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INTERVIEWS: Other perspectives on J.D.R.

 

SUBJECT: KNOWING JOSÉ DOMINGOS RAFFAELLI

Interview with Louis-Victor Mialy (Jazz Critic and Writer, JAZZ HOT Magazine)

Interviewer: B.J. Major

 

 


Louis-Victor Mialy

 

This interview obtained through U.S. Mail 5/22/00.

Q. Mr. Mialy, I'd like to begin by finding out how long you have known José and how did you initially meet him?

A. From 1980 to 1984 I would go to Rio several times a year on behalf of the CBS Network. In 1980 I also attended, on behalf of Jazz Hot Magazine, the Monterey Jazz Festival in Rio. That's when I met José. He was walking with his wife, around the Maracanãzhino, the gymnasium located next to the giant Maracana soccer stadium. I can't remember the initial conversation but we hit it off right away and I would meet him during each of my trips to Rio. We would attend Jazz concerts together and many times he would take me back to the airport with his car. Around 1984 I introduced by letter, Joe Carter to José and asked him to find a gig for Joe in Rio, which he did several times and extended his hospitality to Joe in his apartment. At that time, I was producing some albums for Empathy Records, Joe's label. Also by letter, I introduced Terri Hinte who is the Director of Publicity of Fantasy Records. She even learned the language. Joe and Terri became José's good friends and still are!

 

Q. What were your initial impressions of José?

A. José is a very open and friendly person. It was easy from the first minute "to communicate" with him, especially when the two of us shared the same enthusiasm for Jazz and Jazzmen.

 

Q. How has your relationship to José changed over the years (if it has)? What influences has he had (directly or indirectly) on your own life?

A. José and myself exchanged letters but not often. I also met him in New York (1984 or 1985) during his visit to this city. With our wives, we attended a Jazz concert then went to a private party. During his stay in New York we also had lunch several times.

 

Q. What is your overall impression of the writing that José does? How would you characterize the quality of his writings?

A. José is a professional. He writes for the best and most important Rio newspaper. He wrote an essay on French violinist Didier Lockwood and his style was of the first caliber. In his article he also mentioned my name several times which was nice and friendly of him. Great skill as a writer. He really loves to talk and write about Jazz.

 

Q. What words would you use to describe Jose's feelings and dedication toward music in general and jazz in particular?

A. José is a sentimentalist of Jazz, he doesn't do his writing for money but because he loves Jazz. I believe he was born in Buenos Aires (Argentina) from Italian descent. Therefore his feelings, emotions are typical of Latin people.

 

Q. If you could say only one thing about José to give others an impression of him, what would that one thing be?

A. A consolidation of talent, emotions, kindness, hospitality. . . .He is a giver in need of talking, writing, communicating. He has a great and loving heart.

 

Q. Have you kept in touch with José regularly over the years and do you see each other personally from time to time?

A. Not too often, unfortunately.

 

Q. Is there anything else you would like our readers to know about José and his work?

A. In spite of 2 marriages, he is a great family man and loves his children. Jazz for him is not only a consolation but also a hope for a better life, better relationship with others. For this purpose he uses what he knows best--the music, his experience in music, his friendship with musicians from all over the world but in particular, those from Brazil.

 

Thank you for the interview, Mr. Mialy!

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Interview with Joe Carter (Guitarist, Recording Artist, Instructor)

Interviewer: B.J. Major

 


Mauricio Einhorn (L) and Joe Carter (R)

This interview received in email 5/23/00.

Q. Joe, I'd like to begin by finding out how long you have known José and how did you initially meet him?

A. I started to write to him in 1985 when a mutual friend of ours, Jazz Hot writer Louis-Victor Mialy, suggested I send him one of my recordings as José was THE jazz critic in Brazil. I sent him my recording with Art Farmer and he liked it. As a recording artist I can tell you that a lot of promotional recordings are sent out to magazines and reviewers that are never even acknowledged so when one comes back with a favorable response you take notice. José and I then started to write back and forth and we realized we had similar likes and dislikes. In his letters he always amazed me with the depth of his knowledge when it came to Jazz. His thoughts were more insightful than most North American writers. We wound up building a friendship through our correspondence. Part of it, I'm sure, comes from the fact that we both share an Italian heritage. We finally met in person when he and his wife came to New York on a visit in November of 1987. On first meeting we embraced as if we had known one another for years. We spent several hours in a coffee shop talking about music. With the advent of email we have been able to communicate on a more regular basis, usually two or three times a week.

 

Q. Did your own interest in Brazilian music have anything to do with meeting José, or was that something that was already a part of your life?

A. My interest in Brazilian music can be directly related to Jose. At that first meeting in New York in 1987 he informed me that he had spoken about me with the owner of People Jazz Bar, at that time the #1 jazz club in Rio. The owner wanted me to call him about arranging a gig. I wound up working a 5 nights a week gig for two weeks, being accompanied by two of Rio's best musicians and playing opposite the great pianist Luiz Eca and his quintet. It was on this gig, while playing and talking with these great musicians, that I began my interest in Brazilian music. Through the years he would introduce me musically to the important performers like the Zimbo Trio, João Donato and others. And if I had any questions about Brazilian musical history he's like a walking textbook full of first-hand accounts. Remember, he's right there where it was all happening --- Copacabana in Rio. It's like someone growing up in New Orleans in the 1920s or Harlem in the 40s.

Q. How has your relationship to José changed over the years (if it has)? What influences has he had (directly or indirectly) on your own life?

A. Curiously enough I feel that our relationship has stayed the same through the years. It was a strong relationship built on friendship in the beginning and has remained that to this day. When we get together it's never "why did you say that or this" etc. We simply ask "what's new" and take it from there.

 

Q. I understand that José wrote the liner notes for one of your albums. How did that come about? Has he worked with you on any other projects?

A. I simply asked him and he said "yes". He had also written the liner notes for a Don Friedman (pianist) recording that I produced but it was never released. I remember him being very thankful for being asked to write, for the first time, liner notes for a U.S. release. This from a man who had written the liner notes for hundreds of Brazilian releases. If I had my way I would have him write the notes for all of my recordings. He always manages to hear on the first listening some unique aspect or subtle nuance of the music that might take me several listenings to hear, if at all.

 

Q. What is your overall impression of the writing that José does? How would you characterize the quality of his writings?

A. There is no doubt in my mind that if Jose was living in the U.S. he would be writing for the top jazz magazines. One has to realize that "O Globo" , the newspaper that José writes for, is the #1 paper in Rio and most of Brazil. Previously José had written for its competitor, Jornal Do Brasil. José is able to write in a way that is informative and appealing to both the sophisticated jazz listener and to the average reader as well. Without exaggeration José can be compared to John S. Wilson writing for the New York Times or Leonard Feather writing for Downbeat. Another thing that should be noted is that José is comfortable in other mediums as well. He has hosted his own Jazz programs on the Radio, taught Jazz History courses and has acted as a consultant for Brazil's Free Jazz Festival. He has become synonymous with Jazz in Brazil. The first time I met Ivan Lins I happened to mention José's name and Ivan spoke for about five minutes about how he didn't know José personally but was aware of and appreciated his work, etc.

 

Q. What words would you use to describe Jose's feelings and dedication toward music in general and jazz in particular?

A. He has a passion for the music. This is a man who learned the English language from movies and songs just so he could understand the liner notes that went along with the records he was collecting (and boy does he have some great recordings). He and I have had conversations about what it means to listen to great music, how life would almost be meaningless without the opportunity to appreciate the beauty in the music of Charlie Parker, Tadd Dameron, Wardell Gray, etc. He is like a musician because the focus of his day, from going to work to relaxing afterwards by listening either to recordings or live performances, is on the music. The music directs everything he does in the course of a single day.

 

Q. Have you kept in touch with José regularly over the years and do you see each other personally from time to time?

A. In addition to the weekly emails we see each other when he comes to New York or I go to Rio. We always reserve time on each of our trips for dinners together and trips to hear music.

 

Q. Is there anything else you would like our readers to know about José and his work?

A. He is someone who, despite our age difference (which seems to get smaller as I get older), has become my best friend. There are a handful of people who are responsible for me being where I am today and because of his guidance and inspiration I count him as one of these people. I owe him a lot. One last thing: if you think you are a part of a small minority for liking Jazz in a society that for the most part doesn't understand it and does its best to degrade this art form then try being passionate about it and making it your life's calling in a country on the other side of the world and you have somewhat of an idea about dedication and true conviction to the art. That's José.

 

Thank you for the interview, Joe!

Thanks, B.J. for allowing me to be part of this.

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Interview with Chico Curzio (Guitarist, Recording Artist, Physician)

Interviewer: B.J. Major

This interview received in email 5/25/00.

Q. Chico, I'd like to begin by finding out how long you have known José and how did you initially meet him--was it through correspondence or an in-person meeting?

A. I first met Raffaelli a long time ago, I think was in 1982, at this time I lived in Rio and I was beginning my professional career. In that time, downtown Rio had an old store of used records where many musicians and writers went almost every day because the owner of this store is a very nice guy and when he got some good records of jazz he kept to show first to his friends. One afternoon he introduced me to José Domingos Raffaelli a very well-known person in my country. I was 23 years old and I was very impressed with his memory and knowledge about jazz musicians. Then, I met him many times for a talk about music and I think that time he changed my mind and my music.

 

Q. What were your initial impressions of José?

A. I think my first impressions about Raffaelli were that of him being is a very nice and simple guy; now he is one of my best friends and with the years I saw that he is a kind of person that you don't find every day; his honesty and love for music are a rare jewel.

 

Q. How has your relationship to José changed over the years (if it has)?

A. After all these years, I think now I have to say thanks to God to have known Raffaelli, because he was the first person who wrote about my music in a big newspaper and he opened many doors for me. He also wrote some words about my songs [in liner notes] that you can find in my first album Alpendre; Joe Pass, too, wrote for me some nice words that are on the cover of the record. And now I think Raffaelli is a guy that you can trust - a real friend.

 

Q. What influences has he had (directly or indirectly) on your own life?

A. Now, every time I want to know more about jazz I make a phone call to Raffaelli and he is always ready to talk and I feel that he is full of life. Raffaelli has known my family for all these years and I remember a dinner in my house around 1986; there was Raffaelli, Joe Pass and other friends. It was one of the most important days in my life. So I think I saw in his person a feeling of humility and humanity that inspires me.

 

Q. What is your overall impression of the writing that José does?

A. When Raffaelli writes about something, you can be sure he is writing with his heart and he knows what he does. He has a special way to write that you believe in him; many times I bought cds after I read what he wrote about them.

 

Q. How would you characterize the quality of his writings?

A. His articles are always full of important descriptions and I think he is one person who knows everything about jazz and lives for the jazz music. He has a fantastic memory, and when he writes he shows to us a part of it. He saw all important jazz musicians play and he made many travels to expand his knowledge.

 

Q. What words would you use to describe Jose's feelings and dedication toward music in general and jazz in particular?

A. I think we can have no words to describe Raffaelli's dedication; he is the best in his work. I would like that new generations be in contact with him to share what he has to teach, and I think people who write about jazz and Brasilian music would have him be like a mirror.

 

Q. Have you kept in touch with José regularly over the years and do you see each other personally from time to time?

A. Now I live in a small town near Rio de Janeiro and I always talk with him by phone; last week I met him in person and he is very healthy and for me it is an honor to be with Raffaelli.

 

Q. Is there anything else you would like our readers to know about José and his work?

A. I would like to say how I am happy to do this interview, thank you very much for this opportunity--and I would like that more people have the opportunity to know this singular and gentle person who is Raffaelli. Raffaelli, God bless you for everything you did for me.

 

Thank you for the interview, Chico!

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Interview with Alvaro Neder (Musician, Writer)

Interviewer: B.J. Major

This interview received in email 6/12/00.

Q. Mr. Neder, I'd like to begin by finding out how long you have known José and how did you initially meet him--was it through correspondence or an in-person meeting?

It was through the Internet. In 1996, I was frequenting the Warner's Jazz On Line (JOL) and Raffaelli was a regular at Jazz Central Station (JCS). I never thought like that, but there was even some animosity between the two parties: people at JOL were considered to be snobbish, because they were fewer, they liked to write really big postings, and they weren't afraid to discuss jazz under the light of Social Sciences; people at JCS were numerous, and conducted their talking in a more freewheeling style, so to speak... Anyway, I used to peep at JCS sometimes, and being José the only Brazilian regular I've seen on a jazz web forum, it attracted my attention. Of course I already knew his work and about his many years as a jazz journalist, circumstance which made me approach him even more carefully.

 

Q. What were your initial impressions of José?

My very first opinion about him was so many years before I came to know him. When I was twelve (twenty-five years ago), my brother-in-law gave me a Miles Davis record, with Bird (Imagem 5054), the sessions of March 28, 1946, October 28, 1947 and November 4, 1947. The liner notes were by José, and I read them over and over to help me through that demanding record. It is curious that my first contact with jazz had to be my first contact with José! And, obviously, my first impression of him, in that time, was of an inaccessible professional. It was again curious that I finally met him, and later, became his friend.

 

Q. How has your relationship to José changed over the years (if it has)?

We felt an almost immediate identification and gradually tightened our bonds, until we came to see each other in person after some years, as I wasn't living in Rio in this decade. We met during last Free Jazz Festival, in Rio. We spent a lot of time together, mostly talking about our shared passion, jazz music, but also about just everything. When he was paid a special tribute by the IAJE people, though, he exceeded himself in generosity. He insisted for me to go, then he put me at his side, and every person who approached him to compliment him (the best musicians of Rio, mind you! Fortunately I was already personally acquainted with some of them, such as Antônio Adolfo and Pascoal Meirelles), he immediately introduced me to that person, using the most ambitious epithets to describe me. This was another evidence of his sheer generosity.

 

Q. What influences has he had (directly or indirectly) on your own life?

In Brazil, he who loves the music passionately is going to go through hard times, as everything that count are the highest-selling scores. But, in truth, that means nothing, in terms of everything that the music represents in terms of human improvement. So, today, any person with no more than a superficial knowledge of music, even then just the kind of music which has been fashionable for the last decade or so, can be a musician/music journalist/writer in Brazil. I went through a difficult period in my life under that kind of pragmatism. José was a big stimulus to me to nurture my search for authenticity, and I thank him for that.

 

Q. What is your overall impression of the writing that José does?

I think he can communicate his passion for what he is writing about very easily, and he succeeds in involving the reader in his passion quite naturally. It has no formula, it's something you can't buy in a store or learn as a technique; it's an Art, which is born out of pure sensitivity in harmony with reason and knowledge developed through decades.

 

Q. How would you characterize the quality of his writings?

Highly informative, which is of foremost importance. He is an innate educator.

 

Q. What words would you use to describe Jose's feelings and dedication toward music in general and jazz in particular?

José is a person who loves music, and loves jazz, and knows a lot about both. If someone is willing to learn from him, he'd kindly, generously share his enormous knowledge. I know he has a lot to teach, and I've been learning from him as the time passes. I'd only like that his total dedication to the understanding of music was rewarded with the respect of the audiences and the professional recognition of press vehicles.

 

Q. Have you kept in touch with José regularly over the years and do you see each other personally from time to time?

We always keep in touch, and I hope we continue to see each other even more. I know that we will, because I think I'm going to spend more time in Rio soon.

 

Q. Is there anything else you would like our readers to know about José and his work?

José is a primary witness of Brazilian music's important events since the decade of 1940. He has stories to tell that no one has told or can tell. He can expose a completely different view of the history of Brazilian popular music than the ones in the textbooks. We would be happier with a great book by José, preferably a US release with good distribution.

 

Thank you for the interview, Mr. Neder!

You're welcome!

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