Tip:
Highlight text to annotate it
X
Hello, I'm Professor Chabert and I will be speaking to you about magma.
Magma is molten rock containing dissolved gases.
It is formed at high temperature and under high pressure by partial melting of the crust or mantle.
Magma, less dense than the solid rock of the lithosphere is driven upwards by
Ok, let's get goin'.
Christian Vander, good evening. Could you tell me about Magma upcoming news ?
Magma's recent news...
We are currently at the Triton for a round of gigs for a whole week, and that is really nice, it's sold out, totally sold out.
There's even a friend of mine who couldn't get in tonight.
Also, we issued a new record a while ago named Félicité Thösz that is Magma's last album
and, for once, I'd say it's an album I would recommend, I'd recommend this one.
Because I often get asked, I mean, those who do not know : « so what do you recommend for a first listening ? ».
Frankly, there are many things, and Félicité I'd say it's a little
- it's a bit of a strong word but-
the quintessence of all the beautiful melodies of Magma, gathered.
So it gets unanimously praised.
Alright. Is the Triton an important place for you ?
It's a very good place.
The Triton's crew allow us to make experiments here. So we can experiment new things, and now we're a bit like a family.
We have nice lodges, which is rare for a club. They really did put an effort on the lodges,
generally, you just need to see some jazz clubs that I will not mention here, but that's the other side of the scene, in the bad sense.
But here we're just fine, really as a family I'll say once again.
All is possible and all is permitted at the same time.
All the possible experiments, it allows us to try out some new tunes for future records or concerts.
Could you tell me of the concept and spirit of magma ?
Quite a long story but well..
The idea, we could almost call that an utopia.
With a friend, one day, we found the world where we lived was very tough, and so we transposed.
. We called the Earth Kobaïa.
But Kobaïa, as my buddy Laurent said, that might be the Earth without ***.
We really imagined something else. From there, a whole story in a pseudo-science fiction style,
I'm not very SF though it may seem so,
but the beginning on the planet Kobaïa etc...
But actually no. It's more of an introspection,
an internal work that started back in 1969, I mean for me, right ?
So we get to learn everyday, by experiences or by music, what it gives to us, what we give back to it or what it gives back to us.
It's work through several levels.
An example is that in every moment of your life, you may listen to music differently according to the level of music.
If you take a small statue, an egyptian one for instance,
we could state it's a beautiful statue,
then contemplate, admire its proportions.
At a second level, third level ... and there may be many others,
we may vibrate with this statue, though it is still the same.
So it's a bit like that. Some musicians I used to listen to at the time, I felt like I understood.
For some maestros, the more time passes and the more you get into their music,
you get to understand better the movements, the directions.
So we get to discover everyday. The more we learn, the more we discover, and still it seems to be the same music.
Speaking of bands and planets,
you share some concepts with a band well known to you, GONG. Could you give me your opinion about this band ?
Frankly, it's a music I surprisingly do not really know.
I wouldn't the say it's the straight opposite of Magma, It isn't what it is,
but it's very very different.
We shouldn't assimilate based of the fact it was in the 70's, there was this band and that band.
I got asked recently : «Do you know King Crimson ? » and I answered : « No » .
it shocked people.
I could ask someone : « Do you know Out Of This World by John Coltrane ? » and they'd answer «this guy's living on his own island ! ».
Not at all, I listened to something different, even classical music.
And we would be surprised to know the amount of Rock or Metal musicians who listen to something else.
They may have chosen to do that for reasons of taste, but in truth, they gather information, they keep their ears opened, they're searching.
Even Miles Davis said : « me, I listen to Debussy ». There you go.
And little anecdote also, may I ?
When I was 15-16, I had a friend who was a total fan of Eric Clapton, who must be known by every guitarist or musician I'm sure,
and he tried hard to make me listen to Clapton.
I said « that's neat, he's got a fine sound » but after some bars, I got tired.
Because me, I was listening excessively to jazz, especially the great saxophonist John Coltrane.
And my friend told me that Coltrane was intellectual music, whereas Clapton was clear and simple, and I had to listen to it
Then, a decade later, with Magma, we played in England. Clapton really liked this music.
And some day I was told « Eric Clapton is on stage, he'd like to greet you ». So I said that'd be my pleasure.
So I go see Eric Clapton some years later « Nice to meet you, blah blah blah ». We discuss and I tell him
« there's something on my mind,
in the Fresh Cream era -- his first record-
what music did you listen to ? »
and he told me « me ? John Coltrane ».
So there you go !
In France, unfortunately, people who play Rock or Metal only listen to this,
whereas in England or in the U.S, it's not the same at all, or in other countries.
The guys are fairly eclectic, listen to a lot of things, grow rich from many styles.
Me I like Jazz a lot, but I also listen to many things, classical music as well... which doesn't prevent me from listening to current music also
Actually I often get to with my buddies!
Speaking of John Coltrane.
Daevid Allen from Gong told us he had been to the Coltrane Church in the U.S. Have you been there once?
No, but I listened and I went to one of the the concert they did in Paris. St John Church...
I won't hide from you that Alice Coltrane, John's wife, was not entirely ok with this.
I went to it and I was, I must say, slightly disappointed.
It's not a game. The guys could have recited poetry, make prayers for John,
but to play music, and play out of tune... that was quite an exuberant farce I'd say.
I'm sorry to say that. I was one of the firsts to defend the St-John Church, I thought it was normal, yes, he's very close to bein' a saint.
Actually Elvin Jones, his drummer, said : «He's an angel who came on the Earth » .
Contrary to the other drummer who played with Coltrane since Elvin Jones was not always there for various reasons,
who said
that playing with John Coltrane was a beautiful nightmare...
Roy Haynes.
Is there an instrument you've always dreamed of playing but never actually got to ?
That might be the dream of every drummer...
I'd have liked to play bass guitar, the way I feel it.
I compose things for the bass guitar, but to play it would have been pleasant.
The guitar, not really. I like to listen to it, but to play it no, it's not my thing.
Otherwise, the saxophone of course...
Everyone is going to tell us the saxophone!
It does fascinate...
Me, I do know why.
At the beginning of Magma, we really were lacking in saxophone here.
And me, crazy about Coltrane,
whenever someone asked me « I love music, what instrument would you recommend ? »
I always answered « the saxophone ! ».
It's true that is it's extraordinary.
Me, I work a lot on the voix, I think it is a beautiful instrument.
It's magical.
John Coltrane actually wanted to play as a singer. It was his dream.
I think he accomplished it.
My favorite piece frome Magma is in you Üdu Wüdü record, and it's called De Futura.
I know it's not a very unusual choice for a Magma fan, but well ...
Could you tell me a bit about that tune.
I cannot tell as much about it as Jannick Topp who is the composer.
Your opinion ?
My opinion ...
well, it's a piece that I really like as well.
But it is not my favorite, not for the listening, but to play it, because it's difficult.
It's a difficult piece to play for a single drummer.
There are two things happening inside.
One movement that is very « rooted »,
but you want on the other side a movement to sway the music a little, since it's very rigid inside in some way.
That idea comes from Jannick, who plays a lot with the metronome, it really is clack clack clack.
And me, I like the swaying a lot, I need music where you can breath.
Nothing is straight, nothing is even in life. And it's the way I work.
So for me this rigor is a little extreme.
But well, that's a piece that's nicer to listen to than to play I'd say.
Thank you.
You have two great musicians in your circle names James Mac Gaw and Philippe Buissonet.
I'd like to know how you met them.
I think that as for many members of Magma, we met them because they are people who love this music.
It's necessary to fully put yourself in it, you cannot cheat.
It's been a while since we started working together, time flies...
When we got the band back together in 1996,
I'd say the band was on hold, but Magma never stopped we may say,
but we lacked practice.
So we had an « Offering » era, singing, piano, more accoustic.
And we got a request for Magma. A friend offered me around fifteen gigs.
He told me « if I find concerts, will you get the band back together ? ».
I answered « no problem ! ».
I have to say I didn't fully believe it.
And one month before he told me « There, I've got the gigs, we have twenty dates. Have you got the band ? »
I told him «yeah, yeah of course ! ».
At that point I called all the buddies I had who were into that kind of music.
And so Bubu and James offered to play.
We already knew each other,
but that's how it happened, it went the same with Didier Lockwood.
Many musicians want to get back ot a slightly « vintage » sound, more or less organic.
You, you have a vibraphone, a Rhodes.
What do you think of, with all that you've known and seen,
the evolution of the equipment and the techniques in music ?
It's complicated.
Whatever the equipment,
I think if you have something to tell, you can do music with anything,
even a fork and a radiator.
I'm saying that because a saxophonist I know had composed a piece for a radiator with a stick.
But I think it's the problem, it's about knowing whether you have something to say or not.
It's a parenthesis, but the music schools have really damaged the youngsters and their freshness.
The guys are afraid, of either breaking the sound, or to play the wrong note,
the blue note,
and that's really a shame, and so they do not take sufficient risk.
For the composition, it's the same,
there's always a dose of risk, you're on a tight rope.
What matters is what you have to say, that's above all else,
otherwise people will say « yeah it's nicely done... » but the thrill, the vibration will be missing.
I believe that if I was in a forest, I could still play music, withtout electricity.
It is a beautiful principle.
Back to the concerts, what's your best memory of a gig ?
That's a good question, but I ...
Or a tour ...
There's been tours with excellent musicians,
awesome groups.
But I have a memory of a concert with Jannick Top that I'm looking for,
I know it's been recorded.
It was in Colmar, 1974, in autumn I think.
It was one of those concerts before he left the band.
It was incredible.
The pianist who played with us had modified sounds, synthetic at this time, and he had just left the band,
and two nights later, when we had the gig, I could still hear the same melodies as if the pianist wasn't gone.
And Jannick played the melodies on top of his bass lines !
So I said to myself « we have a problem here... »
that was almost crazy, unconceivable.
We have a trace of this period.
Actually, it's a concert we'd like to release, it was in Chaumont, I think it was May 30th 1974.
And there you hear the nutty Jannick,
people who think they know Jannick will discover something they never heard before.
And it was just the beginning.
And your worst memory ?
The worst memories...
it might be the unfitness or lack of inspiration.
Hardships got worse everyday.
During these years, around 1973, there were no highways,
the guys planned the tours on paper : Nice-Calais, no problem.
So 14 hours in a truck, with no break and no restaurants... a bit of humor was needed.
I would say : « anyone wants a sandwich ? ham ? » so I would be asked « do you have some cheese rather ? »
and I would asnwer « Just kidding ! », everybody wanted to punch me.
« that's the same for me guys, I haven't got anything to drink »
hardships... but it makes you stronger.
We'd do up to 20-25 gigs a months in extreme conditions.
Sometimes I couldn't even do a proper drumroll
but the energy was still there.
We'd give all we had.
I was so skinny, I had lost everything, only muscles left.
That's what hardships are, but the concert always were a pleasure for me.
My life is truly on stage.
And also you may need time for composing, of course, to recharge your batteries.
But no, there are no bad memories. There has been times of unfitness, there.
I'm speaking for the whole band, there has been tiredness.
I have a memory of gigs in England where we slowed the tempi down,
the city was called Slough, no chance there.
Jannick was telling me « I can't even raise my foot to play the beat ».
That was total exhaustion.
Otherwise, no, it's always a pleasure.
You need to prepare yourself during the whole day to be in music and not simply try to do it.
It's important, because doing the music, it's a missed chance.
But music calls, and you answer.
And there, the tiredness is much lighter, you are inside the music.
Moves are much smoother, even if it may hit hard, there's always something soft to it.
Even a « perhaps » that is important as well, ready to change direction at every moment...
Great, thanks a lot.
One of the last questions. It has become a tradition, the Dumb Question.
It won't be difficult then.
Do you like Haroun Tazieff's videos ?
Maybe it inspired you for the name of the band ...
Not at all.
I haven't said I didn't like Haroun Tazieff's videos, I like the colours and everything.
But no actually, it comes from an inner work. From inside going outwards, the volcanos and the lava.
I found it by instinct.
When very young, I had composed a tune, around 15-16 years old, called « Nogma ».
May I tell you another anecdote ?
the band was ready, and we wanted to get some action, to show who we were, to show others what we could do.
There was a very famous club at the time called « Rock'n Roll Circus » where you'd find all the rather famous bands of this period.
We knew that something was up, there was something « rambling » as we said at the time.
We arrived at this private club to play.
I rang and explained to the receptionist on the other side of the door that we were a band and we'd like to play the jam.
« oh yeah... and what is your name ? ».
I said «the band has no name ! »
« no name ? the band can't play then ».
At this point I went to the local cafe, I remember, I ordered a lemonade
and though to myself « now, I'm gonna have to think this through because I feel it's going to be important ».
We were going to hit hard, I was sure of that.
I was searching inside myself, things were emerging, reaching Nogma.
And I thought to myself « No, Nogma is not full enough ».
MAGMA ! Magma, it's a sound.
And I thought Magma, really like the lava, the sound of the volcano, not just things melted together.
I went back to the club right away and said « Magma ».
They let us in, and we did the jam.
And there was a huge american guy -- well they are usually huge -
who stood on a table at the end of the gig.
Standing there he said « That's the best band in the world! »
that's exactly what we wanted..
Great. Thanks.
So, you speak french, usually we ask people to tell us something in french, so it's not gonna be fun there...
so do you have a word you'd like to say to us in whatever language ?
" Merci aux intacts, à vie, à mort, et après... "
Thanks !
To finish, you have 15 seconds to promote whatever you want. Anything.
Well listen...
I do some solo concerts with piano and singing, and the audience of magma is not really curious about it,
I'm astonished they are not interested in what I do on the side even though I compose most of the things.
But in solo, apparently, it doesn't interest them.
When I do a solo gig, we really struggle,
few people come and afterwards I'm told « that's fantastic, everyone should know about it ! ».
The audience of Magma is not curious, I'd like them to be a little more curious about this thing,
because it's a more intimate side that they don't get to hear in Magma.
Magma is more extraverted we may say,
and there, all this side, this inner work, people don't know it whereas for me, it is essential.
Perhaps because you are a great drummer, that's the only thing people keep in mind !
Yes but well...
by the way, I would like to clarify that our music is never composed around the drum.
I compose the melodies by singing them mostly, and the drums comes last.
I always need to find a position.
There are pieces like Félécité where I thought to myself « What am I going to play on that ? ».
So there, I'm the last one served, and I try to find a position.
Maybe that's what is so peculiar about us.
There are rythms everywhere, so what may be added on top of that ?
So I have to search,
shake things a bit, create movements ... distentions.
We'll finish with « distensions » then.
Thank you, we're going to leave since you'll play soon.
Yes, I'm going to work again... for my future solo gigs that I haven't ... but well one needs to go on.
Did it go well for you ?
Very well. Perfect, perfect.
Well, great thanks to you.�