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Kurt Elling's recent performance with the National Jazz Orchestra at the MNT Theatre in Skopje, Macedonia, was a night to remember. Renowned for his unique, technically masterful, and exquisitely nuanced voice, Elling mesmerized the audience from the moment he graced the stage. His voice, a blend of expressiveness, technique, and sheer beauty, is unparalleled among contemporary male singers. Elling could sing a phone book or a car manual and still hold the audience spellbound.
The synergy between Kurt Elling and the National Jazz Orchestra transcended the boundaries of a typical concert, transforming it into a master class in musical expression. Elling's magnetic presence, his unique mode of communication through music, and his ability to evoke profound emotions left an indelible mark on every soul present.
In the wake of this extraordinary performance, I had the pleasure of sitting down with Kurt Elling to delve deeper into his artistry and the magic of his music.
Vintage Cafe: So, what attracted you to work with the National Orchestra?
Kurt Elling: I've been friends with Dražen (Kokanović - the Manager of the Zagreb Jazz Festival) for about 20 years. He's had me over to his resort hotel several times with different bands in Rovinj, Croatia. He's been taking care of me for many years. I usually go out 10% of the year with different big bands and orchestras. When people call and say they have something for me, I like to say yes as often as I can. So, I worked with the National Jazz Orchestra in Zagreb a few years ago. It was fantastic, and now we are doing it again, only this time in Skopje, Macedonia.
VC: What are the criteria for you to work with an orchestra, apart from managers and all that?
KE: It depends on the bands coming through on a given night. If they're great, then we have a great night. If they're mediocre, I try to get them to be great for one night. If they're terrible, then I try to get them to be as good as they can be for one night, and then I skip town. I leave the house hoping that everyone will be at the top of their game, that they'll be as prepared as possible, and that we'll have as much fun as we can. Different big bands around the world have very distinct personalities, both in the music and away from the stand. It's always fun to make new friends and to see trusted old friends like I did tonight.
VC: Can you share your impressions of what the night was like for you?
KE: It was great. Everything worked like clockwork. The band played great. They held the tempos. The audience was very kind. I really liked playing in that room. It's a good-sized room for a big band gig. Any bigger room than that, and you've got to start amplifying everything too much. It was a lovely night. This is the National Theatre.
VC: What's the difference between playing with a big band and a smaller combo?
KE: In a smaller combo, depending on the adventurous nature of the band, it could be completely free music and develop spontaneously. I could give the piano or bass player a piece of poetry, an image, or a smell, and they would start improvising on that, building something out of nothing. With a big band, you have to have charts. It has to be organized enough so that everybody knows where it's going. Then, within that framework, you improvise new melodies and play off the arrangements that you know well. A small band is like a sports car—you can stop and turn on a dime. A big band is like a big semi-truck—you put it in gear, and now it's in gear, and now we go. Anything fancy that happens is because it's written down.
VC: How do you impose your character while interpreting the songs when you play with different formations? These are primarily standards that various singers from different generations have interpreted. How do you impose your style?
KE: I write or co-write much of the material I can perform here. I wrote the lyrics to maybe half of the songs. The arrangements are generally written with some of my suggestions. Many times, they're based on my small group arrangements. This all contributes to my identity in music. Everything else, from setting the tempo to the way I swing the band to the notes I choose on a given night, reflects my style.
VC: What does the song "Nature Boy” mean to you? I've seen you play twice, and what impresses me is how you become the embodiment of these songs. You're not just an interpreter, player, or singer—you embody these songs. You radiate them. What does this song specifically mean to you? It's like a trademark.
KE: I'm grateful for it because a lot of people identify me with it. I'm happy when they want to hear anything that I've recorded. If it's a work of quality like "Nature Boy," it's a pleasure. If it makes people happy, I'll do it every night.
VC: Jazz has a rich history and tradition, and your performances are always very soulful and enriching. But why jazz? What does it mean to you? What makes it different from other genres that appeal to you so much?
KE: There's a lot of soul in jazz. Jazz is the ultimate syncretic art form. It can adopt and incorporate elements of any music it encounters. I love the history of jazz—it’s brief but commanding and ingenious. I love the players, the stories, and the culture of it. I chose it, but I feel like jazz chose me. The players chose me; they pulled me out of a lineup and said, "You keep singing; you're with us." They told me I was with them. From Benny Golson to John Hendricks, Wayne, and Herbie, they all said, "You're with us." Wow, I get to be with you guys? Yeah, you're with us. Okay. Those are my cats. Those are my heroes and exemplars. The way the music sounds, it sings for itself.
All photographs by Tatjana Rantasha