MICHEL BENITA - Investigating New Sounds
Photographs courtesy of Jean-Baptiste Millot © & Valérie Lenders
Algeria born bassist; Michel Benita has been an integral figure on the international jazz scene since the early eighties. From working and developing his playing in the club and concert halls of Paris, he has carved out a career as one of the most distinctive bass players of his generation. A quietly modest man, Benita's playing is always there for the music. not given to long virtuosic solos, his role is more as a mediator and instigator, bringing together often disparate groups of musicians from different backgrounds and through his playing unifying the various groups into a cohesive unit.
Over the last decade, Michel Benita is another musician who has found a home with the Munich based ECM. He has been a regular member of saxophonist Andy Sheppard's recordings for the imprint, first appearing on Trio Libero (2012), and the quartet recordings Surrounded by Sea (2015) and Romaria (2018). Releasing his leadership debut for the label in 2016, River Silver with his band Ethics, Benita brought a new sound to the fore, and displayed his prowess as a composer with some uniquely original compositions for the group.
This tradition has continued with his latest album, Looking At Sounds, and it was a pleasure to talk to Michel about his new album, which introduces an all new quartet and new sounds to his music. I begin by asking if it was therefore a conscious decision to pare down the line-up from the Ethics band to a quartet? " Several things led me to that choice", explains Benita. "I hadn’t been working with a keyboard player for a long time, at least in my own bands. We had already recorded two albums with Ethics, so it was good to move in a slightly different direction. Keeping the koto in the band was a bit restrictive in terms of harmonic choices. Guitarist, Eivind Aarset, and I are still working in Andy Sheppard’s band so I was not too frustrated not to have him by my side, he’s so indispensable! And of course, since the first day I heard Jozef (Dumoulin) I knew I had to do something with him, sooner or later. Lastly, not even sure of that, but it might be easier to tour with a quartet in terms of logistics."
Algeria born bassist; Michel Benita has been an integral figure on the international jazz scene since the early eighties. From working and developing his playing in the club and concert halls of Paris, he has carved out a career as one of the most distinctive bass players of his generation. A quietly modest man, Benita's playing is always there for the music. not given to long virtuosic solos, his role is more as a mediator and instigator, bringing together often disparate groups of musicians from different backgrounds and through his playing unifying the various groups into a cohesive unit.
Over the last decade, Michel Benita is another musician who has found a home with the Munich based ECM. He has been a regular member of saxophonist Andy Sheppard's recordings for the imprint, first appearing on Trio Libero (2012), and the quartet recordings Surrounded by Sea (2015) and Romaria (2018). Releasing his leadership debut for the label in 2016, River Silver with his band Ethics, Benita brought a new sound to the fore, and displayed his prowess as a composer with some uniquely original compositions for the group.
This tradition has continued with his latest album, Looking At Sounds, and it was a pleasure to talk to Michel about his new album, which introduces an all new quartet and new sounds to his music. I begin by asking if it was therefore a conscious decision to pare down the line-up from the Ethics band to a quartet? " Several things led me to that choice", explains Benita. "I hadn’t been working with a keyboard player for a long time, at least in my own bands. We had already recorded two albums with Ethics, so it was good to move in a slightly different direction. Keeping the koto in the band was a bit restrictive in terms of harmonic choices. Guitarist, Eivind Aarset, and I are still working in Andy Sheppard’s band so I was not too frustrated not to have him by my side, he’s so indispensable! And of course, since the first day I heard Jozef (Dumoulin) I knew I had to do something with him, sooner or later. Lastly, not even sure of that, but it might be easier to tour with a quartet in terms of logistics."
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Dumoulin is a vital element in the new quartet, and an important find for the bassist. There is the feeling that there is always a lot of space in the music, and the use of the Fender Rhodes contributes greatly to this overall sound and texture, so I ask Michel how did you came to meet Jozef and invite him to join the quartet? "First I heard his solo work. It’s based on his very original approach of the Fender Rhodes, with a bunch of pedals and vintage effects. Minimalistic music, silence, lot of space, beautiful. Also,it strongly reminded me of Eivind’s work, which I deeply love, the use of textures is very similar, and I really wanted to continue to explore that concept of building an overall sound in a collective way. Jozef is perfect for that and on top of it he’s a fantastic jazz improviser with a unique way of throwing incredible phrases where you don’t expect them to appear ! So, I just called him and sent him a copy of River Silver."
Listening to both Looking At Soundsand River Silver, I felt that the music is very different, having evolved in terms of both sound and conceptually, and I suggest this to Michel. Pondering the question, he replies, "From the inside, I don’t hear that much difference, but my perception is biased of course. I did write the music especially for this band and the keyboard-based line-up gave me an opportunity to write more harmonic tunes. Tunes that modulate sometimes (which is a bit complicated with the koto). I’m thinking of 'Low Tide' for instance. Prior to the recording we could spend a few days together, once as a residence in a well-equipped venue where we tried different things during a week or so and filmed the concert. Then a year later, a month before getting in the studio, the music was then ready, and I had many more tunes. But I must say the connection between Jozef and the rest of the band was immediate."
The other members of the quartet, drummer, Philippe Garcia and Matthieu Michel on flugelhorn are both long-time associates of Benita's, and this continuity in working with musicians on a regular basis and in many different situations must bring a strong identity and connection to the music? "Absolutely!" confirms Michel. "This is something very important to me and a constant concern throughout my career. I need to build long term projects, the only way to produce music that has flesh and a strong identity. I don’t even know if I do it on purpose, but I always end up in bands that last. Andy’s, of course, Palatino (a group we had with Aldo Romano, Glenn Ferris and Paolo Fresu), or ELB, the trio with Nguyên Lê and Peter Erskine. Those are/were collective bands where I felt at home and where I could bring my own tunes. No ego trips ! With Philippe Garcia and Matthieu Michel we hardly ever talk about the music anymore; it all happens naturally."
Like many, the bassist is interested in new sounds and ways to incorporate technology and electronics into his music, and this blend of the electronics and acoustic instruments can often be difficult to achieve. The beauty ofLooking At Soundsis the balance established between the electronics and Matthieu's flugelhorn, with the overall sound bringing out the best in everyone. So how did the interest in using such sound processing and electronics become of interest I enquire? "At the end of the 90’s I felt strongly attracted to the Scandinavian new scene, their music was a great blend of "jazz" and electronic music", come Michel's reply. "Guys like Nils Peter Molvaer (whom I had recorded with before his switch to electronic music in Rita Marcotulli’s Night Caller a great album by the way), Bugge Wesseltoft, Eivind and others. Logically I ended up in Erik Truffaz's band along with Philippe Garcia. Philippe is a master in using samplers and effects while playing drums. I also released "Drastic" an album that I produced almost entirely in my home studio over a period of 2 years. It’s a mix of jazz, nu soul and even rap featuring Jalal. All these experiences led me to incorporate electronic instruments into my music. Once the all-electronic frenzy was over (a bit of a relief)" he laughs, "and going back to a more organic music, I think we all realised that we could keep that sound and use it more sparsely, as an extra colour. I learned a lot from that period and from finally meeting and playing with Eivind. Like Jozef, they use electronics in a very organic way. Organic Electronics!"
Listening to both Looking At Soundsand River Silver, I felt that the music is very different, having evolved in terms of both sound and conceptually, and I suggest this to Michel. Pondering the question, he replies, "From the inside, I don’t hear that much difference, but my perception is biased of course. I did write the music especially for this band and the keyboard-based line-up gave me an opportunity to write more harmonic tunes. Tunes that modulate sometimes (which is a bit complicated with the koto). I’m thinking of 'Low Tide' for instance. Prior to the recording we could spend a few days together, once as a residence in a well-equipped venue where we tried different things during a week or so and filmed the concert. Then a year later, a month before getting in the studio, the music was then ready, and I had many more tunes. But I must say the connection between Jozef and the rest of the band was immediate."
The other members of the quartet, drummer, Philippe Garcia and Matthieu Michel on flugelhorn are both long-time associates of Benita's, and this continuity in working with musicians on a regular basis and in many different situations must bring a strong identity and connection to the music? "Absolutely!" confirms Michel. "This is something very important to me and a constant concern throughout my career. I need to build long term projects, the only way to produce music that has flesh and a strong identity. I don’t even know if I do it on purpose, but I always end up in bands that last. Andy’s, of course, Palatino (a group we had with Aldo Romano, Glenn Ferris and Paolo Fresu), or ELB, the trio with Nguyên Lê and Peter Erskine. Those are/were collective bands where I felt at home and where I could bring my own tunes. No ego trips ! With Philippe Garcia and Matthieu Michel we hardly ever talk about the music anymore; it all happens naturally."
Like many, the bassist is interested in new sounds and ways to incorporate technology and electronics into his music, and this blend of the electronics and acoustic instruments can often be difficult to achieve. The beauty ofLooking At Soundsis the balance established between the electronics and Matthieu's flugelhorn, with the overall sound bringing out the best in everyone. So how did the interest in using such sound processing and electronics become of interest I enquire? "At the end of the 90’s I felt strongly attracted to the Scandinavian new scene, their music was a great blend of "jazz" and electronic music", come Michel's reply. "Guys like Nils Peter Molvaer (whom I had recorded with before his switch to electronic music in Rita Marcotulli’s Night Caller a great album by the way), Bugge Wesseltoft, Eivind and others. Logically I ended up in Erik Truffaz's band along with Philippe Garcia. Philippe is a master in using samplers and effects while playing drums. I also released "Drastic" an album that I produced almost entirely in my home studio over a period of 2 years. It’s a mix of jazz, nu soul and even rap featuring Jalal. All these experiences led me to incorporate electronic instruments into my music. Once the all-electronic frenzy was over (a bit of a relief)" he laughs, "and going back to a more organic music, I think we all realised that we could keep that sound and use it more sparsely, as an extra colour. I learned a lot from that period and from finally meeting and playing with Eivind. Like Jozef, they use electronics in a very organic way. Organic Electronics!"
Throughout his career, Benita has played in a wide range of musical settings, so what draws him to a particular project or band, and how he may contribute to it? "First, I have to get along with the musicians on a human level. Serenity and respect are keywords." says Michel. "I’m not going to last very long in a band where egos prosper, however fantastic musicians they are. Then, as I said earlier, things have to flow naturally, without too many explanations. Andy’s band is exemplary for that. I often feel that it’s also my band. So, to answer the other part of your question, I have a tendency to get strongly involved and suggest changes in the written music sometimes, or different arrangements here and there. Usually the others accept it. Again, it has to do with the absence of oversized egos, we should all be concerned by the overall musical result. As an example, I think a lot of legends about Manfred Eicher being too directive etc, comes from that misunderstanding. His suggestions serve the interest of music, only music. If you stick to your ideas in a religious, dogmatic way, it won’t work. But if you try his suggestions, you’ll often be surprised how good they are. Working with him has been one of my best experiences ever as a musician."
So just how did you become a musician, and why the bass, and why jazz and improvised musics? "Someone put a guitar in my hands when I was 12 and from then I went through the late 60’s and 70’s, absorbing everything I could." is Michel's reply. "All the great pop and rock masterpieces are from that era and I was there, listening to them over and over again. Older guys turned me into Coltrane and Miles and that was it. Then some band needed a bass player, so I picked up a Fender Jazz Bass and later an upright. I’m a self-educated musician, but at some point, I had to work hard to catch up and be able to reach a level that could allow me to accept any proposition and do the job. So, I took private lessons from time to time and practiced a lot by picking up bass lines and solos etc. There were no jazz schools in France when I started.
"As for influences on my playing, the first group that comes to mind: The Beatles. That’s my generation and their influence is incommensurable. I’m still a total fan. Their curiosity had a strong impact, Indian music with George Harrison and all. The British blues and folk scene, too. I used to learn and practice John Renbourn and Bert Jansch’s guitar parts a lot. Frank Zappa, big time ! Joni Mitchell, James Taylor, Paul Simon. In the jazz field, besides Miles (Bitches Brew !), Trane, Bill Evans and many others, I think my strongest influence is definitely Keith Jarrett. I was lucky enough to be introduced to his music by an older friend of mine, at an early stage, just when he left Charles Llloyd’s band. Their live albums are fantastic. "Facing You" was the first ECM album I bought, it’s a masterpiece. Then I followed his carrier, especially the 2 quartets. He’s a fantastic composer. My first 2 albums as a leader featured Dewey Redman, and the music I wrote pretty much under his influence ;) I don’t know if anyone is hearing that in my music today, but I know it’s there."
Looking ahead, Michel says, "I do hope we keep this band alive as long as possible. Hope the economy and the pandemic will allow us to do that. In the back of my mind there’s this idea of a bass solo album, but I’m not totally ready yet. By the way, the best bass solo album I ever heard is Anders Jormin’s Xieyi (ECM 2006). Every bit of it is necessary and profound. I recommend it! And I consider my version of "Never Never Land" onLooking At Sounds, a modest hommage to that album."
So just how did you become a musician, and why the bass, and why jazz and improvised musics? "Someone put a guitar in my hands when I was 12 and from then I went through the late 60’s and 70’s, absorbing everything I could." is Michel's reply. "All the great pop and rock masterpieces are from that era and I was there, listening to them over and over again. Older guys turned me into Coltrane and Miles and that was it. Then some band needed a bass player, so I picked up a Fender Jazz Bass and later an upright. I’m a self-educated musician, but at some point, I had to work hard to catch up and be able to reach a level that could allow me to accept any proposition and do the job. So, I took private lessons from time to time and practiced a lot by picking up bass lines and solos etc. There were no jazz schools in France when I started.
"As for influences on my playing, the first group that comes to mind: The Beatles. That’s my generation and their influence is incommensurable. I’m still a total fan. Their curiosity had a strong impact, Indian music with George Harrison and all. The British blues and folk scene, too. I used to learn and practice John Renbourn and Bert Jansch’s guitar parts a lot. Frank Zappa, big time ! Joni Mitchell, James Taylor, Paul Simon. In the jazz field, besides Miles (Bitches Brew !), Trane, Bill Evans and many others, I think my strongest influence is definitely Keith Jarrett. I was lucky enough to be introduced to his music by an older friend of mine, at an early stage, just when he left Charles Llloyd’s band. Their live albums are fantastic. "Facing You" was the first ECM album I bought, it’s a masterpiece. Then I followed his carrier, especially the 2 quartets. He’s a fantastic composer. My first 2 albums as a leader featured Dewey Redman, and the music I wrote pretty much under his influence ;) I don’t know if anyone is hearing that in my music today, but I know it’s there."
Looking ahead, Michel says, "I do hope we keep this band alive as long as possible. Hope the economy and the pandemic will allow us to do that. In the back of my mind there’s this idea of a bass solo album, but I’m not totally ready yet. By the way, the best bass solo album I ever heard is Anders Jormin’s Xieyi (ECM 2006). Every bit of it is necessary and profound. I recommend it! And I consider my version of "Never Never Land" onLooking At Sounds, a modest hommage to that album."
For more information visit ECM Records & michelbenita.com
Click on the album covers to read our reviews
Click on the album covers to read our reviews
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