Good stories should leave an impression that time has knitted them, and there is no actual author. Uku Kuut’s (46) music feels like this. Years have left a time trail in Uku’s music, but I have a feeling that his music needed this time, just to come back to life years and years later. You don’t have to look for those songs, they sneak up by themselves. Like the night.
In the beginning of March, popular among music lovers record label PPU released an album named “Vision of Estonia” which consists of Uku’s old songs. These songs were born when Uku being only 14-16, has finally escaped to freedom from behind the Iron Curtain.
Looking at old pictures from back then, you see a shy Estonian boy. From the concentrated, yet dreamy look in his eyes you can see that he has something on his mind, something elusive. This elusive something is stored in Uku’s songs. A lot of these songs see the world for the first time.
Every moment brings something new into our lives, and with every moment something gets lost. Uku’s music will stay with us from now on. This is the reason why I decided to ask Uku, who lives on Saaremaa at the moment, some questions.
Uku, congratulations on your album! What does this credit mean to you?
I really appreciate it. It’s kind of a dream come true, to have a record deal with one of the coolest record labels in the US.
Which one is more significant to you –the record or all the credit you are getting these days?
Neither was a great surprise. It took us almost a year to collect materials for this record, we chose from a great amount of songs. At first Andrew (Andrew Morgan – the owner of PPU record label –auth.) wanted to make a compilation but eventually it turned into EP and then into LP.
The surprising part was the reaction of fans. People contact me from all over the world and tell me that they are fans of my grooves, their letters are very sincere. Sometimes they ask about one or another song or ask if there’s a new release coming up, some of them even share their own music.
Was it a surprise to you, that a foreign record label, not an Estonian one, was interested in releasing your music? So far you took care of your own releases by yourself – your record label Bigtree released several records of your mother’s Marju Marynel Kuut and your own sounds.
No, I was not really surprised. Two years ago when I was receiving treatment at the hospital, Madis Nestor (DJ and owner of a record store in Tallinn – auth.) congratulated me on the release of my single in America. I was extremely flattered. Actually, I have to say, if there’s anyone who is a fan of my music, it must be a foreigner, not a person living in Estonia.
I used to send my music to other record labels, but I got really depressed by their responses, so I stopped doing it. I was told that my music does not fit anywhere and is unprofessional.
Are you disappointed that in Estonia, interest towards your music is not as big as it could be? Or it’s just inevitable because of the size of our country?
I’ve never thought that in Estonia, where music world is relatively small, there would be any market for my music. I think that my new record won’t have any influence on this circumstance, because we’re dealing with a narrow niche in music, market of which is small in every country.
Estonian music background is different than mine. When I was playing records, people were confused because of my music choices.
What do you mean by confused?
I suppose the order of the songs confused them. I often choose tracks that are somehow connected through quotes, sound or harmony.
This confusion is not bad at all, I just saw it written all over the faces of dancing people.
You’ve mentioned a single, which PPU released on 2010. First song “I Don’t Have To Cry” was first released in 80s in Sweden; “Vision of Estonia” came out in 2006 on your debut album “Santa Monica”, which was released on your label Bigtree. Both song and the album didn’t get any attention from the media whatsoever. Why so?
What concerns this first track, it was released on a record label called Polar Star. Owner of this label was a really nice foreign-Estonian businessman Harry Kask. He helped us big time. We’ve mastered this single at the legendary Abbey Roads Studio (a recording studio, located in London, known as a place where The Beatles, Pink Floyd, Jamiroquai etc., recorded their music – auth.), appointment at the studio was actually made by Harrys daughter. I have to be honest with you, I have never been a fan of the Beatles, and so I think that’s why I didn’t feel anything special when recording there.
I released “Santa Monica” in order to not neglect my songs. I’ve done nothing to promote this record, at that time I was working on my mother’s project. Until now there have been some sells of “Santa Monica” on the iTunes, and thanks to PPU, the song is gaining popularity and people discover that album once again.
I’m under the impression that music is more important to you, than its marketing…
Well yes, first of all I’m a musician, a realistic one though. Secondly I’ve always dreamed of becoming a music producer, but this assumes background of a music editor. Pop star has to be young and vain, besides, as a child of a pop star I have truly seen everything that comes with it, both good and bad.
The album’s title track “Vision of Estonia”has received a really positive feedback in Estonia and all over the world. Tell me, what is the story behind this song?
I wrote this song jamming together with Marju in Sweden about 25 years ago. I really do not remember, how I came up with the title of the song, but I had a feeling, that it’s the right one. We were refugees and at that time we knew for sure, that we are never getting to visit our homeland.
Songs on the new album were written mostly in Sweden. You were only 14-16 years old. Do you remember how you'd come up with these songs?
That’s true, I wrote most of the songs, while living in Sweden. Some of them were recorded in Philadelphia Church in Stockholm, in the kitchen there was a cupboard that had a radio studio in it. Sometimes we used to borrow a Portastudio four-track cassette recorder. Well this cupboard had this very primitive sound board and two tape recorders, they were essential for creating a cohesive whole. With one of those we’ve made an echo machine.
Couple of tracks we’ve recorded a bit later in a studio that we used to co-own with Toivo Kurmet (Estonian composer and musician who escaped to Sweden in 1979 – auth.).
The base for one song I’ve recorded at the studio of Atlantic Starr (a soul-funk band from the US – auth.). At home Marju added a melody to it with Portastudio and sang one of her songs to this melody. She loved jesting with me singing her songs on my tracks. I’m talking about “Dream Lover”; there are about ten versions of it.
What do you think, what provides the viability to your songs, so they still live nowadays and arise a lot of interest?
I’d ask my fans about it.
OK, so I’m going to ask Martin Jõela this question, the local vinyl junkie, who has the amazing ability to discover so called forgotten music.
Martin: “Uku’s music is sincere and effortless, not trying to make an impression. You have to be talented to write music like this. “Vision of Estonia” is one of the most amazing Estonian songs.”
You and Andrew Morgan, how did you find each other?
Andrew bought one of my singles on the internet, and then he contacted me. He wanted to release two of my old songs on vinyl. I know nothing about the vinyl, I’m more into digital stuff. I’ve been dealing with computers since 1985. I believe that in the future music business is more like a file cloud, where you can get music at any time.
There’s not a lot of information about you. Most of the time you are associated with your mother’s work. Besides being family what else do you have in common?
At the moment, we are just family. My mother is a complicated person, like all geniuses. I’m 46 now, and I have been working with my mother for more than 20 years. She knows nothing about the technical part of it all so I had to participate in all of her “business”. At some point I just got tired.
It seems like you share the same music destiny with your mother, she also seemed like a stranger in the music business and she had difficulties being in the right place at the right time. Are you intimidated by that your music does not always live to audience’s expectations?
No, not at all, I’ve made music that I love.
Looking back, Marju has also been super successful. She just says that it is not so. But circa 30 albums, hundreds of recordings, thousands of concerts, that looks like success to me.
Tell me about your childhood. Do you have any memories about your teachers? Did they have any influence on your creativity or personality?
I grew up in Soviet Estonia, and I had an amazing opportunity to communicate in English with one of my relatives. My great-aunt Melanie Rauk who was brought up in US was a professor of English.
Tõnu Naissoo (Estonian composer and jazz pianist – auth.) taught me a lot. I remember when I was 11, I used to sing a bit at my mom’s work place. Tõnu owned an electric piano Rhodes, he also had a synthesizer Minimoog. Before singing he always used to play his cool instrumentals. He had an amazing sense of harmony and humor.
Tõnu Aare (Estonian musician from a band called Apelsin – auth.) and Enn Laidre (Estonian sound engineer –auth.) taught me good sound recording.
Do you remember the first song you fell in love with? What is your relationship with this song now?
Well I don’t remember the song exactly, but it was definitely something from Stevie Wonder´s sounds from the 70s. Then I discovered Herbie Hancock, George Duke and Quincy Jones. I was fascinated by the sounds of jazz and harmony that makes music interesting.
Stevie’s music still drives me crazy, the sound is sincere and songs are just wonderful.
Although playing jazz in Soviet Estonia was dangerous, but dissident-jazz was still played. How did you like Estonian jazz back then?
I was a big fan of Lembit Saarsalu’s Quartet and his album “Avage Viru Väravad”. It resembled western jazz. Marju gave this record to Herbie Hancock and Herbie got inspiration from it in terms of using folk music.
How did you manage to get information about music that was made outside the Soviet Union? It was almost impossible to record any foreign music under the communist regime.
With the help of my friends and acquaintances. I was a child back then so I don’t remember the exact names. But the musicians from our social network used to loan and record music to one another. And of course Radio Luxembourg.
Lux’s topic is really interesting, because for some generations this radio station was a window to the rest of the world and many of them have said that this radio helped them to understand themselves. Maybe you remember some specific stories that is related to this radio.
My mother used to record new music from Lux, she used to do it at night, so I remember how I was listening to Herbie Hancock’s song “I Thought it Was You” through this mysterious buzz…
Do you remember your first recording? Back in the days it meant wait in a long line, without acquaintances it was almost impossible to get foot in the door.
When I was a child I used to sing on the radio and television, so I remember nothing but stress from those times. When my mother recorded her songs I used to sit under the sound board…I remember that once I tried to find a better drum kick with an equalizer, but I think I didn’t get it quite right.
I had an opportunity to see how Tõnu recorded legendary Apelsin’s songs, with a basic reporter’s tape recorder, that he used to borrow from the Radio House. Well the sound was fantastic, it still is!
How did your interest in funk music begin?
I felt some inner rhythm in it. I actually have a theory, there is a huge difference between funky music and funk music, it’s like music and muzac. Funk is not just music, it also has a peculiar humor.
Funk itself is a rather depleted term and musicians often try to hide their creative need behind it. For example Dam-Funk, who by the way has praised your music, has said that funk is not a fad, it's a way of life. What do you think about it?
I agree with him on that 100%, respect! I’m a huge Dam-Funk fan myself.
How important is style definition to you anyway?
Not really. On “Santa Monica” you can find songs from new age to jazz. Definitions are disturbing, I don’t really navigate around those.
In 1980 you and your mother moved to Sweden. After that Radio of Estonia prohibited to use your mothers tapes and her name could not be mentioned in magazines. There’s a lot of information in Estonian press about your escape, but what are your memories about living in Sweden?
Continuous rehearsals and recordings, that often lasted for 24 hours. Working with Marju was exhausting, but these songs are still as good as new.
Boys from my own band lacked self-criticism and it’s kind of embarrassing to listen to those recordings today. We were a funk-band at a time when black music was not recognized in Sweden so we didn’t have a lot of opportunities to perform. The name of our band was We Are and together we’ve recorded material for about one record. So then my father visited me in Sweden and I gave him my stereo and most of the recorded material as a present. He secretly took all the tapes with him. Years later I found our band master at my father’s house, our recordings were gone, because he recorded Miles Davis on them.
Your mother, worked as a producer on the Good Word radio at the Philadelphia church. And you were multitasking, you’ve finished school, entered the university, worked at the same time as a newspaper boy, janitor and a clerk. At the same time you had the time to host a show on the radio. What kind of music did you play on your show?
At that time there was a lot of pretty good Christian funk. For example Brothers Johnson released back then a lot of spiritual records. Andrae Crouch and Seawind were also cool.
In 1988 you moved from Sweden to the US, why?
This was due to my grandmother’s death. We didn’t have any commitments. Marju and I went at different times. I joined my mother half a year later.
Eventually, you settled in Santa Monica, near Los Angeles. You were writing and producing songs for American artists and you also bought a studio there. Who has recorded in your studio?
Well relatively unknown musicians. As technology developed rapidly these days, I was learning new techniques all the time. It was a time when computer based sequencers replaced old hardware sequencers and the first digital recorder appeared. Many songwriters didn´t feel well prepared to use technology effectively and I was quite good at selling myself and my studio to them.
One famous album was partly recorded in my bedroom studio. There was a very humble young man, named Gregg Alexander, who recorded his songs at our place. Years later, I heard these same songs again, but this time from the album by New Radicals. You could say that his music just like mine was almost ten years ahead of his time.
At the same time, we were recording at Herbie Hancock´s studio and Atlantic Starr´s studio as well. I even helped to build the last one and therefore they allowed me to record there. Band´s keyboard player, Rich Aronson, was a friend of our family.
You’ve mentioned Herbie Hacock several times, have you met him yourself?
No, I haven’t, but Marju did. Herbie used to call our studio like Charlie from “Charlie’s angels” and talk to us through the phone speaker. He seemed like a nice person.
Herbie’s famous studio was in the garage of his gorgeous house. He owned a lot of keyboards, he even had a special storage space for them. His beautiful German ex-model wife used to check on us all the time.
You lived in the US for five years, what inspired you during those years?
First of all the Pacific ocean, that was unexpected even to me. Sometimes I even dream about the beach. I used to take long walks on the beach, just to clear my head. West Coast is mysterious.
What made you happy and what made you sad during the life in the US?
Probably the climate, especially in Santa Monica. Santa Monica was unbelievably charming back then, it had those old-fashioned houses and a lot of art galleries. It reminded me of Southern France.
I was disappointed in show-business, people were willing to do anything for fame. There were few of those who really loved music or did something just for fun.
In every day’s life I was puzzled by the lack of design in furniture, technique, clothes; everything was like from a different planet. For me it got boring at some point.
Well this sounds unbelievable, you came from Soviet Union, how is it possible that you got bored in the US…You’ve made a statement before that you didn’t want to live in the US, because you could not get used to ignorance of the society. What made you move back to Estonia?
I missed Europe. We were thinking of moving back to Sweden, after a quick visit to Estonia. But then the August Putsch happened and things got so exciting, so I decided not to do it.
Why haven’t you released anything while living in the US? Songs that were intended to be released in the US were instead published in Russia after you came back home.
We were completely unknown – two white Russians making black music. Someone gave us advice to start making techno to increase our sales.
Our recordings got to Russia by accident. We wanted to release those recordings on Forte label in Estonia, but the record factory was located in Moscow. They just took over the project released some kind of a bootleg and left us with nothing.
In 2003 Estonian record label Umblu released a record named “Reserva” that included your and your mother’s tracks from years 1983-1996. In my opinion it’s one of the most important records in sovereign Estonia. I know that you were hoping to release this record in London. Why it didn't work out?
I put together the record myself, Raul Saaremets (Estonian musician, producer, influencial DJ and radio-host – auth.) released it. Don’t remember any of other plans. I was an international business manager back then, I used to travel so much that my own son thought that I’m a stranger…
At last but not least tell me about some of your latest musical experiences.
My mother met George Duke in Stockholm and sent me his latest album, signed by him! It’s a very good record.
Unfortunately after being sick with Lyme disease and delayed treatment, my central nervous system is damaged, so I’m spending my time on Saaremaa at my home, so I can’t visit any concerts.
Do you regret something that you did in your life?
No.
Andrew Morgan: Uku´s music is timeless Peoples Potential Unlimited is a record label that deals with the past. But it doesn't mean that this record label is stuck somewhere in the time-hole, trying constantly to remind about the past, and not concentrating on present.
However PPU releases a lot of old and forgotten tracks mainly from the 80s. A lot of those tracks have never been released or have been released but in a really limited amount. During the years, those songs have become more and more attractive. Proof is that music lovers don’t mind to spend a fortune on the original pressings.
Andrew gives a new life to these old records, musicians an opportunity to finally release their work and vinyl-junkies an opportunity to purchase a new record into their collections without paying a treasure.
They’ve never met face to face, nevertheless Uku considers Andrew his friend. As well as other artists and music friends all over the world.
How you discovered Uku?
I found a copy of his first vinyl release "I Don't Have to Cry Anymore". It was a self-release on his own label Polar Star (actually owner of this label was foreign-Estonian businessman Harry Kask – auth.). I contacted him to find out more about the vinyl.
Do you remember where you found it?
I don't know, when I got the vinyl. I had it for a couple years, then when the label started I knew it was one of those unique records I had to reach out him.
How did you find a contact with him?
Through MySpace.
What was the initial reaction you got from him to the proposition to reissue his work?
We talked about it for a long time, I think we were both really excited. He sent me so many tracks from his archives, so there will be another release featuring more work he did with Marju.
Is there any release date for the new release?
No release date for the Marju & Uku vinyl. It's gonna be down the road we areworking on some other things first!
What fascinates you about his music?
It's still good, and he's still making music that sounds incredibly unique. It's hard to put a date on any of his productions, 90s, 80s, it's timeless.
What do you think attracts people to his music nowadays?
The latest LP features demos and unreleased tracks. Fans of PPU are looking for that raw sound.
What motivates you to run a record label that helps forgotten musicians like Uku to put their music back out there?
I'm just a fan of the music mostly. It's a way to make a living and do something I really enjoy.
On PPU´s website there are some interesting stories about the artists whose records you release. Have you got an interesting story about Uku as well?
I didn't know that Marju was Uku´s mother. I emailed him and asked if that was his wife. He said: "NO, marju is my MOTHER." That was my mistake!!!
What are the future plans for PPU?
We just released another DVD compilation of artist videos. Uku is featured on the DVD as well.
And so many more vinyl projects... The Trash Company, Cyril, Incredible Rock City Band, The Campfire.
DiscographyAlbums:
■“Santa Monica” CD (Bigtree 2006)
■“Visions of Estonia” LP (PPU, 2012)
Singles:
■“I Dont’t Have To Cry” 7” (Polar Star, 1985)
■“Vision of Estonia” 7” (PPU, 2010)
Co-work:
■Marju Kuut & Uku Kuut “Zuke” LP (Russian Disc, 1992)
■Marju Kuut “Marju Kuut” cassette (Forte, 1992)
■Marju Kuut “Reserva” CD (Umblu/Bigtree 2003)
■Various “Umblu Records SDMF 2003 Promo” CDr (Umblu, 2003)
■Various “Julm Kauamängiv No.1” CD (Julm Records, 2004)
■Broken Time Orchestra “Broken Time” CD (Julm Records, 2005)
■Marju Kuut “Raagus sõnad” CD (Bigtree, 2005)
■Marju Marynel Kuut “Marju Marynel Kuut” CD (Bigtree, 2006)
■Sofia Rubina “My Sun” CD (Umblu, 2007)
■Rounce “17 Aastat” CD (Bigtree, 2007)
Published in Estonian weekly Eesti Ekspress of 12 April 2012 / eesti keeles
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