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Interview with Koko Dozo: Bringing a bit of madness – and a lot of teamwork – in the mix

The group of super rock and roll – a group musicians who are well known to be in other groups or just the stars that join into a single entity, such as comic book heroes X-Men or The Avengers – has a long history in rock music. The super group Blind Faith was comprised of guitar giant Eric Clapton and drummer Ginger Baker from Cream, joined the Traffic Steve Winwood. Clapton also joined with legendary Allman Brother Duane Allman and super drummer Jim Gordon to form Derek and the Dominoes, who recorded the album rock classic "Layla and Other Assorted Love Songs."

Several times in jazz, musicians from different groups (which are only of great artists their own) will meet and create music. However, it is not always the case. Groups formed by great performers – those used to working alone or be the "star" – can sometimes be less than sum of its parts, as egos clash and the group becomes a team of basketball bad where everyone wants to do and nobody wants to pass or play defense. Koko Dozo, Sin But it's a dream team. Each member of the group, including polarity / 1, Rubio and Amy Douglas, is a factor of equality, with the entire group using the skills of each member and their talents. Again, no shock egos. Quite the opposite occurs, as members offer support and encouragement from each other. Illegal start of the group "aliens", Koko Dozo shows that each group and expression can be merged into one, and – as a good baseball team, jazz band, or the Boston Celtics this year – May be something even greater than the sum of its parts.

[Mark Kirby] What kind of music was played at home when they were small?

Polarity [/ 1] I started with the records of my father. My favorites were the beginning of Cab Calloway, Tito Rodriguez and other salsa music, Elvis, James Brown, Chuck Berry, the Beatles and Led Zeppelin. Then there was the radio and television such as American Bandstand, Soul Train and the Ed Sullivan Show.

[Rubio] My parents were fundamentalists and went through this period of being afraid of having any kind of secular music at home for some time that we had nothing, but this old 8-track with Pat Boone and Bob Dylan's Christian album. No, I do not invent not. I used to stay nights that rides the line in the transistor radio was shit and absorption everything fell into my ears.

[Amy Douglas] I come from a family that played instruments. Growing up I was lucky to have parents who loved music a little. My father was especially jazz – Thelonious Monk, John Coltrane, Miles Davis, Brubeck, Duke, Bird and Diz, etc. – I get my love of jazz he and my grandparents. My mother was a big fan of artists like Carol King, Joni Mitchell, James Taylor, Paul Simon, Jim Croce and Elton John (still one of my personal heroes for day today.) It was also a big fan of Smokey Robinson & The Miracles, The Temptations, Philly soul, and all that Gamble and Huff touched, Harold Melvin & the Blue Notes Spinners and all others. He loved black music in general. Too heavily on the rotation of the house was more Aretha Franklin that was my influence initial opening of the head and wailing away, and Stevie Wonder, who was one of my biggest influences of all.

[Mark Kirby] What incident or moment ignited his passion for making or not making music?

[Polarity / 1] When I was in college, I discovered the Brazilian music, Appalachian folk, Eric Dolphy, Japanese court music of the 16th century, Bob Dylan and Mahavishnu Orchestra. My thing with Dylan led me buying a guitar so I could express my rage over the inconveniences of life on earth. Within weeks he was writing protest songs or idea on important political issues that have never bothered to read.

[Rubio] I had a passion for music since I have memory. I used to go crazy about it, even a baby, apparently. I started taking lessons at the age four years. When he was 11, which officially made the decision to devote to music. I was classically trained on piano and organ as a child. As a teenager, I started having very progressive rock and metal and things like that.

[Amy Douglas] I think that growing up as a child in the 1970s has been a constant source of inspiration and was a catalyst. From just constantly listening music by my parents, then turn on the TV or radio, it seems that almost everything that has influenced me. But if I had to reduce to a choice rare moments, I'd say playing Stevie Wonder "Songs in the Key of Life", see Chaka Khan on Soul Train, Bowie and everywhere on television, the audience All the Beatles recordings, and more importantly, listen Led Zeppelin, my favorite band of all time. Among the television "Soul Train, Midnight Special Concert and Don Kirshner Rock, there are plenty of good things to shoot. I think the combination of hearing all these things as a child was like a bomb to do. Besides, I took almost all my visual sense of Donna Summer, P-Funk and Chaka.

[Mark Kirby] Describe your musical background. Did you study formally in school? Or take lessons?

[Polarity / 1] When I was 14 years I bought a guitar made of plywood with a book of songs that have chord diagrams, and then I started to write my own songs. A couple of years later, I took some lessons and learned to play major and minor chords, so you can add a little jazz and flavor of my bossa nova songs.

I spent a semester at the Berklee School of Music in Boston, which was a rare gesture is that I could not read music and my brain function is not connected to formal learning. But I could write notation a bit and tried to be worthy of Berklee by hotdog homework projects – like scoring an agreement Monk "Epistrophy in 4.7, everyone could play. I have been redeemed few years ago when something symbolized 4.7 per Pete McCann and Gregg's blessing to play on "Munton Revenge" in the polarity / 1 album "Speechless". They nailed him pretty quickly. How was this year at Berklee was that although he could not learn in a way normal, [with] what I threw, I had the opportunity of a sort of "see" all these concepts as functions and strings votes. It was very useful later in an unexpected way when creating complex things without "knowing" and be taken seriously. In this meaning I had a very real musical training.

[Rubio] I took lessons until he was 16 years, mostly classical music. When I was younger, I was exactly where I am free classes in exchange for keeping Kawai, showing the instruments in the centers business and conventions. So I had a performance training. For my 17 years I played full time and earn my livelihood groups.

[Amy Douglas] I started making music since I was six years ahead. The first time I discovered that I could sing when my elementary school teacher wrote a letter from my mother saying, "Ask Amy to sing for you a point. "My grandmother I learned piano first, and then I took lessons. From Grade 6, I was one of those nasty "Grand Concert School of Music, kids. I started learning music theory in high school and I have great credit State of New York, won the Louis Armstrong and Eubie Blake music scholarships and then went to study jazz theory and composition at the University New York. UUUUUUGH.

[Mark Kirby] What were among the first in their musical experiences?

[Polarity / 1] My first experience giving concerts in high school were great antidotes is of poor quality and poor conversational skills to start. Making music was all good, except for a difficult period in which he received a lesson in real life where my strengths and weaknesses. My songs began in the folk and rock. Then came jazz and funk. I wanted to bring elements of the late John Coltrane, Mingus and Mahavishnu. So I created a group with all the jazz guys instead of folk-rock that most [ly] cool – except that I was not that kind of player with this type of training. Since my interest that the guitar was for songwriting, he had the ribs and could not contribute much on the instrumentals the other guys were writing. And they needed a serious jazz guitarist and metal. So I said goodbye to my own group. It triggered a movement in a direction radically different, where I had to start from scratch and see what my own process of creation was to commit to him, then succeed on my own terms. And with this kind of approach, I found that had a lot of things that I did very well with my own vision and method, and developed large parts of it.

[Rubio] It was tough for the 11 to 16, mainly because they had to disappear in a hole and hibernate to change the body of the piano, does not live at all during this time. It was a case of permanent withdrawal. My first few rock bands have been difficult, too. I was nicknamed "Wendel" real name because that was Gomer Pyle on television. I regret to say that when the name fits perfectly. I was more than a little naive. I am grateful for these moments, however, because I learned a lot very quickly.

[Amy Douglas] I played my first professional gig at age 12 and had my first meeting pro at age 13. I told my parents do not want to go to school. Subsequently, it became darker. My first professional gig was a supper club in Long Island. Among the meat dishes and shrimp, I sang a mix of jazz standards and disco classics. It was an explosion.

[Mark Kirby] Describe your individual musical journey of the first bands to Koko Dozo.

[Polarity / 1] I started writing songs until he compared with the SIM (Studio of interconnected media) in the Department of Mass Art (Massachusetts College of Art) when I discovered Cage, Xenakis, George Crumb, Joan LaBarbera, Steve Reich and others. I decided not to use the melody harmony or rhythm in any way that seemed to songs or jazz. And as he was also a visual artist at the time, the art scene is always Instead of this new direction. So my things visual, music and writing lyrics has been re-routed in the yield and composition of choreographers and experimental theater. Also formed a group called Vocal Impact had completely improvised one voice, which sounds become words abstract text Commonwealth rhythms and harmonies. Then I moved to New York and had an obsession with the slot. I studied African drumming, samba band played and there was some hip-hop rapper DAV called Medicine Crew. Hip hop has been an easy transition because I was in a loop and gluing, but in an abstract way, and worked my performance poetry in a rap format. He was still in the slot since I was small – funk, salsa, African drumming, samba, calypso and reggae. A couple of years later, I write songs and all these things melted songs and electronic music when he became the polarity / 1. And that led to soundtracks and collaborating with Audioplasm Rubio, Koko Dozo warning. And recently, I circled back to the arts of the division of Battery Dance Company and Quorum Ballet from Lisbon.

[Rubio] My first band was was ruled with an iron fist for the absolute tyrant and it was a real warning shot. These are moments of pleasure, of course. After a few years in my hometown of Winnipeg, Canada, I moved to Toronto for six years before coming to New York in 1997. I did almost all types concert you can think of that time, both live and studio.

[Amy Douglas] I had been gigging constantly in my own band from funk to rock. I was part of a group of artists known as the center of the city "Homocorp" scene. I was [also] a part-time member of the Squeezebox Banda – the same as the Squeezebox recently released a film about the Tribeca Film Festival this year – and, fundamentally, I my past 20 years, giving concerts, doing sessions and hanging with drag queens and getting into trouble.

[Mark Kirby] How did you three meet and get together?

[Rubio] I had met Polar in 2003 by a mutual friend, a drummer, Curtis Watts, who had a mutual interest samba. Along and we started working together sporadically. In the fall of 2005, it was decided a complete overhaul Study of Polar with my help and the work of other projects. He has prospered us to work together on some things in production, mainly strips sound for documentaries, and an instrumental collaboration called Audioplasm.

[Polarity / 1] Rubio and I worked on the album Heavy Prado, while I worked with Amy in her "Red Hot Mama" show. Suggested that the three [of us] get together to see if we could come up with something interesting.

[Amy Douglas] had a program called "Red Hot Mama" was a vaudeville rock show, and I had hired Rubio as keyboard player, and really sympathized. When the series folded, he introduced me to Polar, the two of them did a project called Audioplasm. I am pleased that Koko Dozo what I have been in almost everything I did. We meet at a super hot summer day in 2007 and realized he had a great ability to make amazing music on the basis of our collective passions and musical influences, which include also a music group devoted to Brazilian music, Afrobeat, and Latin, so we really had a big pot Brewin 'when we started to write songs.

[Mark Kirby] How to get the name Koko Dozo?

[Amy Douglas] At the risk of injury from patting myself on the back, I must take the credit. My ex-boyfriend had mentioned wanting to do an art project and he threw like a trial name Koko Dozo. When we thought about names, I threw out there, and the kids loved it. I think it's fabulous. [My ex-boyfriend] has done so little to me when we were together [Then] at least has a great band name.

[Mark Kirby] What a concept musical group?

[Amy Douglas] It's a huge same. One is practically forcing people to have to really listen to what we do and to help the public who have encouraged and was reduced a sort of lowest common denominator grow some brain cells back. Music is obviously a lot of fun, which puts you in the mood dance a little more seriously and not a good dose of silly walking in the mix. But really listen and hear the words that we have problems deep we are dealing with what we do and face in our songs, ranging from distrust of our government, the polarization of culture in our house in New York and many other things. Our musical concept is to reduce the size of the planet, the Internet has made the world a smaller place and wanted a way to merge cultures, languages, styles and influences together in a way that reeks of New York life, but will appeal to an audience that is truly global.

[Rubio] In general, Polar operates arrangements and drum and percussion elements. I come with ideas harmonics, playing the most serious things like keyboard and mix tracks. Amy is the voice of the project and deals with the melodies. Obviously, there are many overlaps. There is a song arranged and produced ("Boomchi). Polar and perform a solo voice ("Kokodozonomics" and "The Heart", respectively). There are songs that Amy had the cable structure and played keyboards. Polar is very avant-garde and always pushing the boundaries. Amy is very melodic and tends to create things that are catchy and mass appeal. I'm kinda in the middle.

[Polarity / 1] We have an attitude of open source music. Between us, we worked almost all categories of gender exists and they feel no obligation to limit the places where we go. Each song has a strong identity of its own, but all sounds like Koko Dozo. The conventional wisdom is that the way we work so that we will never find an audience. But we know that is a lie. The position of the same company in the world of online music has done well for people to trust their intuitions about the music they discover. An amazing variety of people respond. We are reaching young electro heads, world leaders, dance-clubbers, boomers, geeks electronic and po-po-button GIMPS noiz gonzo hairy supported life in the basement of the basement in the diet of buns and penis butter sandwiches Toe Jam. Parents and children as we. And write in different languages (English, Spanish and Portuguese), which extends even further. We also have this environment any negotiation space makes things very fun.

[Mark Kirby] What is the history behind the Sun Ra-esque (a new word!) Clothing mythology and alien?

[Polarity / 1] Here's the story: they came from outer space landed on Earth and to exploit their resources – And other reasons, I prefer not to speak. We are low-income part of the universe that you use whatever is in the aisle the day of garbage collection. It also is the same galaxy where Sun Ra came.

[Amy Douglas]} {laugh Well … the word "foreign" permeates much of what we do and we like riff on the long term. Alien, as they say seriously internally, is the feeling of not being comfortable Feel, feel out of step with the world around you, feeling like the odd constant. We decided with great words, and decided that the era Space "alien" theme that suit us very well mad! In addition, it gives me an excuse to wear wigs and brilliance I think I was born to do.

[Rubio] I really wanted to put the fun and craziness back in music. Many projects are taken too seriously in these days, which is beyond ironic.

[Mark Kirby] Describe the type, the process of recording and producing this CD. They were all in the same study, the same time?

[Polarity / 1] Since I work in my studio, I'm here for the whole process. In general, it shows a track Amy Rubio and I think Koko Dozo work. It could be just a sketch, almost complete, or something in between. I could complete lyrics as well (face-on the dance floor "Kokodozonomics") or just a rough idea of the lyrics that Amy and I will work on ("Shine"). Amy O and / Rubio, or will one of my tracks and make a song ("Second Time", "The Heart"). Sometimes, Amy has a song and build a trail through the chord change, melody and the environment and help the song ("Down"). Rubio and Amy wrote "Boomchi" Rubio together to produce this track.

Rubio is the Guy engine ear. It comes when a problem is almost ready and start tweaking things. Then add your own keyboard, bass and keyboard sometimes things harmonic density. keyboard pieces do not require large slices. Amy arrives and then we follow the voice. Rubio Rubio and complete mixes in the big chair. Joe Lambert teachers Trutone all studies. He does all the Polarity / 1 Meadow things and too heavy. Recently, Amy has played some keyboard parts.

[Rubio] On the recording, which were mostly all there. I personally never end without a vote Another person in the room for me gives a sense of perspective. Polar has done much editing on your own, but often the job fell to me too. The mixtures were been prepared in general and Polar I, and we would send thugs to Amy for your contribution.

[Mark Kirby] What is your show Live like? Is there a full band?

[Amy Douglas] is a team full of madness! We operate as a trio, now with our songs and adding keys live and on bass guitar and percussion.

[Rubio] I like having a live band, but now circumstances and logistics have all just not. The three performed live, though. Polar plays drums electronic guitar and hand percussion, played keyboards and sang all live. We use versions of the themes that are customized for live shows, so what you hear on stage is not necessarily exactly what is hears in the studio version.

[Polarity / 1] Our shows are fun for us and assume that the public likes to see grown people making funny noises there and jumping like homeless space mutants. Amy wigs and value Rubio Viking helmet the price of admission. And watching my death ray psychedelic kippa is an affirmation of life in a coup Shabbat.

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