Kolm aastat tagasi lindistasime vanal heal Türnpu tänaval oma esimese saate. Olime siis noored ja vihased Türnpu poisid, kellele ei valmistanud raskusi teha mitu neljatunnist saadet nädalas. Lisaks Türnpu tänavale lindistasime ka Luha uulitsal, vanalinna urgastes, Kadrioru katusealustes, raadiomaja palavates kabinettides ning Karlova magamistubades. Ja enamasti edukalt. Nüüdseks oleme jõudnud 23. saateni. Oleme kolinud, võtnud naised ja ostnud auto. Muutunud on palju, kuid muusikat armastame endiselt. Kuigi kohtumisi on jäänud harvemaks, on need seda rohkem ootamist väärt. Milline meeleolu oli Tartus Ravila tänava kolmetoalises korteris 18. mai õhtul, saab aimu sellest salvestusest.
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
Ameerika plaadifirma andis välja muusikat, mille Uku Kuut kirjutas juba teismeeas. Miks alles nüüd? Sellele ja muudele Kuudi funk’i puudutavatele küsimustele otsib vastuseid Tartu noorte kultuurilehe Müürileht reporter Elmo Kõmm.Head lood peaksid jätma mulje, et neil polegi autorit, vaid need on kudunud aeg. Uku Kuudi (46) muusika on just niisugune. Aastad on jätnud Uku muusikasse jälje, aga on tunne, et tema lood vajavadki seismist, et siis aastate ja aastakümnete pärast taas esile tõusta. Neid lugusid ei pea otsima, need hiilivad ise ligi. Nagu öö.
Märtsi alguses andis muusikasõprade seas tunnustatud USA plaadipesa Peoples Potential Unlimited (PPU) välja Uku vanade lugudega albumi “Vision of Estonia”. Need lood sündisid ajal, mil raudse eesriide tagant pääsenud ja esimest korda vaba maailma õhku nuusutanud Uku oli vaid 14–16aastane.
Toonastelt piltidelt vaatab vastu häbeliku moega eesti poiss, kelle süvenenud, kuid unistavast pilgust võib välja lugeda, et ta on saanud pihta millelegi tabamatule. See tabamatu miski on talletatud neisse aastateks unustatud lugudesse. Enamikku neist olid kuni selle plaadi ilmumiseni kuulnud vaid Uku ise, tema lähedased ja muusikaärimehed, kes tema loomingut eri põhjustel avaldada ei soovinud.
Iga hetk toob meie ellu midagi uut, ent iga hetkega ka kaob midagi jäädavalt. Uku muusika on nüüdsest jääv ja selle puhul tasub esitada Saaremaal Pöide vallas Välta külas elavale Ukule mõned küsimused.
Uku, palju õnne albumi puhul! Mida sulle selline tunnustus tähendab?
Mul on selle üle siiralt hea meel. Eks ta ole ühe suure unistuse täitumine – omada plaadilepingut ühe vingeima USA leibeliga.
Kumb on sinu jaoks tähenduslikum sündmus – plaat või tunnustus?
Kumbki ei ole teisest suurem üllatus. Selle plaadi ettevalmistamine võttis aega peaaegu aasta, valisime lugusid mitmekümne laulu hulgast. Alguses soovis Andrew (plaadifirma PPU eestvedaja Andrew Morgan – aut.) lugusid ühele kogumikule, aga õige pea muutus see EPks ja siis LPks.
Kas sind üllatas ka, et huvi sinu muusika avaldamise vastu tuli väljastpoolt Eestit? Seni oled sa enda muusika plaadile jõudmise eest hoolitsenud peamiselt ise – sinu kureeritav plaadifirma Bigtree on andnud välja mitu plaati su ema Marju Marynel Kuudi ja su enda lugudega.
Ei üllatanud. Viibisin parasjagu haiglas, kui Madis Nestor õnnitles mind Ameerikas ilmunud singli puhul. See oli kahe aasta eest. Olin ülimalt meelitatud. Kui keegi üldse minu muusikat fännab, siis tõenäoliselt ei ela ta Eestis.
Vanasti ma ikka saatsin oma muusikat teistele leibelitele, aga vastused tõid musta masenduse. Minu muusika ei sobinud kuhugi või jättis professionaalsus soovida.
Kas sa oled pettunud ka, et Eestis on huvi sinu muusika vastu väiksem, kui võiks olla? Või on see Eesti väiksuse tõttu lihtsalt paratamatu?
Ma ei ole kunagi arvanud, et Eestis, kus muusikamaailm on väike, oleks minu muusikale suurt turgu. Uus plaat vaevalt olukorda muudab, tegu on kitsa niši muusikaga, mille turg on igas riigis väike.
Ka Eesti publiku taustsüsteem on seni olnud minust väga erinev. Näiteks olen kogenud plaate keerutades imestust minu lugude valiku üle, aga minu muusikaline kontekst on lihtsalt erinev.
Sa mainisid kahe looga vinüülsinglit, mille PPU 2010. aastal välja andis. Esimene lugu – “I Don’t Have To Cry” – avaldati 1980ndatel esmalt Rootsis, “Vision of Estonia” ilmus aga 2006. aastal su esikalbumil “Santa Monica”, mille sa ise välja andsid. Toona jäi see lugu konkreetselt ja ka album suurema tähelepanuta. Mis sa arvad, miks see nii läks?
Mis puudutab esimest lugu, siis selle andis välja plaadifirma Polar Star, mida kureeris väga tore väliseesti ärimees Harry Kask. Ta aitas meid tohutult. Selle singli masterdasime Abbey Roadi stuudios (Londonis asuv maailma üks kõige tunnustatumaid helistuudioid, kus on salvestanud ka biitlid, Pink Floyd, Jamiroquai jt – aut.), kus meile pani aja kinni Harry tütar. Pean tunnistama, et ma ei ole kunagi biitlite fänn olnud ja ma ei osanud seal toona midagi tähele panna.
“Santa Monica” andsin välja selleks, et minu lood ei jääks unarusse. Selle plaadi promomisega ma absoluutselt ei tegelenud, töötasin toona oma ema projektiga. Siiani on see iTunesis vaikselt müünud ja tänu PPU-le on “Santa Monica” müük jälle hoogu juurde saanud ning inimesed avastavad selle uuesti.
Jääb mulje, et sinu jaoks on oluline muusika, mitte selle turundamine…
Jah, olen eelkõige muusik, aga realist. Teiseks olen kogu elu unistanud saada heaks produtsendiks, aga see eeldab tagaplaanil toimetamist. Popstaar peab olema noor edev inimene, pealegi olen staari pojana näinud kõike asjasse puutuvat – nii paksu kui vedelat.
Plaadi nimilugu “Vision of Estonia” on sooja vastuvõtu pälvinud nii Eestis kui ka mujal maailmas. Räägi, kuidas see lugu sündis ja miks panid loole just sellise nime?
Selle loo kirjutasime Marjuga koos jämmides 25 aastat tagasi Rootsis. Ma ei mäleta, kuidas loo nimi tekkis, aga tunne oli kohe selline, et lool on see nimi. Selline pagulase rännak... Tol ajal teadsime kindlalt, et me ei saa enam kunagi kodumaad külastada.
Ka uue plaadi lood kirjutasid sa enamasti Rootsis. Olid siis 14–16 aastat vana. Kas sa mäletad, kuidas need lood sündisid?
Enamik lugusid on tõesti Rootsis tehtud. Osa neist on lindistatud Nelipühi Kiriku köögikapis asuvas raadiostuudios, panime pillid köögilauale ja läks... Teinekord laenutasime sinna ka neljarealise Portastudio kassetika. Kapis oli algeline pult ja kaks kaherealist stuudiomakki, mis oli kokkumängimiseks hädavajalik. Ühega neist tegime ka kajamasinat.
Paar lugu lindistasime natuke hiljem Toivo Kurmeti (Eesti helilooja ja muusik, kes põgenes Rootsi 1979. aastal – aut.) ja meie ühises stuudios.
Ühe loo põhja tegin Atlantic Starri (Ühendriikide soul-funk-kollektiiv – aut.) stuudios, Marju lisas kodus sellele Portastudioga meloodia ja laulis sellele ühe oma loo. Talle meeldis mulle kägu teha ehk minu träkkidele oma laule peale laulda. Jutt käib “Dream Loverist”, sellest loost on oma kümme versiooni.
Kuidas te Andrew Morganiga PPUst üldse teineteist leidsite?
Andrew oli ostnud internetist minu vana singli ja võttis minuga ühendust. Ta soovis uuesti välja anda kaks vana lugu vinüülil, mis on mulle tume maa. Olen üdini digi-inimene.
Sinu kohta ei ole teada just väga palju. Enamasti seostatakse sind su ema tegemistega, kellega su elukäik ja loometee on ka tihedalt seotud. Mis teid lisaks perekondlikele sidemetele veel seob?
Väga ammu ei seogi midagi peale peresuhte. Mu ema on väga raske inimene nagu ikka suured geeniused. Olen 46aastane ja pool sellest elust oleme koos töötanud, tema ei jaga tehnikat ja nii pidin ka kõigis tema katsetustes osalema. Tekkis lihtsalt väsimus…
Tundub, et sa jagad oma emaga sama saatust – ka tema oli justkui võõras võõraste seas ja tal oli raskusi oma loominguga õigel ajal õiges kohas olla. Kas sind heidutab, et su muusikat pole alati vääriliselt hinnatud?
Mind see ei heiduta, olen teinud muusikat, mida ma armastan.
Tagantjärele mõeldes on ka Marju olnud superedukas ja produktiivne. Ta lihtsalt räägib, et nii ei olnud. Aga ligikaudu kolmkümmend LPd, sajad lindistused, tuhanded kontserdid – kui see ei ole edukus, siis mis see on!?
Räägiks natuke sinu lapsepõlvest ka. Millised õpetajad on meelde jäänud ja mida nad sulle ellu kaasa andsid? Nii loomelaadi kujunemist kui sinu kui inimese arenemist silmas pidades.
Mul oli võimalus Nõukogude Eestis suhelda lapsest saati ühe pereliikmega inglise keeles. Vanatädi Melanie Rauk oli inglise keele professor ja USAs üles kasvanud inimene.
Väga palju õppisin Tõnu Naissoolt. 11aastasena käisin ema töö juures natuke laulmas ja Naiskal oli lausa elektriklaver Rhodes ja süntesaator Minimoog. Ja ta mängis alati enne laulmist oma lahedaid instrumentaale. Õppisin temalt harmooniatunnetust ja nautisin alati tema head huumorimeelt.
Head salvestussaundi õppisin Tõnu Aarelt ja Enn Laidrelt.
Kas sa mäletad milline oli esimene lugu, millesse sa armusid? Milline on sinu suhe selle looga praegu?
Täpset lugu ei mäleta, aga need olid Stevie Wonderi 1970ndate sündiplaadid. Hiljem tulid Herbie Hancock, George Duke ja Quincy Jones. Mind võlusid jazz’i sugemetega lood ja harmoonia, mis teebki muusika huvitavaks.
Stevie lood ajavad ikka veel judinad peale. See on nii ehe saund ja ka lood on tohutult head.
Kuigi NLis oli pelgalt jazz’i mängimine ohtlik ja dissidentliku maiguga, tehti ka Nõukogude ajal Eestis jazz’i. Kuidas sulle Eesti jazz toona meeldis?
Tollal fännasin Lembit Saarsalu Kvartetti ja tema albumit “Avage Viru väravad”. See sarnanes kõige rohkem lääne jazz’iga. Marju kinkis selle plaadi ka Herbie Hancockile ja Herbie sai sellest inspiratsiooni rahvamuusika kasutamiseks.
Kas sa mäletad oma esimest salvestamist? Toona tähendas raadios salvestusaja saamine ju järjekorda ja ootamist ning ilma tutvusteta löögile ei pääsenud.
Ma laulsin lapsepõlves Eesti Raadios ja teles päris mitu laulu sisse, sel ajal ei märganud muud kui tööpinget. Oma ema lindistuste ajal istusin puldi all... Mäletan, et ükskord proovisin equ’ga (seade, mis laseb reguleerida heli võimsust heli sagedusest sõltuvalt – aut.) leida paremat trummimatsu, aga see vist ei õnnestunud.
Mul õnnestus näha, kuidas Tõnu Aare kodus salvestati legendaarsed Apelsini lood raadiomajast laenatud kaherealise reportermakiga. Ometi oli see saund fantastiline, isegi tänapäeval!
Millest sai alguse sinu huvi ja armastus funk-muusika vastu?
Ma tundsin selles ära oma sisemise rütmi. Mul on teooria, et on suur vahe funky muusikal ja funk muusikal, see on nagu music ja muzac. Funk ei ole pelgalt muusika, vaid ka sellele omane huumor.
Kui olulised on sinu jaoks üldse stiililised määratlused?
Väga ei ole. “Santa Monica” plaadil on lugusid new age’ist jazz’ini. Määratlused killustavad ja pigem häirivad. Ma lihtsalt ei orienteeru nendes.
1980. aastal emigreerusid sa emaga aastateks elama Rootsi, misjärel kirjutati Eesti Raadios su ema lindikarpidele “mitte kasutada” ning ta nime ei tohtinud isegi ajakirjas trükkida. Eesti ajakirjandus on teie põgenemisest üsna palju kirjutanud, aga mis sul Rootsis veedetud aastatest kõige paremini meeles on?
Pidevad proovid ja salvestamised, mis kestsid tihti 24 tundi järjest. Töö Marjuga oli väga kurnav, aga neid lugusid pole ka täna häbi kuulata.
Oma bändi poistel oli tunduvalt vähem enesekriitikat ja neid salvestisi on piinlik kuulata. Olime funk-bänd ajal, kui Rootsis ei tunnistatud musta muusikat ja esinemisvõimalusi nappis. Meie bändi nimi oli We Are ja salvestasime ka ühe plaadi jagu materjali. Siis käis isa mul Rootsis külas ning ma kinkisin talle oma stereo ja enamiku linte. Tema võttis salaja kõik lindid kaasa. Aastate pärast leidsin isakodust meie bändi masteri ja tema oli sinna Miles Davise peale lindistanud.
Rootsis töötas su ema, keda sealsed võimud kahtlustasid selles, et ta on KGB agent, Nelipühi Kiriku Hea Sõnumi Raadio stuudios produtsendina. Sina jõudsid lisaks kooli lõpetamisele, ülikooli astumisele ja ajalehepoisi, koristaja ja ametnikuna töötamisele teha samas raadios ka eestikeelseid noortesaateid. Mis muusikat sa toona oma saadetes mängisid?
Tol ajal tehti päris head kristlikku funk’i. Näiteks Brothers Johnson andis tol ajal välja mitu vaimulikku plaati. Ka Andrae Crouch ja Seawind olid vinged.
Los Angelese lähedal Santa Monicas, kuhu te 1988. aastal elama suundusite, kirjutasite ja produtseerisite te Ameerika artistidele laule ning ostsite ka stuudio. Kes teie stuudios lindistamas käisid?
Suht tundmatud laulusepad. Õppisin kogu aeg uut tehnikat, mille areng oli tol ajal tormiline. Sekventserid kolisid karpidest arvutitesse ja peagi tekkis esimene kõvakettasalvesti. Paljud laulukirjutajad tehnikat ei tundnud ja mul õnnestus ennast koos stuudioga päris hästi müüa.
Üks kuulus plaat valmis osaliselt minu magamistoa stuudios. Meil käis seal üks väga tagasihoidlik noormees Gregg Alexander oma lugusid salvestamas. Aastaid hiljem kuulsin neidsamu lugusid New Radicalsi plaadilt. Võib öelda, et ka tema oli oma muusikaga peaaegu kümme aastat ajast ees.
Samas käisime ise salvestamas nii Herbie Hancocki kui ka Atlantic Starri stuudios, mida ma aitasin isegi ehitada ja kus ma sain ka lindistada. Bändi klahvpillimängija Rich Aronson oli meie peretuttav.
Oled korduvalt maininud Herbie Hancocki. Kas oled temaga ise ka kohtunud ja mis mulje ta sulle jättis?
Mina teda kohanud ei ole, Marju on. Herbie helistas kogu aeg stuudiosse nagu “Charlie inglites” ja rääkis meiega läbi valjuka... Tundus väga ladna mees olevat.
Herbie kuulus stuudio asus tema ilusa maja garaažis. Seal oli tohutult klahvpille, osa pille hoiti üldse laos. Herbie ostis peaaegu igast toodetud sündist ühe eksemplari. Tema kaunis sakslasest eksmodellist abikaasa käis meid pidevalt kontrollimas.
Mis sind ligi viie USAs elatud aasta jooksul muusikaliselt enim inspireeris?
Eneselegi ootamatult Vaikne ookean. Näen seda randa tihti unes. Käisin iga päev selle kahinas ja magusas eukalüptiaroomis pikkadel jalutuskäikudel oma pead puhkamas. Läänerannik on müstiline.
Pettusin show-bisnises. Inimesed olid kuulsuse nimel nõus kõigega, vähe oli neid, kes muusikat armastasid või kes tegid midagi fun’i pärast.
Igatsesin ka tagasi Euroopasse. Tahtsime naasta Rootsi, enne seda korra Eestisse külla tulla. Aga tuli putš ja Eestis läks nii põnevaks, et ei raatsinud enam lahkuda.
Miks teil ei õnnestunud USAs ühtegi plaati avaldada? Ühendriikides avaldamiseks mõeldud materjal anti ju pärast teie kodumaale naasmist välja hoopis Venemaal.
Me olime seal täiesti tundmatud – kaks valget venelast, kes tegid musta muusikat. Meile soovitati tungivalt hakata techno’t viljelema, et muutuda artistidena müüdavaks.
Meie salvestised sattusid poolkogemata Venemaale. Tahtsime selle materjali välja anda Eestis Forte leibeli alt, aga plaadivabrik asus Moskvas. Nemad lihtsalt hõivasid projekti ja andsid välja bootleg’i (autori nõusolekuta välja antud plaat – aut.) tiraažiga 200 000. Meile jäid tühjad pihud.
2003. aastal pani plaadifirma Umblu sinu ja su ema lood aastatest 1983–1996 plaadile “Reserva”. Minu arvates on tegu ühe olulisema taasiseseisvunud Eestis ilmunud plaadiga. Te vist lootsite selle plaadi välja anda hoopis Londonis. Miks sellest ideest asja ei saanud?
Plaadi panin ise kokku, Raul Saaremets andis selle välja. Muid plaane ei mäleta. Olin tol ajal “suur” rahvusvaheline ärijuht, reisisin vähemalt kolm päeva nädalas. Mu poeg pidas mind seetõttu mingiks onuks…
Lõpetuseks, räägi mõnest muusikaelamusest, mis sind viimasel ajal on kõnetanud.
Mu ema kohtus Stockholmis George Duke’iga ja ta saatis mulle uue signeeritud albumi, mis on ka väga hea plaat!
Kahjuks tekitas raviga hilja peale jäänud puugihaigus kesknärvisüsteemile korvamatu kahju ja nüüd käib minu igapäevaelu Saaremaal koduseinte vahel, mistõttu kontserte ma külastada ei saa.
Ega sa millegi pärast oma elus kahetsust ei tunne?
Ei.Andrew Morgan: Uku muusika on ajatuPeoples Potential Unlimited on plaadifirma, mis tegeleb minevikuga. Aga see ei tähenda, et lastele plastiliini-animatsiooni õpetava Andrew Morgani eestvedamisel tegutsev leibel oleks kuidagi eilsesse päeva takerdunud, meenutades alalõpmata, mis oli, ja võrreldes seda kõigega, mis toimub praegu.
Küll aga annab PPU välja vanu, peamiselt 80ndate algusest pärit unustatud lugusid, millest enamik pole kunagi ilmunud või on välja antud väga väikeses tiraažis. Nende lugude külgetõmme on aga varjus oldud aastatega kasvanud. Selle kinnituseks on kas või asjaolu, et kirglikud kollektsionäärid on valmis nende plaatide originaalpresside eest välja käima terve varanduse.
Andrew annab neile lugudele uue elu, nende autoritele võimaluse oma looming lõpuks avaldada ja muusikasõpradele need soodsa hinna eest oma plaadiriiulile hankida.
Uku pole Andrew’ga kunagi silmast silma kohtunud, kuid sellele vaatamata peab teda oma sõbraks. Nagu ka teised PPU artistid ja muusikasõbrad üle kogu maailma.
Kuidas sa Uku avastasid?
Ma leidsin tema esimese vinüüli “I Don’t Have to Cry Anymore” koopia, mille Uku andis välja leibeli Polar Star alt. Ma ei mäleta enam täpselt, millal ma selle plaadi sain, aga see oli mitu aastat tagasi. Kui ma alustasin oma plaadifirmaga, siis ma teadsin, et see on üks neist ainulaadsetest plaatidest ja ma pean temani jõudma. Siis ma võtsingi Ukuga ühendust, et temalt selle vinüüli kohta rohkem küsida.
Kuidas sa temaga ühendust said?
Myspace’i kaudu.
Milline oli Uku esimene reaktsioon, kui sa tegid talle ettepaneku tema muusikat välja anda?
Me rääkisime sellest pikalt ja olime mõlemad väga elevil. Ta saatis mulle hästi palju oma vanu lugusid. Meil on plaan välja anda ka plaat, kus on peal Uku ja tema ema Marju tehtud lood. Kindlat kuupäeva veel pole, me lõpetame esmalt mõned teised projektid.
Mis sind tema muusika juures võlub?
Uku muusika on endiselt hea ja ta teeb jätkuvalt muusikat, mis kõlab uskumatult ainulaadselt. Tema muusikale on raske ajalist silti panna, see on ajatu.
PPU kodulehel on mitmeid lõbusaid lugusid artistide kohta, kelle muusikat te olete välja andnud. Kas sul on Ukust ka mõni huvitav lugu?
Ma ei teadnud, et Marju on Uku ema. Ma saatsin Ukule kirja ja küsisin, kas Marju on tema naine. Ta vastas: “EI, Marju on mu EMA”. See oli minu viga, aga väga naljakas!!!DiskograafiaAlbumid:
■“Santa Monica” CD (Bigtree 2006)
■“Visions of Estonia” LP (PPU, 2012)
Singlid:
■“I Dont’t Have To Cry” 7” (Polar Star, 1985)
■“Vision of Estonia” 7” (PPU, 2010)
Koostöö:
■Marju Kuut & Uku Kuut “Zuke” LP (Russian Disc, 1992)
■Marju Kuut “Marju Kuut” kassett (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)
Ilmus Eesti Ekspressis 12. aprillil 2012 / in english
