“Although I am not a typical “blog”writer (or so I thought), I am now starting to do anyway, since most questions I got from fans and friends are about my compositional background, inspiration and influences of spheres.
Jan Dumee
Composing (2)
The music of Focus and Minas Gerais (Brazil)
In this blog I would like to talk about two important influences in my life as a composer, to name: the Dutch prog/rock group Focus (for me a ‘school’) and the modern music of Minas Gerais (a state in Brazil).
I will restrict myself to talk about four important names which are: Thijs van Leer and Jan Akkerman (founders of the well known prog/rock/jazz group Focus, whose rare sound in the seventies conquered the world) and the true ambassadors of the sound of Minas Gerais: Milton Nascimento and Toninho Horta.
Focus (founded in 1969!) can with confidence be considered a true innovator in the development of pop /rock music worldwide. “Innovative” would simply be too little as an honor to the harmonic/compositional/polyphonic ingenuity of Thijs van Leer and the strong emotional and sharp play of Akkerman (also an unique kind of composer and a very daring and beautiful player on the ancient European lute).
Focus is compositional based in medieval, renaissance, baroque & impressionistic music blended with jazz and rock. In Minas Gerais and the rest of Brazil the band also influenced many musicians/groups with the albums “Moving Waves” and “Focus III”.
The above mentioned classic styles are also also very present in the overwelming music of Milton Nascimento. Yet I do not think Milton has extensively studied these ancient European styles. He seems a very intuive composer that has a sence for all musical beauty that’s in the ‘air’. The music of Thijs and Milton on a large range is very similar in harmonic and melodic sence. Compare for example the albums ‘Angelus’ (1994) of Nascimento with ‘Dona Nobis Pacem’ (1982) by Van Leer’s project ‘Pedal Point’ (which has more a tendency to rock here and there). Milton’s music is also inspired from the so called ‘Minas baroque’ that led a life of its own.
Toninho Horta is as a unique composer/arranger (including for Milton), a warm-blooded melodic harmonizer. He is a great guitarist having his own mark in the music of Brazil, Minas and jazz music.
In musical sence the atmosphere of his album “Toninho Horta” (1980) – although different in terms of groove – has a very similar ambiance as is the case for ‘Jan Akkerman 3 ‘ (1979). In terms of production and arrangement (strings, orchestra) they are corresponding beautifully.
As a 15 years old boy familiar at the home of Van Leer, I grew up being raised out of the first hand with Focus music (the “Focus school”). With as a positive result in 2001 – 2006 having played as guitar soloist and composer in the revival of this group. A wonderful experience!!
In the eighties I heard the music of Milton and Toninho for the first time. A very important moment in the development of my musical taste.
Its very interesting that Minais Gerais also influenced Focus. On the album Focus 8 (although it is a significant Dumee kind of composition I guess), you can listen a song I consider as having strong Horta influences. How nice!!
Focus and Minas Gerais, two unique “schools”/disciplines of music that greatly influenced me, eachother and the world!
I remember when we played with Focus in 2002, 2003 and 2005 in Belo Horizonte (capital of Minas) and we always felt a little bit more nervous considering that audiency being blessed with quite good ‘harmonic’ and ‘ melodic’ ears and sences! 
We performed in the cave of the Lion! We loved it!
Jan
Composing (1)
The starting point for me – when it comes to composing – is putting emotion into sound. Of course an open door. I compose mostly from a primary sound, melody I create (or arises – just a matter of how you look at it -) in my head, piano, guitar. or other instrument. Emotive composing, so yes, this is how I would like to describe it. Themes and phrases that come up are automatically linked to the feeling I am experiencing that moment. In particular, the praise to a beloved one get the upper hand for example.
Not just the praise by the way.The beauty often seems to lie in the misunderstood little boy in me. And so I can therefore draw on 100 sentiments or even more. So far, most of my compositions are about people, love, landscapes and atmospheres. I have not yet devoted to other subjects. I like so much Wim Dijkgraaf’s description, statement: “Music as a landscape of the Soul”. It fits very well with me.
So it is a direct musical translation of what I seem to feel (or thoughts which are linked to these feelings).
It also occurs sometimes that a particular piece of music should be composed in a certain atmosphere, because of the desire of a ‘client’. Well, then I call in myself the kind feeling which I think fits to create that music. Also I do this to avoid to make a purely technical composition.
Ofcourse it is also possible to compose in this way, there are many examples. Probably Johann Sebastian Bach’s (divine) knowledge of baroque and polyphonic compositional art triggers to insiders in this music deep feelings, and much more interesting, triggers the inner feelings of the ‘outsiders’. And that is where the music is all about. Slightly trigger feelings out of humans.
I experience the music of Bach as one given by a higher force. I think Bach was a high medium. What a wonderful job!
The pieces I’ve composed, or use for the Quinteto Dumee & Dijkgraaf, I find romantic and impressionistic in nature. A feeling is one thing, but one feeling can be translated in different ways musically. A number of Brazilian music disciplines (too many to describe now) I’ve therefor studied appeals a lot to me for that matter. They actually already owned so many elements of European and African music-traditions and here and there it’s blended it with elements of the music of the original inhabitants of South America: the Indians. They move me.
It’s a language I speak. Now I can speak it, but it is of course desirable that I can speak this language with other people!
True masters of this language I found in my muscial buddies of the Dumee Dijkgraaf & Quintet! I am a real lucky guy! We will continue to speak our language in(to) the world and hope many people will start learning the language or do so speak/feel/understand already! Share our musical language with the world, that is our dearest wish!
Alegria, amor, paz & Saude! to be continued! ”
Jan Dumee