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| maripili |
Gerardo, no tengo tiempo de traducirlo, quiz�s t� puedas
http://www.elpais.es/articulo.html?d_date=20011023&xref=20011023elpepiesp_1&type=Tes&anchor=elpepiesp
'Los Rolling Stones son mi vida, el resto son pasiones e
intereses alternativos'
LOURDES G�MEZ | Londres
De Charlie Watts s�lo se escucha una queja de
su vida con los Rolling Stones: las horas
muertas en el estudio de grabaci�n, las esperas
interminables hasta que Mick Jagger o Keith
Richards acud�an a la cita con el resto del
grupo. Un d�a resumi� su frustraci�n con una
frase que ha pasado a la historia del rock and
roll.
'Llevo 20 a�os esperando y cinco tocando la
bater�a', dijo a mitad de carrera. Charlie Watts
ha dejado ya de perder el tiempo. Con 60
a�os, dedica ahora las fases de inactividad con
los Stones a un vicio que le acompa�a desde
ni�o: el jazz. 'Siempre he sentido una gran
admiraci�n por la gente que interpreta esta
forma de m�sica', afirma en la habitaci�n de un
selecto hotel de Londres en v�speras de salir de gira con su nueva
formaci�n de jazz, el Charlie Watts Tentet.
El elegante bater�a parte hoy a Nueva York; en unos d�as, a Tokio, y el
pr�ximo 24 de noviembre participa con su banda en los conciertos de
reapertura de la sala Cova del Drac de Barcelona. Es la primera vez que
acerca su repertorio de jazz a una audiencia espa�ola. Enterarse del
parte meteorol�gico de la gran urbe estadounidense adquiere prioridad.
Porque, adem�s del vicio musical, Watts siente obsesi�n por el
vestuario. 'La ropa es como un fetiche para m�. Un abrigo de Loewe en
piel de cabra ha sido mi �ltima adquisici�n', se�ala mientras se pregunta
si ser� prudente llevarlo de gira.
Entre los 10 m�sicos de la banda, Watts se apoya en viejos amigos y
compa�eros de anteriores formaciones, como el bajista David Green, el
saxofonista Peter King y el trompetista Gerard Presencer, y da espacio a
sucesivas generaciones de int�rpretes basadas en el Reino Unido.
Profesionales como Luis Jardim, Anthony Kerr o Julian Arg�elles, que
participaron en el deb� oficial del Tentet en el templo londinense del jazz,
el famoso Ronnie Scott's, en el verano.
En Barcelona, el repertorio girar� en torno a Duke Ellington, Charlie
Parker, Thelonious Monk, adem�s de composiciones originales.
A Charlie Parker debe en cierta forma su nueva
situaci�n profesional. La reedici�n, en 1991, de
un libro en la memoria del m�tico Yardbird, que
�l mismo hab�a escrito e ilustrado casi tres
d�cadas atr�s, Ode to a high flying bird,
precipit� una carrera en paralelo a los Rolling
Stones. Para entonces, Watts ya se hab�a
estrenado en Ronnie Scott's con su big band y form� su propio quinteto
para acompa�ar musicalmente el lanzamiento del libro. De ah� surgieron
los compactos From one Charlie, A tribute to Charlie Parker with
strings, Warm and tender y Long ago and far away.
'Ahora tengo que colocarme en primera l�nea de los focos. No me
entusiasma particularmente. Siempre he preferido que Mick o Keith
tomen la palabra. Pero no act�o de l�der de mi banda; esa tarea se la
cedo a Peter; yo soy el due�o', cuenta con humor.
El rostro de Watts es un abanico de expresiones. En segundos pasa de la
sorpresa a la incredulidad, del entusiasmo al aburrimiento, de la seriedad
a la burla. El movimiento facial es quiz� un mecanismo de autodefensa
contra la timidez. En el escenario observa a sus colegas con la atenci�n
de un zorro, paciente hasta que llega su momento de entrar en acci�n.
'Una vez que arranca la m�sica da igual actuar para miles de personas en
un estadio que para un pu�ado en un club. Tocar en locales reducidos es
parte de la diversi�n de esta aventura. Est�s f�sicamente muy pr�ximo
tanto a la m�sica como al p�blico. La gente te observa, lo cual me resulta
bastante aterrador. Pero no me siento m�s vulnerable; simplemente s�
que cada movimiento y cada gesto pasar�n por la criba de la cr�tica.
Cuando funciona es una experiencia muy agradable'.
Watts habla de sus incursiones en el jazz como la 'pasi�n' que llena su
vida en contraposici�n de su faceta profesional con los Stones.
Descubri� esta pasi�n con 12 a�os, cuando escuch� la bater�a de Chico
Hamilton en Walking shoes, un tema grabado por Gerry Mulligan. 'Me
hab�a comprado un banjo, pero me hart� de intentar aprender a tocarlo.
Le cort� el m�stil y comenc� a practicar con un par de escobillas. Quer�a
tocar como Chico Hamilton'.
Con la m�sica en el horizonte ingres� en una escuela de arte, la misma
ruta que siguieron la gran mayor�a de las futuras estrellas brit�nicas del
pop y el rock. John Lennon, Keith Richards, Syd Barrett, Pete
Townshend, Ray Davies, Eric Clapton y muchos m�s sembraron sus
primeras semillas en institutos universitarios de arte. 'All� conoc� a mi
mujer, Shirley. En esa �poca, finales de los cincuenta y principios de los
sesenta, eran centros fascinantes en los que ca�mos todos los que no
quer�amos ser como los dem�s. Hab�a gente muy interesante, de todas
las clases sociales, y el ambiente era bohemio e incre�blemente creativo.
Las cosas han cambiado mucho ahora', recuerda.
El rock and roll a�n deb�a irrumpir en los clubes londinenses, y para el
joven Watts no hab�a expresi�n m�s arrebatadora que el jazz en todas
sus variantes. Pas� de banda en banda, de la formaci�n de Alexis
Korner a los Rolling Stones, pero �l siempre se vio como 'un bater�a de
blues'. 'He tocado con mucha gente diferente, y un buen d�a tuve la
fortuna de conocer a Mick y a Keith y entrar en los Rolling Stones. �sta
es la m�sica que yo hago, los Rolling Stones soy yo, son mi vida; el resto
son pasiones e intereses alternativos', advierte.
En realidad, Charlie Watts siempre ha sido un rockero at�pico. En vez de
las juergas que inevitablemente vienen detr�s de un gran concierto, el
bater�a prefer�a retirarse a la habitaci�n del hotel. 'En 1964 comenc� a
dibujar cada cama de hotel donde me hospedaba durante las giras con
los Stones. Lo hice en un principio por aburrimiento y porque no pod�a
dormir; ahora es una necesidad. Pero de m� no surgir� la iniciativa de
exhibir mis dibujos al p�blico; las exposiciones se las dejo a Ronnie
Wood', exclama.
El bater�a ya est� prepar�ndose para el nuevo disco de los Stones,
previsto para el a�o pr�ximo, y acaba de comprar una maleta que llevar�
sus impecables trajes por todo el mundo. 'Es dif�cil parar, aunque
personalmente pienso que se est� acercando el momento de decir adi�s
a las giras de los Rolling Stones. Las piernas flaquean y el cuerpo ya no
aguanta ninguna jornada de resaca', comenta. 'Las giras son duras',
contin�a, 'porque tenemos que estar juntos d�a tras d�a y hay que ser muy
disciplinados. Nunca hemos convivido juntos, s�lo nos juntamos para
tocar, y a ese espacio que nos concedemos entre unos y otros debemos
el mantener vivos a los Rolling Stones durante tantos a�os'.
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| rogerriffin |
Te estaremos esperando, hay CHARLES WATTS para rato!!!
we are waiting, it�s CHARLIE WATTS forever!!!
[Edited by rogerriffin] |
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| VoodooChileInWOnderl |
CHARLIE WATTS
MUSICIAN
' the Rolling Stones is my life, the rest is passions and I interest alternativos'
Lourdes G�mez | London
Charlie Watts, in London ( ILPO MUSTO)
Of Charlie Watts a complaint of its life with the Rolling Stones is only listened to: the hours died in the recording studio, the interminable delays until Mick Jagger or the Keiths Richards went to the appointment with the rest of the group. A day summarized its frustration with a phrase that has passed to history of the rock and roll.
' I have been 20 years hoping and five touching bater��, said to half of race. Charlie Watts has already let waste the time. With 60 years, he now dedicates the phases of inactivity with the Stones to a vice that accompanies to him from boy: the jazz. ' I have always felt a great admiration by the people who interpret this form of m�sic�, she affirms in the room of a select hotel of London on the eve of leaving tour with his new formation of jazz, the Charlie Watts Tentet.
The elegant battery leaves today from New York; in days, to Tokyo, and next the 24 of November participate with their band in the concerts of reapertura of the Cova room of the Drac of Barcelona. It is the first time that approaches its repertoire of jazz a Spanish hearing. To find out the weather report of the great American large city acquires priority. Because, in addition to the musical vice, Watts it feels obsession by clothes. ' the clothes are like fetiche for me. A shelter of Loewe in goat skin has been my last adquisici�n', indicates while it is wondered if he will be prudent to take it of tour.
Between the 10 musicians of the band, Watts leans in old friends and previous companions of formation, like the bear David Green, the saxofonista Peter King and the trompetista Gerard Presencer, and gives space to successive generations of interpreters based on the United Kingdom. Professionals like Luis Jardim, Anthony Kerr or Julian Argf5uelles, who participated in the official deb� of the Tentet in the London temple of the jazz, the famous Ronnie Scott's, in the summer.
In Barcelona, the repertoire will turn around Duke Ellington, Charlie Parker, Thelonious Monk, in addition to original compositions.
' I have always preferred that Mick or the Keiths takes the word. And I do not act of leader of my band; I am due6n�
To Charlie Parker he must in certain forms his new professional situation. The reedici�n, in 1991, of a book in the memory of the mythical Yardbird, that he himself had written and illustrated almost three decades back, Ode to to high flying bird, precipitated a race in parallel to the Rolling Stones. By then, Watts already had been released in Ronnie Scott's with his big band and formed his own quinteto to musically accompany the launching by the book. From Charlie arose compact the From there one, To pays to Charlie Parker with strings, Warm and to tend and Long ago and Officers' Club of Revolutionary Armed Forces away .
' Now I must place to me in first line of the centers. It does not excite to me particularly. I have always preferred that Mick or the Keiths takes the word. But I do not act of leader of my band; that task I yield Peter; I am due6n�, counts on humor.
The face of Watts is a fan of expressions. In second it happens of the surprise to the incredulity, of the enthusiasm to the boredom, seriousness to the ridicule. The face movement is perhaps a mechanism of self-defense against the timidity. In the scene it observes his colleagues with the attention of a fox, patient until its moment arrives for entering action. ' Once it starts music gives equal to act for thousands of people in a stage that stops a handful in a club. To touch in the reduced premises is part of the diversion of this adventure. You are physically very next as much to music as to the public. People observe to you, which is to me quite frightful. But I do not feel more vulnerable; simply I know that each movement and each gesture will happen through the sieve of the critic. When agradabl� works is a experience very.
Watts speaks of his incursions in the jazz like ' pasi�n' that fills its life in contrast of its professional facet with the Stones. He discovered this passion with 12 years, when shoes listened to the battery of Boy Hamilton in Walking, a subject recorded by Gerry Mulligan. ' a banjo had bought Me, but I was satiated to me to try to learn to touch it. I cut the mast to him and I began to practice with a pair of brushes. It wanted to touch like Hamilton' Boy.
With music in the horizon it entered an art school, the same route which they followed the great majority of future British stars of the pop one and the rock. John Lennon, Keith Richards, Syd Barrett, Pete Townshend, Ray Davies, Eric Clapton and many first seeds in university institutes of art seeded his more. ' There I knew my woman, Shirley. At that time, principle and end fifty of the sixty, were fascinating centers in which ca�mos all those that we did not want to be like the others. There was very interesting people, of all the social classes, and the ambient one was Bohemian and incredibly creative. The things have changed much will ahor�, remembers.
The rock and roll still had to burst in into the London clubs, and for the young person Watts there was expression no more captivating than the jazz in all his variants. He happened of band in band, of the formation of Alexis Korner to the Rolling Stones, but it always saw itself like ' a battery of blues'. ' I have touched with much different people, and a good day I had the fortune to know Mick and Keith and to enter the Rolling Stones. This one is the music that I do, the Rolling Stones I am I, are my life; the rest is passions and I interest alternativos', warns.
In fact, Charlie Watts always has been an atypical rocker. Instead of juergas which inevitably they come behind a great concert, the battery preferred to retire to the room of the hotel. ' In 1964 I began to draw each bed of hotel where it provided with accomodations to me during the tours with the Stones. I at first did it by boredom and because it could not sleep; now it is a necessity. But from me the initiative will not arise to exhibit my drawings to the public; the exhibitions I leave them to Ronnie Wood', exclaims.
The battery already is being prepared for the new disc of the Stones, anticipated for the next year, and finishes buying a suitcase that will wear its impeccable suits everywhere. ' It is difficult to stop, although personally I think that the moment is approaching for saying good bye to the tours of the Rolling Stones. The legs flaquean and the body no longer holds no day of resac�, comments. ' the tours are duras', continue, ' because we must be together day after day and are very necessary to be disciplined. We have never coexisted together, only we joined ourselves to touch, and to that space that we grant ourselves between and others we must maintaining alive to the Rolling Stones during so many years'. |
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