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

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