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After three disks of pop and two of jazz, the small lolita Swedish pass to bossa nova. Why not? Gifted singer of an exceptional instinct, Lisa seems to be able to evolve in all musical universes with the same grace made of natural, of simplicity and retained emotion. As a happy and heedless Billie Holiday... Her new album <Lisa Ekdahl sings Salvadore Poe> (BMG) sings her love with completly newstyle for a young and brilliant New Yorker composer through 14 original songs. All on luxurious arrangement bottom for big orchestra...
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You changed several times the style of music... Lisa Ekdahl : I don't think to have changed direction completely every time. There is always a certain continuity. For example, I think that we already have in our head what will be the following album. It is a logical continuation.... You said that the jazz was the music that you wanted to play always. Do you feel yourselves frustrated not to have come earlier? L.E. : No, because as singer, I had never felt everything that I could bring this music. It is always very excite to approach something new. We feel the same thing of course when we records some standards. There is always a creative process. All is always new since every moment is unique. Speak to us some differences between the pop music with which you knew an enormous success in your beginnings and the world of the jazz that you now explore? L.E. : I never wanted to make the pop music to make the pop music... I made rather a pop acoustics that corresponds to what the more listens to the Scandinavian. But the most important thing is to play the music that you like and the name is little important. In fact, I don't find indeed that there are some differences. Sometimes, you must choose a direction according to the circumstances. These are the circumstances that make your life. For example our meeting with Salvadore made that we work together. You cannot always say <here is what I want to make>, but something guides you toward what you are and there is a mystery that makes that all arrives like that must happen. It is necessary to remain opened to what offers us life, to everything that can interest us. What is your connection with the Parisian public? L.E. : I like to be indeed here. I feel always well here. The jazz has its place there truly because there is a public of connoisseurs, of true amateurs, even though this one is not necessarily very numerous. Paris seems to appreciate the artists a lot. A lot of thing happens here and the jazz is one of them. what imports us that is not to sell a big number of disks but to be integrated in this cultural environment. Are you going to play in the Olympia with the big band that we listen on this new album? L.E. : No, with a different group. For the disk, there were in all 25 musicians of which eighteen cords. The formation(band) is reduced on stage for convenient reasons but we would like to meet a lot with all musicians. The worry, it is that it would be necessary to all to pay then... (laugh) . At this moment, we content with six musicians. And this formula reflects our music well. The advantage of a small formation (band), it is that one can let a big place to the improvisation. In a certain manner, I find that it has more charm, that the musicians are loosened more... How do you work your voice? L.E. : I sometimes take some courses, not necessarily to learn something again but to maintain my voice as a sportsman would make it. The quality of my voice is natural but I continue to work it to have a best ambitus and so to reach a best repertory. To sing, I only make that since the age of 18 years, it is why I know how to place my voice even in case of cold. It arrives that I am too sick to speak but I always manage to sing. It became something very natural. |