3. 《 interview 》 Shai Maestro 2/2

Shai just finished writing the orchestral project last summer. He is putting a lot of effort into it as it is literally the first step towards becoming a maestro, and as a fan, we were curious to know how the project goes and what his plans are for the future.

Still growing

--What about the orchestra project? How is it going?

I feel that I'm currently developing the orchestral music I created.
When kindergarten children draw smiley faces with crayons, their parents clap their hands in joy. But after a while, you won't be impressed unless you draw something more like a face. When I first heard the orchestra that I had composed, I thought it was really cool. But the next time I heard it, I realized it wasn't good at all, so I made some changes. To me, the orchestra is still at the smiling stage.

There are dozens of artists in an orchestra, so it's quite difficult to bring the performance to the level where you could say it's good. Everything has to be balanced, including technique, harmony and orchestration. Also, since the orchestra is seated in several rows, you have to think about how the sound will actually be heard. I think we need four or five more gigs before recording.

--How did you start the orchestra project in the first place?

I was offered the opportunity to compose an orchestra and perform Debussy, and I accepted both. I immediately realized that Debussy was wrong decision. For me music is improvisational, but in classical music you can't make a single mistake. I was really nervous about the actual performance. It was painful because I had to practice the same parts over and over again. The neighbor of my apartment, who usually don't say anything, complained and asked me “Stop” (lol)

In Japan, you can perform at your best at any venue.

--Did you study orchestral composition somewhere?

There's music composition software. Think of a melody and combine the sounds of the violin, viola, flute, etc. as you like. When I can't think of anything, I hit the keyboard and try things out little by little.

I have a student who can transcribe sheet music, and in the end, he finished it in professional way. I added necessary elements such as crescendos, and adjusted the page break so that the players of wind section don’t have to turn the page in the middle of their playing. The orchestra is full of new and interesting things.

-Speaking of orchestras, in 2019, you performed Miho Hasama's music with the Tokyo Philharmonic Orchestra at the Tokyo Metropolitan Theater. How was that experience?

It was awesome. The sheet that Miho gave me had very detailed information, and there were parts of improvisation in the middle. A classical pianist would be in trouble if there was a part of improvisation, but I welcomed it. At that time, there were about 2,000 people in the large hall, and I was a little nervous at first because I was wearing an unfamiliar suit.
However, in Japan, we can perform at our best at any venue.

--What's different in Japan?

The audience is always very quiet. There is a respect for musician. Therefore, we can slowly build up the stage at our own pace. Actually, I'm currently composing a new piece for the Tokyo Philharmonic. I won't be performing this time, but Miho will be the conductor, so I'm really looking forward to it.

Environment influences composition

-- By the way, is there a certain environment when you compose music? Does the environment really influence your composition?

Of course it affects me. Once I was invited to a castle in France for a week and was told I could compose whatever I want. You can see the cows in the distance, the sheep are screaming, the mountains are beautiful, the nature is wonderful, there is good wine and cheese. It was like heaven. I spent a lot of time there relaxing and composing, but the songs I wrote there were completely useless (lol).

You need a life, and you need stress. Nothing good can happen in a place where there is no distressed and is far removed from reality. Great things happen when you're stuck in traffic and you get a phone call from your mam.

The best songs I've ever written were all done when the piano didn't sound very good. As I struggle to produce the sounds and songs that I want to express, powerful things naturally come out. If you play a beautiful piano, you'll already hear a beautiful melody, so it won't have any depth.

-If you feel like you're living under a certain amount of stress, then wouldn't Israel be a good place?

Oh yes, There's the Palestine issue, there's demonstrations like today, and I'm stressed out, and then when I go to Beit Ha'Amdim (Jazz club in Tel Aviv), I see my friends playing at a high level and I get inspired. The jazz community here is really great and I’m very happy.

Covid-19 brought Shai back to Tel Aviv

Shai moved from New York to Tel Aviv at the beginning of the coronavirus pandemic. We're happy that Shai is in Tel Aviv, but I think he would like to return to New York for his career.

--Do you think you would have returned to Tel Aviv even without COVID? Do you want to go back to NY?

Even before COVID-19, I started spending more and more time in Tel Aviv, and naturally I moved my base. By spending 10 years in New York, I was able to play where I wanted to play and with whom I wanted to play. I feel a sense of accomplishment.
It would be fun if I went to New York again, but for now I want to stay at home, raise my children (with a puppy sleeping next to me), and cherish my personal life. I want to be close to my parents, and I want to cherish the sacrifices I've made for my career.
Maybe something that was once worth sacrificing is no longer so. In order to make a better album, I want to live a more fulfilling life. New York is no longer part of my life, and I no longer need it. When I was young, I was able to perform until 4 a.m. and wake up around noon, but I can't do that anymore.

I didn't want to be a musician, I wanted to play music.

-I would like you to tell me a little more about your parents.

My mother was born in Seattle and moved to Israel with her family when she was 8 years old. My father was born in Israel. Maestro is his father's last name, and his ancestors were in Spain. The expulsion of the Jews in 1492 took them from Spain to Portugal and then to Sarajevo.
My paternal grandmother is from Romania. She lived in Bulgaria, and then moved to Israel. My maternal grandmother also immigrated from Romania, and her grandfather was born in Israel.
There are surprisingly many Maestro family members in Israel, but I have yet to meet anyone with the surname Maestro in Sarajevo or anywhere else in Europe. A few years ago, while on tour, I came across a cafe called "Chai Maestro" in Bordeaux, France, and I asked the owner if they were related, but unfortunately he wasn't, although I laughed at the name of the restaurant.
-Isn't Maestro part of the music family?

-Isn't Maestro part of the music family?

My mother played a little classical piano, and my father played the saxophone and guitar, but we weren't really a musical family.

-When did you realize that you wanted to become a musician in that environment?

In my case, it is more accurate to say that I wanted to play music rather than I wanted to be a musician. That was clearly different from other people. I just wanted to play music. I enjoy playing instruments, and although I once played the saxophone and drums a little, I started out playing the piano.

Israeli artists feel close to jazz

Shai has built up a career as a musician and has grown into a pianist representing the Israeli jazz scene. How does see the future of the Israeli jazz scene and his own future career?

-I think you've been traveling around the world since you were 19 and listening to all kinds of music, but what do you think are the characteristics of Israeli music, if any?

Above all, their musical backgrounds are diverse. Arabic music, traditional music from Morocco, Yemen, Egypt, etc.,are everywhere. Hafra, which is often played at weddings, is embedded in the cultural system. At the same time, the radio plays music from great contemporary artists such as Matti Caspi and Yoni Rechter (both leading Israeli musicians)

There are educational systems such as Thelma Yallin High School of the Arts and the Israel Conservatory of Music (Tel Aviv), Beit Haamudim where you can listen to live music every night. And the masters of Israeli jazz such as bassists Abishai Cohen and Omer Avital are also nearby. All these things are gathered in this small space.

Add to this the chutzpah spirit of being fearless and breaking the rules is also a key factor. I feel free to say things that would be unacceptable in other places. For instance it would be accepted here even if someone say "it would be better not to play my own part".

Jazz is music that pursues new things. Although Israel is a country in the Middle East, I think it fits perfectly with the spirit of American-born jazz.

-We trust that jazz in Israel will continue to be interesting as long as young artists are emerging. Are you doing anything to foster the next generation?

Of course, I teach in private lessons, and I also teach online at New School in New York. Education is important, and there are a lot of great young people out there.

In Israel, there are certainly a lot of kids who play great. There is no doubt that Israel has a high standard. However, I would like them to resist instant cratification (instant creations) on Instagram and the internet as much as possible.

When you get 'like' for a song you posted, you tend to feel like you've achieved your goal. But the process of going on stage and creating music while getting reactions from the audience is a completely different process. If I were their teacher, I would tell them that they shouldn't worry about marketing, like or other people's reactions to the song. What important is to make good music. As long as they make good music, there's nothing to worry about.

An artist and a person

-Please tell us your vision for the future, both as a musician and as a person.

Last week's live show was totally bad, and I felt depressed after I went home. I felt depressed because my family and friends were coming to perform on stage in Israel, and I was more enthusiastic than usual.
In the past, if my performance was completely bad, I would feel depressed, thinking that I was the worst pianist in the world. On contrary, when I had a great performance, I would feel like I was the king of the world. However, it doesn't suddenly get better or worse, so both are extremes. I can make all kinds of excuses, like the venue wasn't great or the audience reaction wasn't great, but I've learned to accept both of them as myself without saying those things, and I'm positive about that.
There are three pillar projects for my future career. An orchestra, a duo with a singer, and my own quartet. The duo is also an interesting project, and the quartet will be performing in Tel Aviv soon, so be sure to come (Gray Club on May 24th). The orchestra is growing its smiley face. There will also be a composition for the Tokyo Philharmonic, so I'm looking forward to it.
(Tel Aviv, 2023.1.14)

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