WITH HER LATEST ALBUM (MIRROR, MIRROR) UP FOR A GRAMMY, PIANIST ELIANE ELIAS CAN EASILY JUSTIFY ASKING THE FAMOUS QUESTION IN SNOW WHITE, “MIRROR, MIRROR ON THE WALL, WHO’S GOT THE FAIREST ALBUM MOST OF ALL?”
HAVING BEEN NOMINATED FOR 9 GRAMMYS AND ALREADY WINNING 2 GRAMMY AWARDS (DANCE OF TIME & MADE IN BRAZIL), ELIAS HAS HAD A CAREER WITH HER HITTING THE GROUND RUNNING AS A MEMBER OF THE SUPERGROUP STEPS AHEAD BEFORE CARVING A NICHE OF HER OWN WITH A SERIES OF ALBUMS THAT RANGE FROM STRAIGHTAHEAD JAZZ, BRAZILIA, POP AND CLASSICAL.
HER CATALOGUE IS FILLED WITH IMPRESSIVE TRIO ALBUMS WITH THE LIKES OF EDDIE GOMEZ, MARC JOHNSON, PETER ERSKINE AND JACK DEJOHNETTE, BUT NOTHING PREPARED THE JAZZ WORLD FOR HER PAIR OF PIANO SUMMIT MEETINGS WITH CHICK COREA AND CUCHO VALDES FOR THE ALBUM MIRROR, MIRROR. THE INTERPLAY BETWEE ELIAS AND THESE TWO GIANTS, (THIS BEING THE LAST RECORDING FOR COREA) IS A MIX OF THE SUBLIME AND CELEBRATORY.
THIS INTERVIEW IS IN A WAY A RESULT OF OUR INTERVIEW LAST YEAR WITH BASSIST/HUSBAND MARC JOHNSON, WHO’S ALBUM WITH HIS WIFE (SWEPT AWAY) IS AN ENDORSEMENT OF WHAT COMMUNICATION IN A MARRIAGE CAN MUSICALLY ACCOMPLISH.
MS. ELIAS WAS GRACIOUS ENOUGHT TO SHARE HER INSPIRATIONS, MUSICAL VISIONS AND APPRECIATIONS FOR HER MUSICAL PILGRIMAGE
IT SEEMS LIKE YOUR CAREER HIT THE GROUND RUNNING, AS YOU GOT THE “TRIAL B Y FIRE” WITH THE FUSION SUPERGROUP STEPS AHEAD.
Yes, and even before that.
The way things happened with me is that I was always associated with top artists and musicians when I lived in Brazil.
By being with Steps Ahead, I won’t mention names, but two other quite well known pianists that wanted to be in the band and auditioned. I went in to audition and they chose me; I was so thrilled.
WAS THAT THE FIRST, LAST AND ONLY TIME YOU PLAYED KEYBOARDS?
I recorded with keyboards with Randy Brecker, who was then my husband, on the album Amanda. That’s also the name of my daughter. That was the only time I did keyboards; I only played acoustic piano with Steps Ahead.
I did make some recording on So Far, So Close and The Long Story. More recently I played them on Around The City on RCA Victor. It had keyboards and loops; it was a very adventurous and different project.
Besides that, I have used a Fender Rhodes when I did Made in Brazil in 2015. That was a Grammy winning album.
YOU WERE WITH STEPS AHEAD. YOU PLAYED WITH SOME OF THE BIGGEST NAMES IN JAZZ WITH STANLEY CLARKE, PETER ERSKINE, EDDIE GOMEZ AND MARC JOHNSON. DID YOU EVER FEEL INTIMIDATED IN ANY OF THESE GIGS?
No. I didn’t because I was very secure in myself and that the language of music was common for all of us. There was an immediate affinity playing with these people, because when I called them to work with me I was familiar with their playing, and I knew that we’d have an affinity playing.
I didn’t feel intimidated; quite the contrary. I felt excited and happy to play together with them.
YOU PLAYED WITH TWO BASSISTS THAT HAVE BEEN ASSOCIATED WITH BILL EVANS, EDDIE GOMEZ AND MARC JOHNSON. DID YOU GLEAN ANYTHING FROM THEM AS FAR AS APPROACHING THE PIANO FROM THESE TWO ALUMNI?
No, because I was very tuned into the music in a very strong way. I have been a leader of my work for many years; I knew the sound that I wanted.
When I played with these musicians there was an instant affinity. One of the things that I look for in the trio formation is the interplay. Knowing how these two bassists played with Bill Evans, I knew that would happen, so there was this immediate affinity.
I was never 21, and I was never 15! (laughs)
When I was 15 I was already teaching in the best school in music; at 17 I was the Musical Director for Vinicius de Moreas, who was Jobim’s co-writer, and with Toquinho I was doing tours all over South America, so I was pretty experienced already.
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“One of the things that I look for in the trio formation is the interplay”
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WAS THERE ANYONE THAT GAVE YOU KEY MUSICAL OR CAREER ADVICE?
My teachers, through dedication and example.
The one thing that I remember really well that I learned early on was that people who did well had a combination talent (which I knew that I had) with very hard work. I dedicated myself to the music. I loved practicing music, writing music, arranging it. That devotion, combined with talent and my hard working personality led to what I became.
I remember my teacher (who became my colleague when I was in school) telling me to do things like “Bring me a transcription of the first solo of Bill Evans’ solo.” I would come back next week with not just that entire tune, but two tunes, and not just one chorus. I would do more than he would ask me because I loved doing it. It was naturally easy to do these things.
One of the pieces of advice that he gave me was to be careful not to be exposed to drugs and alcohol.
We’ve seen how many people got damaged from addiction. I was surrounded by so many people during that time, and I never touched anything. That was a good thing.
That, hard work and honoring your family. I honored the love and trust I had with my mother. She looked for the best possible studies that she could find for me, so she had to trust me. My father was against this sweet girl going into this music environment. It was not a common thing to see that back then; it’s still not quite that way. It was all of that combined.
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“The one thing that I remember really well that I learned early on was that people who did well had a combination talent with very hard work”
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WHEN YOU ARE IN THE TRIO FORMAT, WHAT DO YOU CONCENTRATE AND FOCUS ON? HOW DOES THE INTERPLAY WORK?
It’s not locking into one person. The art of improvisation happens when we listen to what’s happening, respond and being together. The piano proposes a lot, and as they react to me, and I react to them the music is formed. It’s an interaction of the three of us.
YOU HAVE ALSO DONE A SERIES OF DUO ALBUMS, ONE MANY YEARS AGO, SOME WITH YOUR HUSBAND, AND MOST RECENTLY YOUR MIRROR, MIRROR ALBUM WITH CHICK COREA AND CHUCHO VALDES. DO YOU CHANGE YOUR WAY OF THINKING WHEN YOU DO DUO RECORDINGS?
A piano duo album takes a lot of serious listening and concentration. There is interplay and immediate reacting to the other player. We’re talking about 88 keys times two, and the reaction has to be faster than the speed of light. (chuckles)
It has to be immediate, but still with the ideal of creating something together to make it happen.
And it did happen on Mirror, Mirror. I am so proud and honored that this work happened with Chick and Chucho. The music that we created is really, really precious; I’m grateful that we have it.
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“A piano duo album takes a lot of serious listening and concentration. There is interplay and immediate reacting to the other player. We’re talking about 88 keys times two, and the reaction has to be faster than the speed of light”
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ESPECIALLY IN RETROSPECT. DOES IT GO THROUGH YOUR MIND THAT THIS WAS CHICK COREA’S LAST SESSION?
Yes, it was a gift to me that he gave.
Chick was always kind to me from the beginning of my career.
He was supportive of my music, and of my move to the United States. To the best of his ability he tried to write letters for Immigration to keep me here.
He was always open to the young players that were coming up and was always open to new music being created. We always wanted to do this recording, and when it happened, we were thrilled at the way it happened.
You can see on the videos that it was magical when we played.
For me it was quite traumatizing. It was sad that he went when he did.
I was just mixing the tunes when I got the news. Even in November last year he sounded good, old but healthy. It was a great gift that I received this honor from him to record together.
He was such an early influence in my music. When I was young I devoured things that he did. I admired him in every way, in his seriousness and how he took the music and loved it. He devoted his life to it.
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“The art of improvisation happens when we listen to what’s happening, respond and being together”
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HOW WAS IT DIFFERENT THAN YOUR RELATIONSHIP WITH CHUCHO VALDES?
It was beautiful in a different way.
Chucho’s rhythm is so passionate. We were connected; he was listening to me like it was an effortless dance. I couldn’t be happier with the music that we chose. I’m grateful that we did it, and I’m happy that we have a Grammy nomination for the album.
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“Chucho’s rhythm is so passionate…he was listening to me like it was an effortless dance”
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HOW IS THE PIANO PLAYER THAT PLAYED DUETS WITH HERBIE HANCOCK OVER 20 YEARS AGO DIFFERENT IN APPROACH ON THIS SET OF DUETS?
Things evolve in life; we all change in time.
As we grow older and do more things we fine tune more in the music.
I love what I did with Herbie. With Herbie it was more open; it was more of us going out of the form. We went into more free improvisation. That’s not what I was looking for this time.
YOUR CATALOGUE INCLUDES SOUND TRACKS, TRIOS, SAMBA AND POP VOCALS. DO YOU CHANGE MUSICAL GEARS WITH EACH SESSION?
I switch gears when I record projects, when I choose what direction I will be going. Some of my work is vocal with piano and arrangements, and other ones concentrate on just playing.
When I choose a direction I get immersed into it. However, all of these different sides are part of me.
I consider myself very fortunate to have a very wide spectrum of things that I can produce and play, with the creativity that can be applied to different things.
So, when I play a concert some of all of those parts come out. I will be singing, and playing and doing some bossa nova along with instrumental things with jazz. All of it, the original music and Jobim gets into the 90 minutes of music that I present.
What separates it is the question “what is this project going to be” and I then concentrate on it. But, when I bring it to a “live” situation the listener who knows my work will go “OK,” and hear the other sides as well.
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“when I play a concert some of all of those parts come out…singin, the original music and Jobim gets into the 90 minutes of music that I present
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WHAT DID YOU USE AS A TEMPLATE FOR YOUR DUO ALBUMS WITH YOUR HUSBAND MARC JOHNSON?
We play together so effortlessly. It’s natural for us to play duets. We don’t even know how it happens, but it happens. We complete each other in such a way after being together so many years and knowing each other’s playing so well.
When we play duets, we will choose some tunes to play in a concert. We’ll play the heads of the tune, but we’ll go into improvisations and go into the moment many times. In concerts, we’ll get into moments of a duet that are never the same twice. It’s special, especially when Marc picks up the arco, and we go into improvisations that are new even to us. We’re creating in that exact moment, and it will never be the same again. It’s a wonderful adventure.
We have that affinity and trust in knowing each other’s playing and really let it happen. The music can come from the silence; it comes from the quiet when he picks up the arco, plays a note and then I play a note behind him. He’ll then go into something else, and then I’ll go into something else. It’s beautiful.
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“When I choose a direction I get immersed into it”
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WHAT DO YOU LISTEN FOR WHEN YOU LISTEN TO A TRIO?
Either music touches me or it doesn’t.
There are certain elements that have to be there. Harmony, a melodic and rhythmic aspect; the time has to feel good. It’s the combination of these that attract me.
DO YOU SEE YOURSELF PLAY DIFFERENTLY WHEN THE DRUMMER IS SOMEONE LIKE JACK DEJOHNETTE OR PETER ERSKINE?
I always play differently depending who I am playing with. It comes to that improvisational aspect where we each bring different things to each other. They will bring different things out of me, different responses and suggestions.
BESIDES THIS NOMINATIONS, YOU’VE ALREADY WON A COUPLE OF GRAMMYS. DOES A GRAMMY CHANGE THE TRAJECTORY OF YOUR CAREER?2324
It is an incredible honor. The recognition of work-it is so competitive. Just to get to the top five finalist nominations is an honor. There are a lot of people out there working, doing things.
When my work is recognized this way, I’m thrilled. I’ve been nominated 9 times and have received 2 Grammys, and it’s tremendous.
I’m thankful, but continue to have a lot of respect for all of my peers and everyone who’s putting out the hard work with their creativity. Everyone is trying to do their best with their music.
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“we go into improvisations that are new even to us. We’re creating in that exact moment, and it will never be the same again. It’s a wonderful adventure”
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DID YOU EVER EXPERIENCE ANY SEXISM IN THE JAZZ WORLD?
I have never experienced it from any musicians. Music is so fascinating because there is no gender, there is no color. You either play or you don’t ; either you communicate or you don’t.
The fact that I will be playing at jam sessions or doing things, musicians are even more surprised and more enchanted to see “Wow! Look how she does that!”
I was always highly valued and was embraced and accepted by all of the great musicians in the industry.
Of course, there will be somebody come by and say, “That’s such a big sound for a woman” . They’ve gotta bring the woman thing in. Or they’ll say, “Oh, you’re the best female player” . (laughs). It’s not about that.
In fact, I’ve never quite liked those all women bands. I was invited in the beginning, but never took part in that.
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“Music is so fascinating because there is no gender, there is no color. You either play or you don’t ; either you communicate or you don’t”
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Even in the beginning, I met Bill Evans’ manager, a woman, Helen Keane, who said, “Let’s do a woman trio” and I said “Bye bye!” (laughs) I didn’t care for that.
There are a lot of women playing now, more than when I started. I was the first female musician on the cover of Downbeat.
Now, there are all women bands, not just because they are all women, but because they are all great players.
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“The music can come from the silence”
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WHAT HISTORICAL FIGURE, LIVING OR DEAD, WOULD YOU LIKE TO SIT WITH FOR AN EVENING AND PICK HIS OR HER BRAIN?
Khalil Gibran. Because of his philosophy and certain way of living. When I was young I read some of his books that were very influential to me, and I’d like to ask him some questions many years later.
SO, FOR MOST INFLUENTIAL BOOKS, THEY MUST BE FROM HIM.
Yes, The Prophet was an important book. 100 Years of Solitude was also a book that I read and made an impression on me.
Also, most important, is The Bible. I go to it every day.
I am a believer, and I have studied it, especially the book of Psalms. It has been part of my life.
WHY IS BEING A CHRISTIAN IMPORTANT TO YOU?
It is my faith; it is what I believe. It is what touches my heart and what governs me every day is my faith in Jesus.
It gives me strength. Marc and I have a hope and strength together.
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“What governs me every day is my faith in Jesus. It gives me strength
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WHEN DID YOU MAKE A CONSCIOUS DECISION ABOUT YOUR FAITH
I was first raised as a Catholic, and then went through different phases. I became a Buddhist for 3 years when I was 18. Then I went back into the faith and have remained for over 40 years. It helps in a marriage and in everything!
WHAT FUTURE GOALS DO YOU HAVE?
Continue creating! Continue playing!
What I really hope , more than for my career…
It’s been such a difficult time emotionally to not be able to travel and perform and be with people and bring them live music. It’s been very, very difficult.
It affects all of us musicians in our spirits. We love playing and playing for people.
More than anything, above my own career, what I hope for is that we can all resume and go back to a more normal life where we can travel and perform. That’s what I love.
I want to continue performing and creating, and bringing this music to people.
It’s been almost two years since I worked, and things are already being cancelled again. It defeats the spirit, but hopefully things will get better.
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(The lockdown) affects all of us musicians in our spirits. We love playing and playing for people
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WHAT DO YOU WANT PEOPLE TO SAY AT YOUR MEMORIAL SERVICE?
I don’t want a memorial service! I don’t care for that! (laughs)
WHAT GIVES YOU THE BIGGEST JOY?
Making people happy. I love bringing something to people. As a musician and as a grandmother! (laughs)
AS WITH SO MANY OF US JAZZ FANS, ELIANE ELIAS IS ANXIOUS TO GET BACK TO HER CALLING OF MAKING MUSIC. HER SUMPTUOUS CATALOGUE REFLECTS THE RESULT OF A WOMAN WHO IS INSPIRED BY HER LOVE OF MUSIC AND APPRECIATION FOR THE OPPORTUNITY TO PERFORM.HER CAREER IS NOT SOMETHING THAT SHE TAKES FOR GRANTED, AND AS WE HAVE SEEN FROM THESE DRACONIAN LOCKDOWNS, IT IS SOMETHING THAT WE SHOULD LEARN FROM AS WELL.
IN THE MEANTIME, APPRECIATE THE MUSICAL RELATIONSHIPS THAT SHE HAS FORMED AND HAS BEEN WILLING TO SHARE WITH US. FOR THAT WE ARE GRATEFUL.