Interview Toots Thielemans....

It touched with Louis Armstrong, Charlie Parker, Miles Davis. Enthusiastic of Brazilian music, also with Elis Regina, Chico Buarque, Ivan Lins, Cesar Camargo Mariano. To the 86 years, the Belgian Toots Thielemans comes to the Ceará for the tenth edition of the Festival Jazz & Blues, with shows in Guaramiranga and $fortaleza. Before, he talked, he saw email, with Notebook 3

Already its in the Festival of Guaramiranga has some years had an expectation on a participation. What it took the one that its presence alone if confirmed now? Which its expectation?

In my age (86, almost 87), still I am in good form and very am requested. Therefore the offers for show have that to incase themselves in the agenda, that to the times is very concurred. We are happy that this year let us have conditions to accept offers. Brazil has a special place in my heart. When my entrepreneur said that he offers was viable joust and, I to me accepted immediately.

The fact of being able to bring its proper musicians (he was decisive)?

To travel of the Europe to Brazil demand much energy. When you burrow with local musicians, need assays extra, to know the musicians, to adapt the repertoire. Therefore I prefer to come with my musicians, to keep energy for shows. Obviously, it would not go to say ´Não´ if Ivan Lins could appear…

How it is to be in palco with these musicians (the baterista Bruno Castelucci, the stock exchange operator Bart de Noolf and the pianista Karel Boehlee)?

We touch together frequently in the Europe, Japan and, in the last time in 2006, São Paulo and Rio De Janeiro. They know the repertoire, are versatile and they give the necessary support to me. Moreover, we are very next friends.

You would point some prominences in the show? The public can wait releituras of Brazilian musics?

He is difficult to say. Each auditorium reacts of a different form. We touch with sincerity, of the heart, and wait a good dialogue with the public. The reaction of the auditorium is always very important. E I find that the majority of the people knows of my affinity with the Brazilian Brazil, music and musicians, for which I have a great respect.

It could say a little on the composition of ´Bluesette´? Many great names of the jazz count that, when composing musics that would come to make great success, they did not have the minimum idea, or pretension, of that this came to happen. Was this the case with this music?

I was in a show in Brussels, dividing the dressing-room with (the French violinista) Stephane Grappelli. It was touching my guitar, Stephane heard and said: ´Mon to cher Toots, c´est joli´. (expensive Toots ´Meu, this is bom´). I answered: ´Stephane, you me inspira´. First, I gave to music the name of ´Bluette´, in reference to the small blue flower of the fields. Later, producer said a Swedish me: ´Toots, is one blues, why you does not put ´s´ in the name? ´. It never was a success, but it was a good card of presentation.
Being reference as gaitista, the fact calls attention you to have started its career as guitarist. Which are the souvenirs to touch the guitar, in the start?

Up to two years behind, I continued touching guitar. E before passer for a spill (he has 20 years more than), I touched very well. I eventually started my career as guitarist, having the possibility to touch the gaita, for example, with Benny Goodman, George Shearing. I started to be a little known when I started to assoviar and to touch the guitar in unison. I learned very on harmony, through the guitar.

Having touched with the biggest names of the jazz, which you would say that they had had a particular influence, stronger, on its way to think music and to touch?

Django Reinhardt, Louis Armstrong, Bill Evans, Charlie Parker, Miles Davis, Jaco Pastorius and many, many others. I still continue hearing what he happens today. Mine he very helps iPhone me in this. In the Youtube also costumo to hear what he is happening currently. E I learn what to touch and what not to touch.

You agree to the ones point that it as one of last ´lendas vivas´ of the jazz? How you feel yourself with this?

In the last month of October I became Master Jazz in the United States. It is the distinction higher than if he can obtain as a musician of jazz in U.S.A., mainly because I am the first European. Clearly that I do not touch better because of this heading, but I admit that I am proud of it. He has some years I became Comendador of the Order of the Rio Branco. The Brazilian ambassador delivered this homage to me and one year later the minister of the Culture, Gilbert Gil, delivered the honor diploma to me. I have much pride in being recognized for the Brazilians.

Which the secret to remain itself all throughout this time, without losing the route?

To the times you lose the route, but music brings to it in return to the way. I always say: ´Siga what it emociona´.Se you had that to indicate a moment or decisive event for its musical career - a point from which the things had started to happen -, which it would be? I already was interested in music the three years of age, but really I was contaminated by the virus of the jazz when I heard for the first time Louis Armstrong and the Mills Brothers.

It could in saying a little to them on its meeting with John Lennon? It remembers some related curious situation to the gaitista of the Beatles?

The first time that the Beatles had come the New York, I was sent by the company of guitars to show to my Rickenbacker the John Lennon. It had seen the guitar in the layer of one of records of George Shearing. E said me to it, in its sotaque of Liverpool: ´Se this guitar is good the sufficient pra George Shearing, then with certainty pra is good mim´.

Which are its souvenirs of the chances to touch with Brazilian musicians? Elis Regina, Astrud Gilbert, Cesar Camargo Mariano, who also comes to the festival…

The record with Elis Regina moves still me. E when I hear records ´Toots Thielemans Brazil Project´ 1 and 2, I feel myself proud very. This production was made by Miles Goodman and Oscar Castrate-Snow, whom the telephone of all had these great musicians, Eliane Elias, Gilbert Gil, Ivan Lins, Milton Nasciamento, Caetano Veloso, Bonfá Luis, Chico Buarque, Dori Caymmi, Djavan… Really I was blessed by the contribution of all they.

Passed year, Ivan Lins made two shows full in Guaramiranga. You costuma to touch musics of it. How it would define the influence of it on its music?

We already touch together very and until we journey in the United States and the Europe, with the ´Brasil Project´. Turnê with the Orchestra of the Radio of the Denmark has some years made one. It is one of the greaters musicians of the present time. In all mine shows I touch a music of it, and with much pleasure.

Some new Brazilian gaitista flame its attention? You have plans to use to advantage the trip to enter in contact with local musicians?

By good friend Maurício keeps me to Einhonrn informed on what he is happening in terms of gaita in Brazil. It always me of a possibility to hear young musicians, very interesting. Many of them come to mine shows, and always are very thanked by this interest. I have in mine iPhone many records of these musicians.

Having attended as many changes throughout the history of music and the fonográfica industry, you it deals well with resources as ´mp3-players´ and the exchange of music for the Internet? Which its palpite on as this form of relationship of the people with music goes to configure itself in the future?

I try to follow the market and hear much music using iPhone. My entrepreneur low (legally) some musics, my order. How much to the businesses, I find that the market always goes to find a way to make the thing to happen. In my field of ´jazz´, most of what profit comes of shows.

To finish, a question flautista it and pertaining to the state of Ceará professor Heriberto Port, that liveed in Belgium per 12 years and touched with the baterista Ian de Hass. Question if you intend to touch some song of Jacques Brel here, as ´Ne me quitte pas´.

Jan de Haas is an excellent baterista, and I work frequently with it in the Europe. It deferred payment close to me. E, if the auditorium to want to hear ´Ne me quitte pas´, goes to be happy in touching.
Interview by DALWTON MOURA