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If you thought you knew who guitarist/composer/producer Johannes
Linstead was, be prepared to be surprised. I know I was. The Johannes
that
I knew had his five releases all chart on the Billboard New Age
chart, with
his latest album, Mediterranea, reaching the number
six position. I also
knew Johannes from his many accolades and awards, including this
year's
NAR Lifestyle Music Award for Best
World Album.
But, as I discovered in our conversation, this is only part of Johannes'
creative work. He has written more than 300 pieces for Classical
guitar,
he's currently putting the final touches on a piano-based record
as well as
on a meditation album and, if that wasn't enough, there's also a
spiritual
book in the works. He's clearly a creative, talented and busy guy!
If you'd like to learn
more about Johannes, please visit his website at
JohannesLinstead.com.
Jamie:
Mediterranea is, I feel, a very apt title for your
latest release. Did
you have a sense of the overall direction for the record before
you started
recording?
Johannes: Yes, I did have an
overall concept before I started this CD.
Traditionally, my music has been very South American or Afro-Cuban
in its
rhythms, fused with a bit of World and Flamenco textures. On Mediterranea,
I wanted to take a slight departure from this and create a CD that
my
audiences will appreciate, but still be different enough that it
can be called
"new". So, I jumped continents from South America to Europe,
and
incorporated rhythms and instruments that are heard in the Mediterranean
countries - hence, the title Mediterranea. I think
this influence is exemplified
in songs like "Journeys to Alcazaba", "Hour of the
Lamps", and "Ambrosia".
Jamie:
With Mediterranea reaching #6 on Billboard's New Age
Chart and
#7 on NAR Top 100 Radio Chart, I think your audience definitely
appreciated
your evolution!
Did working with Mediterranean
based rhythms and instruments present any
unique challenges?
Johannes: No, because this is
the music I listen too all the time. I don't
listen to any of North America's pop music. I am more attuned to
Flamenco,
Middle-Eastern, Classical Indian, and Latin music. Hence, I "think" musically
in those terms. I played the Greek bouzouki on Mediterranea,
as well as
every CD except my first. Because it is a stringed instrument, even
though it
is tuned differently than a guitar, it was very easy for me to learn.
Jamie: Ha! I was just going
to ask you about the bouzouki...
I was out with a friend last night and we were talking about influences
and
how at times the music you listen to can be very similar to your
own style
and at other times completely foreign. I know some of my "best" ideas come
from listening to instruments other than my own. Trumpet and flugelhorn
players seem to have been, and continue to be, front and centre
- Miles
Davis, Jeff Oster, Chris Botti, Chuck Mangione... to name a few.
It's hard to
say how much of their approach to music and their instruments has
rubbed
off on me in general, or on my playing specifically, but I'm sure
there has
been some effect. Do you feel listening to instruments, particularly
woodwind
or bowed, such as the ney or the sarangi from Middle-Eastern or
Classical
Indian music, impacts your guitar playing in any way?
Johannes: Well, I'd say due
to the Latin/Spanish influence in my music,
the trumpet, piano, and violin have more of an impact on me. In
certain songs
I will use two guitars to emulate a piano montuno, and certainly
my
improvising can be very trupetesque in melody. Because I grew up
with a
deep love for classical music my soloing may at times be reminiscent
of
what Paganini may have played: a lot of 32nd notes and arpeggios.
While I
love Indian bansouri (flute) and the Arabic oud (stringed instrument),
their
influences are much more subtle.
Jamie: On Mediterranea,
in addition to the guitar and the bouzouki that
we've talked about, you played: piano, keyboards, palmas and percussive
effects. You also wrote all the music and handled the production,
arranging
and engineering. But Mediterranea isn't a strictly
solo project - you enlisted
the help of some great players and singers. How do you decide when
to
bring someone in to play on a track? What are you looking for in
a
sideman/woman?
Johannes: I have a group of
musicians who form my core group for
performing and recording. They are essentially trained in Afro-Cuban
rhythms. However, when a song calls for something outside of any
of our
collective expertise, I will call other musicians in. For example,
on "Journey
to Alcazaba" and "Hour of the Lamps" these songs
have a strong Arabic feel
to them, so I called Amer Matri who is from Syria to play the doumbek
(Arabic percussion instrument) to give the songs the mystique of
the Middle
East. Because of his upbringing he was able to imbue those songs
with
characteristics that are authentically Arabic in feel. He has recorded
on my
last three CDs, so I guess you could say he is part of my periphery
group.
Jamie: You're lucky to have
such a talented band! Even though we live
relatively close, I've never seen you live. What's your show like?
Johannes: In concert I like
to create a festive, high-energy atmosphere. I
will usually play my upbeat, danceable songs, especially at outdoor
festivals. When we perform at soft-seat theatres I will vary the
content to
include a few of the more "ethnic" pieces, as well as
a ballad or two. I often
have a flamenco dancer perform with me, and there are always lots
of
Afro-Cuban and World percussion solos. I tend to improvise more
and play
faster runs on the guitar, often doubling the normal solo length.
The audience
always gets up to dance in the isles and sometimes on stage too.
A huge,
positive group energy is created and everyone goes home feeling
happy. We
have really a great time on stage...
Jamie: Sounds like a party!
I've got to get out to one of your gigs...
One theme that I like to touch on in these conversations is the
state of the
music industry. While there are some signs that things are stabilizing,
there
are still some giant hurdles to overcome -- illegal downloading
being just one
prominent challenge. As you write on your website about
downloading/filesharing: "Well, of course, I'm very much against
it. I think
most people realize that it is illegal and that it does hurt the
composer and
the industry as a whole. But I look at it more as a comment on today's
society." Has filesharing changed the manner in which you approach
business/marketing? Do you feel filesharing has directly impacted
your own
sales?
Johannes: I think the good thing
about the music I write is that it attracts,
in general, an audience that is not of the consciousness to "steal" music,
whereas a group that releases rock or rap albums might be more subject
to
that kind of activity. Judging by the fan mail I receive, my audience
seems to
have a lot of heart and not people of inconsiderate nature.
I think what is happening is that the Internet has provided people
with yet
another "distraction" and since there is so much free
stuff, including music,
one's time and money is becoming more and more divided.
Jamie:
I think that's true. DVD's in particular have, in my opinion, taken
some of the wind out the music industry's sails. And I guess for
certain
types of music, video games have also affected sales.
On a larger level,
I wonder about the role of music within society and
whether music is generally less important to the lives of the "average"
listener. Possibly, as you point out, it could simply be a greater
division of
mindshare. I think there's also an element of listeners feeling
overwhelmed
by the sheer amount of music out there. It can be tough to know
where to
start.
And speaking of listeners,
one theme that's come up in these conversations
is an artist's relationship to the listener. What role does the
listener play in
your music? Does the listener change your music in any way?
Johannes: I guess what you are
asking is do I compose what I feel my
audience will like? The answer is "no" but with a catch.
I write exactly what
I am inspired to write, which may include classical, jazz, Latin,
pop songs,
etc... However, what I release on album is definitely a cross between
what I
like and what I feel will please my audience. I don't feel like
I have to record
my most challenging, intellectual compositions. As long as I am
proud of
the song, and it could be a very simple song, then it will be considered
for
release. I've written over 300 pieces for classical guitar that
I know the world
may never hear. I'm okay with that.
Jamie: Wow -- that's a lot of
music... just amazing...
Well, I finally got
out to see you play live (an in-store here in Toronto) and
you sound as good in a live setting as on record! Do you enjoy playing
in-stores? Do you find, from a business/marketing perspective, that
in-stores are an effective use of an artist/label's resources?
Johannes: Yes, I do find it
an effective use of resources. I've done in-stores
where I have sold 150 pieces, and I have done in-stores where I
have sold
10. But it's all about expanding the fan base and building long-term
relationships. When someone sees us live for the first time at an
in-store it
is an intimate experience because we - the musicians - are so accessible.
You know, they can come up and talk to us one on one, and they go
away
with a signed CD and feeling like they made a new friend. And that's
how
we feel. So this kind of connection is a great way to make long-term
fans
that will buy releases for years to come.
Jamie: I think you're absolutely right about building
that connection. I know
that's what I want as a fan/listener -- to get a better sense of
the artist as a
person.
From talking with you
at your in-store, I know that you have a few projects
on the go. What can you tell me about the new recordings?
Johannes: Well, I have several
things on the go... I have the workings of
about 12 new Latin guitar compositions recorded, but that wont be
released
until 2006 sometime. I am almost done a CD of New Age piano pieces,
which may be my next release. The piano is recorded; I just need
to add
orchestrations and it will be done. I am also putting together a
CD of Eastern
influenced pieces. These were songs that I used as background for
a
meditation CD I worked on with Kundalini yoga master Hari Nam Singh
Khalsa. Plus I also want to finish a book I've been working on for
about three
or four years. It is spiritual book on creating the consciousness
to manifest
your goals into reality using meditation and energetic exercises.
Jamie:
Truly diverse and impressive -- I had really only known your work
as
a guitarist/composer... Do you feel there is a common thread running
between all of the different areas (and different mediums) that
you're working
in?
Johannes:
Yes, I'd say there is a common thread... it's a feeling of
reverence and respect for life. Throughout each day I try to keep
a sense of
groundedness regardless of what difficulties may arise. It's hard
not to
become over-stressed in today's society, but by having a daily spiritual
practice it becomes easier to stay in tune with "divine" consciousness. I
believe that in this state one is able to compose the greatest music
or
produce the greatest works of art, as this is the true source of
all creativity.
Jamie:
That's a wonderful approach to life and art, Johannes! Thanks for
taking the time to do this artist-to-artist conversation and good
luck at the
Canadian Smooth Jazz Awards!
Johannes:
Thank you, Jamie, for your time and insightful questions. Best
of luck to you too at the Awards, my friend!!!
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