Sunday, October 11, 2009

Jannick Top - Bass Magazine - 1989

Many thanks to Akoustikus for this Top interview. The Google Translator version is below.

Unanimously carried to the pinnacle of bass for almost two decades, Jannick Top appropriately named, despite a schedule busy, has kindly agreed to share a few impressions to your favorite Bass Magazine.

Jannick Top music starts including the influence of his sister, his eldest ten years and future music educator. He studied piano at music school in Marseille and then the cello and conducting. Meanwhile, he studied mathematics that leads to the master even though his conviction not to be done for this to happen more and more strong.

One day a friend asked him to replace within a band, lent him an electric bass and Jannick dips suddenly and easily, to the extent of its theoretical background, in a radically different musical universe. It also discovers Miles Davis and John Coltrane he places in his heart alongside Stravinsky, Ravel and Prokofiev.

Marseille became too small for his dreams, our hero, like many others, went to Paris, participating in group barter with André Ceccarelli and receives the brunt of the earthquake that is meeting with Christian Vander and extraordinary adventure in resulting in Magma.

His collaboration with French artist becomes more and more closely particularly with Michel Berger and by extension France Gall and Johnny Hallyday, which did not prevent him being approached by big names from the world scene as the title for Eurythmics Missionary Man .

Les Victoires de la Musique reward several times the unique approach of this bass player of the earth, as he likes to define himself and away from streams and ways, not least by the very instruments that individuals uses, affixes his paw while he plays with a constant respect the great harmonies despite search for constant evolution, acutely aware of the place must take the bass in modern music and an unwavering dedication to preserve whatever are the circumstances, the spirituality of music.

The new version of Starmania you're one of the main architects she met your expectations?
It was a great experience and an open yard for several months, he had to play everything in real time and therefore with Serge and Michel Berger Perathoner passing every day, we had to ingest a huge amount of information to the computer. It was hard work and it is certain that we could spend another two years as the possibilities of refining are multiple, but as is the result we are fully satisfied.

Can you tell us about the new album by Johnny Hallyday on which you work hard?
I am working with Serge Perathoner effect of making the album at Studio Gang and the difficulty lies in the fact of finding a power and energy but without falling into the gadget or house music. We are therefore working from programs that are then replaced by a direct game which gives us an energy policy and after appropriate editing it.

Who is the drummer?
Claude Salmieri is playing really well.

How do you define the role that you keep with you accompanying artists?
It is clear that casual work has changed a lot, once we arrived at a meeting in knowing neither the proponents nor the outs for a game written to the comma, whereas now there are more teams that work, we can bring something to the research level of sound, the realization of ideas.

As for your equipment, you had done by making low Jaccobacci very special consisting of a handle bass mounted on a body and equipped with microphones and sensors that you could wish to combine, you've apparently taken a new direction, that is it?
I use indeed Warwick I discovered recently, they are very good instruments. I have a 4-string fretted and tuned in fifths, C, G, D, A (a legacy of my time cello) and I anticipate a 5 string, which itself has a high E string, which will Do, Sol, D, A, Mi Otherwise I keep the course Jaccobacci I use in parallel. For amplification, I remain a convinced supporter of the Ampeg SVT and also Dynacord for its precision and fidelity that said, in the studio, I often passes directly through the table. At impact, I use the hardware in the studio who is usually very effective.

I saw your name in the credits of the film "Force Majeure" by Pierre Jolivet?
I have indeed signed the music with Serge Perathoner and was enormously helpful in that we had every opportunity to create environments that original Pierre Jolivet then selected and it proved that his choice was very close ours to our great satisfaction.

Is this a new direction for you?
It depends on the context. I do not see myself write the music for the "Gendarme of St. Tropez" (laughs), but within a certain context where I feel involved and where I can develop some climates, it is obviously very interesting d ' associate music with the image is the composition but without entering into a mold with precise requirements model song.

What happens to the personal work of writing that you had spoken?
Well, I go whenever I have the leisure and I hope to leave in the near future. This is no commercial imperative and probably through a circuit confidential.

We remain vigilant! You reconcile your culture beautifully classic with a pronounced attraction for high technology. How do you upgrade?
I think it's an eternal pendulum between radically opposed tendencies, but I also sincerely believe that anything can exist at the same time, provided that the search for the purest sound in a very classic use a sampler controlled by a computer. I would almost say that everything must be able to coexist.

In all that you've had the opportunity to put on vinyl, is there one or more records that you are particularly at heart?
I think mainly those that I did with Magma and then also things that never exits, it is always the best! (Laughter)

Listen to some music you especially?
No, I have very eclectic tastes, although I grant some privileges to Prokofiev, Varese, Stravinsky and Miles Davis, especially in the period 65-72; it then skyrocketed! Comparatively, we're loggers now I think it's time that it wants the vice rhythm is different and leaves less room for expressiveness.

Have you experienced this again feel as decisive encounter with Christian Vander?
This is not comparable. The times are different and the spirit of research, inter alia with the development of the technique is quite another. This is really not at all comparable.

In your opinion, what was the spirit of research at the time?
Especially deploy energy and power on stage. It was much more instinctive whereas now it goes through a process of preparation and planning, said this is fantastic also happen to generate power from other elements.

Are there any bass players who have particularly influenced you?
Because of the particular arrangement of my instrument, I place myself in a different field that requires me to look for other things. Anyway, I'm never impressed by the technical result on the instrument but rather by the spirit and the feelings that emerge from the play of a musician, that's why John Coltrane bassist who is not can move me to the highest point. Otherwise, I will quote Ron Carter, Eddie Gomez, I just listen to be fully charged every time.

What will you say to those who want to become musicians?
Do a lot of yoga, keep feet on ground and dreams intact!

Nice formula! Do you experience the urge to relive an experience group?
If there really is no commercial imperative, yes! Otherwise, I am preparing ultimately can only exist if it is played, but nothing replaces the scene and contact with the public, for sure.

Do you think someone in particular?
Yes, but it's part of dreams, so I keep them intact!


No comments:

Post a Comment