My Blues Soul Romina Daniele, march 2006

ROMINA DANIELE.COM

    

The first thing I saw in her eyes was her disapproval. It was not a direct transmission of sensation but of feeling.

I was that black spot with a haughty attitude in the front row two meters away; placed in a diverse audience that was neglected and not true like it should have been according to the event.

She was Odetta.

The night before the meeting with Diamanda Galas and a part of the Stratos Award jury, I was at the Blues House to listen and to watch Odetta, with the same excitement in the heart. Unfortunately the audience was the same that I found when I used to sing as choriste, or when on that stage the most anonymous and mediocre band was playing.

I don’t know how many people were there with the same emotion I had in the heart. Odetta is a very important and decisive vocalist for me; she has been the object of my studies and passion and... I could listen to her a few steps from my house paying a cheap ticket, together with an occasional audience.

We’re talking about blues, the great historical and real blues; historical real big part of the music. The modern blues founds its origins in here, and people don’t know it. They are laughing, drinking beer and talking amiss, without conscience,  pretending to be the ones who listen to the good music.

My experimental experience is one hundred years of empty-consciousness far away from these considerations. And I sarcastically smile while I think over it, suppressing a lump in my throat.

She felt in me an antagonist by the point of view of the generational gap. She noticed me at once, and she repeatedly gazed at me. I probably represented (my look) for her that sneaking nihilism that hasn’t been neutralized by any battle so far, that became more and more intense as a general cultural state, since the end of the 70’s.

The nightclub audience appreciating  the blues cover bands are not prepared to understand an intense emotive experience like Odetta live performance; this is due to a musicological issue of historical-cultural reasons whom present musical scene doesn’t comply with.

The vocal force and the meanings of the vocal expression, in my experience, are linked to these considerations. The fact that the music so called “educated”, today, is really nothing else that contaminated (during a historical course in which the blues and the jazz have been critically codified),  represents a  musical speech which deserves being considered as not abstracting.

My work, awarded with the Demetrio Stratos award, dips its roots in everything that is true and not connected to any concept. I wouldn’t be able to study Demetrio Stratos if I didn’t feel this desire so much and I wouldn’t  propose any approach to vocalism if I didn’t identify myself with which can be defined as “being-giving voice”.

Nowadays, it is difficult to define a real blues and jazz culture, contaminated with too much different concepts (not only physically but emotionally as well) from its origin and encoded in sterile signatures so far away from the human instinct and so closed to the historicism;  therefore,  my blues band activity appears to me as an inevitable intense emotion.

 


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