Q&A with Benjamim Taubkin & Adriano Adewale

Q. What was it that brought you together as a duo?

BT: When I did a solo concert in 2009 at the Vortex, Monica Vasconcelos  - a Brazilian singer living in London - suggested that Adriano could come and sit in. We did some songs and it went great. Then in 2010 , Luiza Morandi, my producer, also living in London at that time, proposed another session: just one afternoon, recording at the Vortex. It went so well, that we decided to launch as a record.

AA: The music happened very naturally and it has been each time is both a surprise and a reassurance of the magical mix of the duo.

Q. Your music seems to subtly deconstruct popular Brazilian music and build it into something new. What is the thinking behind the compositions?

BT: I think we are both immersed in the Brazilian Music and traditions. So I believe we both feel very comfortable to let the inspiration and the moment to guide us. And of course, some new and unexpected things come out of it.

AA: The human connection, the similarities in the musical palate, but also the life story of each of us. How we come to be as we are. It all goes to the music, and to the moment. Always the moment!!

Q. Do you improvise when you play together?

AA: Everything is improvised. There is no ideas that we put together to depart from. It is always a new story, a trusting exercise and a state of opened mind which opens the channel for the music to happen.

BT: It’s 100% improvised. Sometimes we go for some known songs. But they just appear – it’s not planned. So the way we may end up playing can be also a surprise to us.

Q. Brazil’s prominence in the world, economically, culturally, seems to be increasing. Is this having an impact on Brazilian music?

AA: From the outside of Brazil, what I can perceive is a growing interest in Brazilian music, I mean beyond samba and bossa nova. Many musicians are now exploring new rhythms and styles of Brazilian music.

BT: Hmmm… I think that more self confidence has started to develop. Brazil has an amazing living body of traditional music. And also a beautiful story of its evolution. So there’s still so much to be discovered by everyone, including ourselves. One writer-researcher from the first half of the 20th century - Mario de Andrade - used the expression of a ‘learning tourist’ - that make sense , even noa days.

Q. Benjamin – you work in many musical areas, from Symphonic to solo. Could you say something about your approach to music?

BT: It’s always related to a combination of an ‘interal’ hearing and the outside... When I’m playing in any format, I try to listen: to the music that is been played by the others and also my internal reaction to it. If the music doesn’t speak to me, I try to not play… I’ll just wait.

Q. Adriano – can you give us an insight into the instruments you play?

AA: Percussion for me is an orchestra. You can drive the rhythms, but for me, the beauty of it is the colours you can play with. This is what makes it for me; the joy to be able to change the characteristics of the music in so many ways. I also like the fact that percussion is very human, you find different percussion instruments everywhere you go. They are intrinsically related to the people, the environment and the culture where they come from. Voice, drums, metal pieces, water, shakers, it all makes the percussion a great instrument.

Q. Bossa Nova is at the root of much Brazilian music – and is still popular around the world – why do you think it’s so popular?

AA: Bossa isn't necessarily the roots of Brazilian music. Bossa itself was inspired by its ancestors Samba and Choro music. The style is great harmonically, melodically and rhythmically. I think bossa nova players went abroad and it happened to be in the US. It was a great timing, America picked up on it and that music went out to the world. It was the first thing people got to know about Brazilian music. But there is a lot more to it.

BT: I think it is because it became so linked to the idea of a good life, it’s relaxing, enjoyable, sunny. It has sophistication - in harmony, rhythm and melody, and at the same time a kind of easy going. Funnily enough, it’s now considered dated in Brazil. Even Tom Jobim, the creator of this style, moved on further in the 70s and 80s. But for the rest of the world it stayed on as part of global music.

Q. Benjamim, one of your songs is called Impressions of Ireland. How did the writing of this piece come about?

BT: When we did the session in 2010, I was just coming back directly  from Ireland – for me a land of magic and myths.

Q. Another song is called Samba. Is Brazilian carnival culture important in your work?

BT: Samba is played in Carnival - in one format: the school of samba and parade. But samba is also the daily music of a big part of Brazil. It is the source of Bossa-Nova, Choro, and MPB. So for me, I see it more as a traditional rhythm from the favelas, rather than as a manifestation of Carnival.

AA: Samba is a very popular rhythm and music style, and very important indeed. I grew up listening to samba and I remember, since I was 11 years old, my spine straightening up anytime I heard the drums from samba schools.

Q. Will Brazil win the World Cup?

AA: Who knows. It would be great. However there are concerns with the World Cup and social issues which might bring to the event some truths about Brazil.

BT: Haha… not sure… a lot of teams can make it. Now there is also strong social movement in Brazil, with people marching in the streets demanding hospitals and schools; to the FIFA standard. A kind of a surprising move from the country of football – but I see it as an evolution. Even loving the game and the cup!!