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Gilad Atzmon: “With true music I want to go back to those kinds of unique feelings of authenticity”
.23 April 2013
Silvia Cattori: Is your new album Song of Metropolis different from previous projects?
Gilad Atzmon: To start with, I have been touring with the Orient House Ensemble for more than 12 years. Until now our music was an attempt to integrate the oriental sound into Jazz and vice versa. Songs Of The Metropolis is a completely different project; it is an attempt to find the sound, the colors that remind us what home is all about.
In the last three decades we have been invaded by globalism, by big monopolies, those who tell us what car to drive, what music to listen to, what clothes to wear, and I am really tired of it all.
We have seen too many people who rather than exploring their authentic self, they for some reason prefer to identify with one sort of margin or another. They speak ‘as a Jew’, ‘as a black’, ‘as a gay’, ‘as a woman’, ‘as a musician’. Rather than thinking for themselves, they prefer to identify with something else. I really thought that music is the way to knock it down; to try to remind you of the colors that make you (as yourself) cry, make you feel, make you love, make you hate; every city in Europe has a bell, a unique bell. If you travel a thousand miles but suddenly you hear the bell of the church of your home town you feel like home, you are at home. That is what I try to do. I try to bring to light different bells. Look at us, I am here with you having breakfast in Thalwil [village in the German part of Switzerland], and everything we eat here is from here; and if I do a blind test when I am in America, you put Gruyere cheese on my plate it would feel for me like Switzerland.
I want to celebrate authenticity; not to be afraid of patriotism; not to be afraid of national feelings; to learn how to celebrate nationalism but not at the expense of anyone else. The problem that we have with nationalism is that many times in the past it has been celebrated on others’ expense. Zionism was celebrated at the expense of the Palestinians. Nazism was celebrated at the expense of the rest of Europe. But at the moment this is not unique to nationalism. Because when we look at liberal democracies such as America and Britain we see a clear repetition of the same pattern. They are clearly celebrating their symptoms at the expense of the entire Arab world.
With music and beauty I want to go back to that kind of unique feeling of authenticity. However, it is not very simple; I play a tune from Buenos Aires and I am not Argentinean. I play a tune from Berlin and I’m not German. I am under an imminent danger of becoming a Zelig. This in itself is a clear Jewish phobia that I have to deal with. I believe that my humor is there to rescue me when I surf too close to the wind. You witnessed it yesterday; people are really having a great time listening to this music. It is a lot of fun to watch.
In Germany a lot of people complained about my Berlin tune. They say: “How is it possible that you gave Argentina ten minutes and for us you give just two”. They say that it is kind of Germanism, they complain that I reduce Germany into a Weimar cabaret. And they are actually correct. For some reason this is how I connect with the ‘German sound’. Interestingly enough, the people who produced that type of Weimar Cabaret were largely Jewish. There must be a subconscious bond here that I myself fail to grasp yet. After all, I was a Jew for the first 30 years of my life.
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Tuesday, April 30, 2013 at 11:31PM 
