was so lost and didn’t know what to do. I took all the earned money and did a trip around the world to learn more about me and the world, people, life…

I returned completely different and found out that all I wanted was to sing Fado, because this makes me happy and probably other people around me.

Carminho, thank you very much for the interview and good luck tonight!

Carminho was born among the guitars and voices of fado, daughter of the renowned fado singer Teresa Siqueira. She began singing in public at the age of twelve in the Coliseum. During college Carminho sang in Fado clubs and received several proposals to record but she decided to wait. She graduated in Marketing and Advertising and realized that singing required a maturity that she did not have yet. Carminho traveled for a year, participated in humanitarian missions and returned to Lisbon determined to devote herself entirely to an artistic journey.

“Fado,” her first album, was released in 2009 and became one of the most acclaimed albums of the year and the decade. It achieved platinum – an enviable result for a debut album – and opened the hearts of Portugal to her voice, and the doors of the world to her talent: in 2011 “Fado” was considered best album for the British magazine “Songlines”. Carminho performed in the main European capitals, also at the Womex 2011 in Copenhagen and at the Paris headquarters of UNESCO as part of the Fado application for world heritage.

In the same year, she collaborated with Pablo Alborán in “Perdoname” and became the first Portuguese artist to reach number 1 of the Spanish top.

In 2012, the second album, “ALMA”, debuted in the first place of sales in Portugal and reached prominent positions in several international tops. After performing in the main venues of Europe and around the World in countries like Finland, Sweden, Peru, Chile, Argentina, Colombia, China, India, Latvia, USA, Germany, United Kingdom, South Korea, Poland, France, Austria, Denmark, among many others, she also performed in Brazil.

Her dreams of recording with Milton Nascimento, Chico Buarque and Nana Caymmi came true, resulting in a reissue of “Alma” with three new songs. Carminho thus began to conquer Brazil, with sold out concerts in Rio de Janeiro, São Paulo and other places throughout the country.

In 2013, Carminho was awarded the Portuguese Golden Globe for Best Solo Artist and the Carlos Paredes Prize.

At the end of 2014, “Canto” was released, and her relationship with Brazil took on even deeper roots, with Caetano Veloso’s first partnership with his younger son Tom, who offered her the unpublished “O Sol, Eu e Tu”. “Canto” also includes the duet with Marisa Monte and special guest appearances by Jaques Morelenbaum, António Serrano, Carlinhos Brown, Javier Limón, Naná Vasconcelos, Dadi Carvalho, Jorge Hélder and Lula Galvão.

In 2016, following an invitation by the family of one of the greatest composers in the world, she recorded “Carminho Canta Tom Jobim” with the last band that accompanied him live in his last ten years, and sharing songs with Marisa Monte, Chico Buarque and Maria Bethânia.

At the moment, Carminho continues the world tour of the albums “Canto” and “Carminho Canta Tom Jobim”.

www.carminhomusic.com

The International Jazz Festival in Bansko is one of the biggest summer musical events in Bulgaria and one of the foremost international cultural happenings on the Balkans.

Since its foundation in 1998 the festival has been held every year in August in the small town of Bansko. The concerts are free for the public.

Traditionally, the programme features styles and groups representing almost all jazz trends. During the festival week jazz is also played on various smaller stages in the large resort complexes and restaurants.

banskojazzfest.com

XXI JAZZ FESTIVAL BANSKO 2018
4 – 11 August

PROGRAMME

August 3, Friday, 8:30 p.m.

Special boogie-woogie night
with Ladyva (Switzerland) and
Axel Zwingenberger (Germany)

Cultural centre “N. Vaptzarov“ (admission with tickets )

4 August – Saturday

Petya Buyuklieva (Bulgaria) – vocal and Big Band Blagoevgrad with conductor Boris Yanev, guests – Vesela Morova – vocal (Bulgaria)

Chiara Pancaldi (Italy) – Chiara Pancaldi – vocal, Diego Fabretti – trumpet, Nico Menci – piano, Stefano Senni –acoustic bass, Andrea Nunzi – drums

“Dirty Purchase” (Bulgaria) – Hristoslav Galileev “Galio” – bass, Nikolai Danev – drums, Liudmil Stoinev – keyboard, vocals, Amalia Nenova – vocal, Emil Minchev – vocal, Velislav Stoyanov – trombone, vocals, Mihail Yossifov – trumpet, vocals, Arnau Garoffé Farrás – saxophone, vocals, Stanley Stonks (Stoyan Tontchev) – guitar, vocals, Yoruk Esparza – percussion, special effects

5 August – Sunday

Nisville Big Band with conductor Vladan Karadzov (Serbia)

Acid Folk Five (Bulgaria) – Ekaterina Anguelova – vocal, Ivo Paunov – saxophone, flute, kaval, Vihren Paunov – bass, composer, vocal, Georgi Petrov – piano, Philipp Ernsting – drums

Jazzbones (Germany) – Clive Fenton – trumpet, Christoph Schneichel – trumpet, Manfred Isenberg – clarinet, saxophone, Rien Kolkmann – bass, Dominik Michel – drums, Reinhard Gries – piano, Manfred Schmelzer – trombone, Jürgen Aschoff – banjo, vocals, H.G Reshe – guitar, vocals

6 August – Monday

Indigo Kids (Bulgaria) – Yavor Velchev “Yavi” – vocal, guitar, Radoslav Slavchev “Riverman” – bass guitar, Bogomil Enchev – drums, Dimitar Gorchakov – keyboard, Vladislav Michev – trombone, trumpet

Nadya Toncheva & Quartet “Latino Jazz Project” (Bulgaria) – Nadya Toncheva – vocal, Stoyan Yankulov – drums, Borislav Yasenov – flute, Veselin Veselinov – Eco – bass guitar, Pavel Tsonev – piano

Uralskiy Dixieland (Russia) – Valery Sundarev – guitar, banjo, vocals, Victor Rikker – drums, Vladimir Rikker – double bass, tuba, Nail Zagidullin – trombone, Dmitry Perminov – saxophone, clarinet, Sergey Penkov – saxophone, clarinet, Ivan Pona – trumpet, Konstantin Shteglov – piano, Kristina Ryzhkovskaya – vocals

7 August – Tuesday

Ethnic Trance Duo (Switzerland/Russia) – Maxim Anukhin-gusli, vargan, vocal, Simon Wyrsch – clarinet, bass clarinet

Gerdband (Germany) – Gerd Baier – piano, composition, Mario Fadani – double bass, electric bass guitar, Dirik Schilgen – drums

Vassil Petrov – vocal & Angel Zaberski Trio (Bulgaria) – Angel Zaberski – piano, Boris Taslev – bass, Stoyan Yankulov „Stundji” – drums

8 August – Wednesday

Alexandrina Simeon Quintett with special guest Benny Brown (Germany / Bulgaria) – Alexandrina Simeon – vocals, music, lyrics, Daniel Mark Eberhard – piano, synthesizer, arrangements, Stephan Holstein – clarinet, tenor saxophone, Andi Bauer – bass, Tom Steppich – drums, Benny Brown – trumpet, flugelhorn

Li Xiaochuan Quintet (China) – Xiaochuan Li – trumpet, Xiongguan Zhang – guitar, Chenchu Rong – vibraphone, Yong Huang-Adam – bass, Yongheng Wu – drums

The David Dower Trio (UK) – David Dower – piano, Luke Fowler – bass, Matt Fisher – drums

The Jive Aces (UK) – Ian Clarkson – lead vocals, trumpet, ukulele, “Big” John Fordham – tenor saxophone, clarinet, fiddle, Alex Douglas – trombone, washboard, bongos, harmonica, Vince “Professor” Hurley – piano, Ken Smith – double bass, Peter “Bilky” Howell – drums

9 August – Thursday

NATO Jazz Combo (Belgium) – Ian Rictor-saxophone, Brian Mackie-bass, Peter Allison-trumpet,David Newcomb-drums, Stephen Kirkpatrick-trombone, Timothy Stuart-piano, keys, Amber Grimes-vocals

Dmitry Baevsky Quartet (USA) – Dmitry Baevsky – alt-saxophone, Yves Brouqui – guitar, Fabien Marcoz – bass, Bernd Reiter – drums

Camellia Todorova – vocal & Stanislav Arabadjiev Trio (Bulgaria) – Stanislav Arabadjiev – piano, Dimitar Sirakov – bass, Nikola Goryalov – drums

The Gipsy Kings by Paco Baliardo (France) – Paco Baliardo – leader of the group, Kema Baliardo – lead guitar, Vincent – lead vocals , Miguel -guitar and vocals, Abraham – guitar and vocals, Sony – guitar, Juan – drums, Fred – keyboard, Antoine – bass

10 August – Friday

Balázs Bágyi New Quartet feat Kriszta Pocsai (Hungary) – Kriszta Pocsai – vocal, Soso Lakatos – saxophone, Dezső Oláh – piano, Péter Oláh – bass, Balázs Bágyi – drums

Lisa Simone (USA) – Lisa Simone – vocals, Hervé Samb – lead quitar, Reggie Washington – bass guitar, doublebass, Sonny Troupé – drums

Matt Bianco (UK) – Sebastiaan de Krom – drums, Geoff Gascoyne – bass, Graham Harvey – piano, Dave O Higgins – tenor/sopran saxophone, Martin Shaw – trumpet, flugelhorn, Elisabeth Troy – vocals

11 August – Saturday

The Juke Joint Royals (Austria) – Erich Herbst – piano, vocal, Vanja Hajduković – double bass, backing vocals, Nina Dvorak – alto saxophone, Šarka Benedova – alto saxophone, Peter Hübl – baritone/tenor saxophone, Mathias Schwarz – guitar, backing vocals, Reinhard Dlapa – drums

Omar Hakim & Rachel Z “OZ Experience” (USA) – Omar Hakim – drums, Rachel Z – keyboards, Linley Marthe – bass, JC Maillard – guitar

Ruth Koleva Live Band (Bulgaria) – Ruth Koleva – vocal, Philip Alexandrov – keyboards, Bogomil Enchev – drums, Svetoslav Nedelchev – bass, Stoyan Jaferov – guitar, Arnau Faras – saxophone

Chapel-gift from Radka and Pencho Semovi, photos: desenze

He didn’t just build many factories and gave work to his employees, but he also dreamed that his care and protection would transfer to the future and spread like a wing over them. For this purpose, he built a beautiful and big House and named it Homestead.

Homestead “Pencho Semov” Gabrovo, photos: desenze

The House had long and elegant corridors, many rooms, a great view and even more wonderful park and a lake, where a boat took the visitors from the city. Next to the drinking fountain with cold water, there was always sweet Turkish delight for anyone, who would stop there to refresh.

Homestead “Pencho Semov” Gabrovo, photos: desenze

Years were passing by, The House was blooming and was welcoming guests from near and far. Until one day disaster stroke and brought war, death and destruction.

Homestead “Pencho Semov” Gabrovo, photo: desenze

The benefactor could not bear the sufferings, that were caused to his beloved city, and died. Before that, he expressed his wish that his whole property and heritage should be donated for good purposes. And that the beautiful Homestead should become a home to the old and feeble.

Years went by and the Benefactor’s family suffered damage and humiliation by the ruling party. The House also suffered, because it had become alienated and was not used for the purpose it was created for. Besides, it was mourning over its creator and with time it was aging more and more.
Its new owners did not manage to take care of it properly and to bring back the joy of the good old days. One day they decided to simply abandon it.

The House was getting sadder and sadder. It was open to everyone, and everyone took something from it- while it was getting deeper and deeper into its sadness, and finally it gave up to its fate.

Homestead “Pencho Semov” Gabrovo, photo: desenze

More years went by, and the park was gone, the lake was overgrown with thorns, the water fountain dried up. The House was even left without a roof and without doors; it was stuffed with junk, and only the wind played and chased the last bits of warmth out through the broken windows.

Homestead “Pencho Semov” Gabrovo, photo: desenze

Christmas was coming and the House had this wonderful dream. Her benefactor appeared – and he was sad. He started crying, and spoke to it: ” While I was alive, I built, worked hard and left a lot of things behind. But what I regret the most is one unfulfilled desire of mine – to see you in your previous glamour and beauty, to see you as a home and consolation for the poor and the weak. Now I find here only destruction and despair. ”

Homestead “Pencho Semov” Gabrovo, photos: desenze

He had just said these words, and suddenly good people appeared from near and far. They cleaned the House , repaired the roof and stretched a fence around it to keep it from the bad. The lake was filled with water, the boat floated on it, the roses bloomed. And the rooms and corridors echoed with the laughter of visitors and inhabitants.

Suddenly the House woke up and looked around. Were the happy moments of hope only a dream?

No, it said to itself; it is possible. I learned it from the Benefactor. With love, work and perseverance, everything is possible. They always win.

I believe in miracles, and do you?
Christmas is coming…

The beautiful Homestead does exist. It was built in Gabrovo between 1928 and 1933 by architect Nikola Grablev. It has been abandoned for years, and it is dying. It is part of the assets of the Ministry of Health, where a disposal procedure has been initiated.

If you would like to help to save and restore the building and to fulfill the Benefactor’s will, please write to us to the following address, and let us know how you can help (volunteering repairing the roof, cleaning the building, building a fence, financial support, etc.):

https://www.facebook.com/Staropitalishte/

Let’s prove together that on Christmas miracles do happen!