Questions and answers with Matti Caspi - Part 3

Is there a particular instrument you perform with in order to achieve the best performance? Sometimes there’s a connection between an artist and an instrument, where it gives the best results. For example, Billy Joel recording himself with his piano.

The only time I leaned on instruments was when I recorded the album “One to One”. I recorded it live at the studio. Later on I tried upgrading it so that it’ll be more comfortable for me, like sitting on a chair in some songs. Sometimes I would stand barefoot because it felt better for me. And sometimes I would play only one instrument on the speakers and sing with that alone, and not the whole playback. Just like singing the song at home with the piano. Many singers tend to be deceived by the entire playback and then forget to sing naturally like they would without a massive playback to cover their voice. I didn’t let some artists hear all the instruments when they recorded their singing. They only sang with one instrument playing in the background on speakers. The result was fantastic, because they sang with a more pleasant and calm voice and performed marvelously.

Is that a criticism of Oshik Levy’s performance of “It’s Been a While”?

Yes, it’s probably my working with him. The artist with whom I worked on that part the most was Yossi Bannai. He sang without headphones, while I wore headphones, listened to the playback and played it on the piano without recording it, only to let Yossi hear it so he could sing to it. In the album “Drunk and Not from Wine” I made the musical arrangements. During recording I didn’t let him hear the arrangements through the headphones because he would sing out of tune. It was the only way to make this album in the best way. Later he thanked me for it and said he was sorry he didn’t do it with his other albums. In this album he sang almost everything in one take.
There are some artists who don’t need that kind of work, since they would always sing well, with or without headphones. Like Meir Bannai for example, for whom I produced the album “Rain”. He says he recorded the whole album in eight hours, I say it was in four. He is an extraordinary artist in that sense.

When you write a melody and arrange it, how much time do you spend on arranging each instrument on sheet music? Do you give some freedom of playing to the musicians? Do you give them any symbolization or conventional signs?

There are scores in which the musicians play every note exactly as I wrote it. Sometimes there are parts in which the saxophone will improvise so I write only the harmonies in that part (his transposition) and write: “Improvisation”. Other times I feel I can count on the players because I know them well, so I only write the harmonies of the song and its pattern, if it repeats itself. And sometimes during recordings I surprise them because I care about their skills and want them to show. Meaning, for example, that Jean Paul (drummer) records the drums and I have a microphone where I sing the “guide” (it’s only the basic melody so the musicians would hear it and play accordingly, it’s not recorded). I play the piano, for instance, and at the same time I say things like: “ok, now the bridge part” and then Jean Paul plays that part, and then consequently the guitarist reacts because it stimulates him. During jam session everybody meets and we play to one another and it’s really fun and musically stimulating. I like those musical moments, so sometimes I say to the guitarist: “play the bridge now” he says “where”? and I say “now, yes play it now” while playing an instrument myself. So he starts playing and then I look at the drummer and he reacts and starts playing too and the same with bassist etc. and something happens. As a result I’m left with something alive in my hands. Many times after we all listen to the recording, one of the players, the bassist for example, says they made a mistake and they want to record that part again, and I insist on not letting them because I like that mistake.
Then I use it. I write the part for the string instruments according to that mistake.
In the song “Day by Day I Go to your House” I played the drums and made a nice bridge and I liked it, so I wrote that part also for a flute. In short, there are some things I take from what happens spontaneously and use them in other works.

Do you have an example of a song where you surprise the other musicians as you described before?

Not that I can remember a specific one right now, but there is an example of that situation with Ikky Levy, a drummer who lives today in the USA and used to be part of the “Brosh” band and “Zehu Ze”. Back in the time, he was my drummer in the production of “What is Love”. He was too programmed, meaning he was used to work with a digital metronome. So the music didn’t feel flowing or natural enough for me. And then when we were recording “At the Top of my Joy” I told him: “I want you to surprise yourself. Don’t play the same thing on every take. Never repeat what you’ve played. I want you to play something in the bridges and then play something different in the end. It’s like walking on a sidewalk. When you foot is in the air before hitting the ground, choose fast another spot to step on”. And it was very difficult for him to think like that because it wasn’t what he was used to. But somehow I managed to bring it out from him.

You talked about how you sing while thinking like a producer at the same time so that you wouldn’t need any effects added to your voice later. Could you elaborate what you expect from others and from yourself so that effects will not be needed?

When it comes to other artists and singers it’s pretty hard to define that, because each one is different. Arik Sini for example, is not aware of these things. There are many artists who are not aware at all and don’t have the knowledge of it - they simply sing. Then the musical producer or technician add effects to their voices to make them sound better. Sometimes when I guide them, I tell the artists to “think far”, to “sing far”. I tell them to imagine they’re singing to a faraway place but quietly. Just like someone is telling ghost stories and everybody else is quiet. I try to give them examples that are easier to understand and to identify with. Mostly whoever understands it comes from a background of music production and knows how to sing without having to use a compressor later. People with that background know how to sing in front of a microphone with certain dynamics, so that they won’t need any effects added later.

I heard a terrible story of how you broke your elbow and then went on stage and performed an entire show with a broken elbow.

I performed at the North Theatre in the Krayiot. I had just finished the balance and went backstage because the audience was coming in. in the last minute I noticed a thick cable hung in the air. I lifted my foot but apparently not high enough and I tripped. I tried to block the fall and ended up busting my knee. I was in such pain I thought I had broken it. Slowly the pain went away and I went limping on stage. While performing I noticed my left arm was hardening and pain was slowly taking over, until I couldn’t move it. I couldn’t play the piano. I told my guitarist Yair Michael that he had to play all the guitar parts including mine since I was unable to move my left arm. I held my arm with huge pain and forced myself to sing. The pain was excruciating but I kept on. I never cancel a show unless I’m dead. After the show I collapsed and they took me to Ichilov hospital.
When I arrived in Ichilov very early in the morning, there was a big poster advertising my show for that day. The doctor told me I had two options. One, to operate my arm but then I could remain disabled, and two to do nothing. I chose the second option and they didn’t touch my arm. Later I gave directions to my musicians through the phone and told them I will only play the piano with my right hand. Backstage that evening, came a distinguished professor from Ichilov and examined me. I was hanging my left arm in a bandage. He told me I should see a hand expert. I agreed and took off the bandage just for the show since I didn’t want the audience to start asking questions. When the show was over I came to the hospital again and the hand expert told me to place my arm next to my waste. I did it with great pain, and then he told me to try and turn my arm, and I did. Finally he told me my arm will recover, and that I should try and hold heavy things with my left arm because I couldn’t straighten it. In time my arm fully recovered and today when I straighten it I feel a slight barrier but that’s it. It wasn’t so scary.

What was going on in your head when they said you could remain disabled?

At that moment I wasn’t thinking about anything, not even about my musical career, because it hurt so much, that I couldn’t think.

Still, you managed to perform.

Yes. I will not perform only when I’m dead.

How old were you when you first started composing?

I was twelve.

How did you transfer from classical music, which is very complex, into free writing?

My tutor was wonderful. He probably noticed I was different than others who played classical music. He gave me one lesson on theory. Just one. It took two lessons: the first time he told me what to do, and the second time he came and showed it to him. This is what he asked me to do: he scribbled something on the staff and said: “You decide the rhythm, the bars, and write the arrangements of Bach, Mozart, Beethoven and Bela Bartok. I was thirteen I think. I went home and a week later I came and played all of these styles to him. He said: “let’s move on” and that’s it. He never mentioned it again. He just knew I’d use it someday. What he did was to open my eyes, to show me I was talented enough to understand what I want from it. He must have known somehow that I’d be a gifted pianist. I played in concerts. Every student’s dream is to perform last and I got to perform last on two occasions. Since I’m lazy, I didn’t pursue a pianist career, but I did use the piano for my needs. I stopped practicing too. When I did it was only because my father didn’t leave my side. He was stubborn, more stubborn than me. But that was important.

Have you ever heard a cover of one of your songs you liked? And have you heard Sasha Argov’s performance of “Forgiveness” at “A Star is Born”?

No, I didn’t get the chance to hear it. Speaking of song covers, I have recently heard a very nice cover of “I’m Dying” by “The Porcupines”. I really liked it.

I’ve got a problem. I really love the song “Song from the Night”, it wraps me. The problem is it ends after only three and a half minutes. Is there any chance of extending it?

Yes, it can theoretically. But I decided to mute everything abruptly when it ends, all the instruments, everything. That gives the illusion that the song is shorter than usual, but really it isn’t. it’s three verses like any other average song.

You usually get tired when performing the song “Days of Drought” during shows.

Yes.

Is there a chance you will change the chords?

No, not at all. It is indeed a very tiring song to play, but that is the arrangement and the accompaniment that should be in that song.

Many of your songs are defined by their complexity and I really like that. I wonder how is it you only wrote a jazzy arrangement once?

I’m not sure why, I just don’t breathe that genre. I feel more connected to classic jazz, but that’s all. It’s not enjoyable to me when the jazz players are the only ones having a blast on stage.

What about “Blues for Us Both”?

I was suddenly inspired to write something jazzy.

The first time I heard it on the radio, I remember hearing the intro and saying “how beautiful” and then your voice came.

Actually the intro is mine, but the playing later in the song isn’t. that was Rammy Levin, because I don’t know how to play jazz. But really that song was only one time I did anything related to jazz.

There was a jazz version of the song “Serenity” on a TV show once, and I was very surprised since you always said you’re not a jazz player.

It’s no problem for me to sing and improvise jazz, but playing is different and I can’t do that.

How is that possible? You play magnificently, what goes wrong?

I have no idea.

Do you think we’re going to have a next generation?

I hope there will be.

It doesn’t seem like there will be a continuation to your music generation and others of your generation.

It’s a little complicated. Part of the complication is the commercialization of the instruments. It started with those Yamaha electric keyboards where you press a button and it starts playing by itself. I don’t even know how it can recognize what I want, if it’s major or minor, etc.

If you want a minor chord, you press with two fingers.

Oh ok. I didn’t know that. I only know that it’s not enough to press the keys, you also need to turn it on. In short, these electric instruments have made musicians think less, and not use as much coordination as before. They lack the dynamics in their hands, that skill you only achieve after years of practice. So they remain in a very narrow field of music.
The second reason there can never be a continuation for our musical generation is that they import every kind of music to Israel even if it’s of bad quality. Any amateur musician can record a song with two chords, call it something catchy and make it a hit song. But that doesn’t mean there’s real musical work behind it. It’s not the same thing. I really hope that parents will wake up and realize it’s better to have a real piano at home instead of an electric one in order for their musical children to build their skills. They also must learn at least one classical masterpiece.

In other words, this generation is lost.

I’m afraid so.

With what young artists do you work in recent years, are you taking someone under your wing?

No. it’s just a rumor.

So there’s no one you’re nurturing lately?

No one. Recently I’ve been taking time to work with myself. It’s been long since I’ve worked on a new album in the studio. So recently I’ve started working on two albums, the second of which I’m starting next week. The first one is a new album and the second will be called: “Brazil Summer Time” with “Toucan” before they’re breaking up.

Once you would tell many stories during your shows. They’re coming back.

But they’re the same stories.

So What?

I don’t know, I feel I’m overdoing it. It’s just telling the same stories all the time.

It’s only us that always come and watch the shows.

No, there are many new faces I see in each show. It’s one thing to sing the same songs, but to tell the same stories?

These stories and jokes, they bring you closer to the crowd.

I know, but mostly I feel like I’m repeating myself and then I feel uncomfortable. I always do it again for those who come for the first time to see the show, but it’s a mixed feeling.

Maybe they’ll enjoy the story once more.

Maybe they’ll understand my humor this time…

What about trying to bring a new twist to the story, each time make a different point.

Change the point? It’s like those old days in the Kibbutz. Whenever new work volunteers would arrive, we would sneak next to their house at night and rearrange their work shoes on the front porch.

Would you stay awake till morning to see what happens?

More like wake up from their shouting…

During your shows, when and how do you decide the lineup of the songs? You used to have a list and I would steal it.

Was it you?

Yes…

I have my own arrangement of them but it only serves as a base. Because sometimes I don’t feel like performing something and decide I want to do something else maybe not even on the list. It’s a spur of the moment kind of thing. When do I usually go by the list? When everything around me is technically bad. Sound problems, etc. then I go by the list because I feel less comfortable.

When was the last time you replied: “That’s right” to the crowd while performing “How Come a Star”? was it in the last decade?

I don’t remember, it was a while ago.

Was there any time you replied “That’s not right” to the crowd?

Yes. During “Eliezer Ben Yehuda”.

Is there any chance we’ll be seeing you with a more classic band of two guitars, drums and bass, something more rock style?

Yes. When I finish working on this album I will start rehearsing a new show with musicians, and it will include a band of that kind.

When will that be?

Relatively soon, because I’ve already recorded nine songs.

What is the process an album goes through from the moment you record it until it’s released?

The graphics of the album cover are important. And the PR work also, which is the biggest investment in the album. I fight with PR people who don’t understand either their job or my ideas. For example: if there’s a show on the 24th I ask them to write humorously that there are no tickets available for the 23rd, only the 24th. Which is true because there is no show on the 23rd. or anything like that, because the audience likes a bit of humor.

Do you work with record companies?

No, I prefer producing the album and publishing it myself. Many record companies took advantage, financially of many artists and that’s one of the reasons they’re collapsing nowadays. They have sold the albums at a price far higher than usual, 600 percent higher, because they’re greedy. Then when they saw that the albums weren’t selling they had to lower the prices.
ודיברתי על זה עם מישהו בחברת תקליטים, מ-NMC. אמרתי לו: כי אתם גונבים. אז הוא פלט: נכון.

Is that something that happens all over the world, in your opinion?

I think it does, only in countries like the USA where the audience number is millions, the artists don’t feel they’re being robbed by record companies. Unlike here, where there are only 6 million people in the whole country. My share of that is only 100,000 I guess.

20,000 is gold.

20,000 is gold and 40,000 is platinum. But in other places in the world gold means 100,000 or more, half a million. And platinum is a million. So they’re stealing and in same time saying those are the computer data. There’s an absurd unwritten law in record companies that allows them to take 10 percent from the profits before they even start calculating the gross income. And then they stretch the 90 percent to 100 percent and from there they take out their expenses and their own percentages and give the artist what’s left. How can you monitor it? The truth is you can’t because the system is so branched, they say: we will pay you three months after the six-month waiting period. Why? Because that’s when all the stores return all unsold albums and CDs to us. Before that we can’t do anything.
In short, I’ve freed myself permanently from the hands of the record companies. I did it gradually. I was still committed to NMC, but I managed to make them decline the extension of our contract. I had purposely sent the CEO a bad tape with a lot of distortion and background sounds and then they had to let me go.

But young artists have no choice, financially speaking.

That’s true, financially their hands are tied. Still, they must try. Because the culture situation in Israel is very bad. They just have to try and make it without help.

Could you tell us about the new album?

I’m recording it in a great private studio in Ramat Hasharon. It will have everything, romantic music, rhythmic too. It’s got songs I play alone, and others to which I write arrangements for other instruments. I’m at the peak of my work. I have just finished the basic playbacks and I sang in most of them, and now I’m working on backing vocals.

Thank you for listening. Enjoy… goodbye.