Evelyn Hii hails from sarawak and classically trained in the US. She is the proprietor of No Black Tie. It's stage has seen the Malaysia's top singers ans musicians and the region's best, not including an impressive lineup of international acts over the years and most importantly, The watering hole of choices for KL's intellectual, cultural, social and corporate elite. She speaks to Abhijit Ganguly about the jazz scene in South East Asia, during the official launch of Rooh Music's website.
What’s your opinion on the jazz scene in South East Asia?
What’s it like to make a living as a musician
there?
The jazz scene is South East Asia is definitely thriving judging by the
number of jazz festivals that are being
held in the region. Hopefully the
jazz festivals can spark more ongoing
interest in its appreciation from the community, as well as inspire aspiring jazz
musicians in the region to take their art further. We also need the media to play their role –
a jazz radio station or more
dedicated to playing a solid jazz
programme, from the
great recordings of the past to the
country’s budding
jazz artists, as well as South East Asian jazz pioneers.
Only then can we start to define what South East Asian jazz is – there’s
European Jazz, Scandinavian or Nordic Jazz, what about South East Asian Jazz? A festival in the region that showcases uniquely South East Asian jazz artists?
I
think that our jazz artists ought
to approach their
art
with more attitudes, and
a sense of adventure. Dig deep. We have such
a rich ethnic musical heritage, our jazz artists
should find inspiration from that and put some of their
spice into jazz –
to reflect the pulse and heartbeat
of their urban environment. Listen and study
the great masters, then start to deconstruct, reconstruct,
improvise and create, be original,
write original material, be brave, be free! Hopefully,
our audience will then become more interested in what the jazz
artists are saying, not just playing standards.
Making a living as a jazz artist in South East Asia is not hard, because the perception is that jazz attracts a well- heeled crowd, so there
are always gigs available. The number of foreign jazz artists that have adopted Asia as their second home is also
testimony to this.
However, for our jazz musicians to command a level of appreciation from the community, not
as mere entertainers but as artists,
we would need more dedicated performance
venues for jazz,
proper jazz clubs
where it’s a conducive
environment for playing
and listening to jazz live, the rawness of jazz being played
right there and then, the creativity, the spontaneity, fire and a sense of abandonment.
Music
is above all a celebration of life, despite all that’s happening
in the world today, there are still amongst us a brave new generation who are committed to a lifelong
pursuit of a musical art that is jazz! Every city in South East Asia should have more than a few good jazz clubs!
What do you feel are the most important things for an aspiring jazz musician to spend their time practicing?
Practice the language of jazz, the scales, the modes, the
harmonies, the chord progressions, the rhythms, practice and breathe
the language until it becomes second
nature. Be adventurous. Be curious. Be original.
Learn a second instrument. Add to the imagination the
tone colour of another instrument.
From
your viewpoint what separates a good jazz
musician from a great jazz musician?
A
good jazz musician plays safe, every note is in the right place,
very polished, thoughtful. A great
jazz artist stirs and grips the audience’s emotions, is extremely spontaneous and free, and often encouraging and generous toward younger
jazz
artists.
Do you
think that platforms like YouTube and MySpace are necessary for putting new bands’
music out there?
We are living in an age where platforms
like YouTube and MySpace
are necessary tools for any musicians to expose their brand of music-
however, care should be taken to ensure
that the videos
are of high audio and visual quality
before they are posted. Music is
first and foremost an audio experience.
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