http://worldcat.org/entity/work/id/191997888

Interview with Lionel Loueke

Lionel Loueke speaks with Mark Ruffin about starting to play guitar late (age 17) and accomplishing a lot by age 35; growing up in Benin, Africa; playing percussion from ages 9-15 and beginning guitar at 17; Nigeria as music center in Africa; Benin music scene in comparison to West Africa; how learning guitar led to listening to blues artists like B.B. King, Wes Montgomery, Tal Farlow; transcribing music by ear using cassette tapes to learn; how it was not easy to find music; trying to transcribe and learn everything with no help or formal training; how his identity as a musician came with teaching himself; the National Institute of Art on the Ivory Coast; using the Institute as his first step to playing jazz in the United States; going to Paris to play music; finding other African musicians to relate to in Paris; changing over from classical to jazz; attending the American School of Modern Music in Paris; getting a scholarship to attend the Berklee College of Music in Boston; how Paris was the beginning of his dream coming true; how Paris gave him access to music stores to buy books, records or even strings; having to use bicycle brake cables as strings in Africa; seeing live music for the first time; meeting Richard Bona as a boy in Benin, and seeing him again in Paris; Wes Montgomery as his main influence; his time at the Berklee College of Music in Boston; being shocked by young talent at Berklee; feeling ready musically but challenged by his language barrier; the high number of guitarists studying at Berklee; how professors did not always appreciate how he played in his own style; his friendship and playing with John Scofield after having transcribed his work and studying him in his youth; auditioning for the Thelonious Monk Institute in 2001 - having to play for Herbie Hancock, Wayne Shorter and Terence Blanchard; Herbie Hancock hearing his tape and sticking up for him; staying true to his own style and musical identity; being asked to play on "Footprints"; getting a call from Robert Sadin while on vacation saying Wayne Shorter wanted him on his next record; how auditioning for the Monk Institute changed everything; working on "Flow" with Terence Blanchard and Herbie Hancock; developing his vocalizing and how that technique keeps growing and changing; using vocalizing as its own language - an extension of his guitar playing; how he felt after getting a positive reaction to "Flow"; how hard it is to find a good band leader; Terence Blanchard having great concepts; everyone on "Flow" doing their own thing; moving to New York City in 2003 and getting called about playing with Herbie Hancock in 2004; his trio Gilfema with Frank Nemeth and Massimo Biolcati; the Oblique Sound label; playing on "Possibilities"; arranging "Sister Moon" and Sting's reaction to that arrangement; the "River: The Joni Letters" project as something different happening, and the concept of recording based on lyrics; concentrating on how to play the compliment of what was being played around him; Herbie Hancock winning the Grammy for album of the year; his contract with Blue Note; growing as an artist with each record; Herbie Hancock as mentor (in business, in music, and in spirit); what is next for him - writing, growing, always trying to be better and different; preferring to keep learning with Herbie and playing with him for as long as possible; the importance of listening and not playing unless he really means what he is going to play; not aiming to be a star, but to keep growing as a musician.

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