but more promiscuous runaway relative of Bossa.
Think “sunny”.
Who are some of the musical artists that have
inspired you?
All the bossa legends inspired my Solar and Surf Jazz
style I suppose. The great Antonio Carlos Jobim, sure,
but more relevant would have to be Roberto
Menescal’s more beachy bossa, and Donato/Enio’s
happier sunny melodies. Outside of Brazil would be
Michael Franks who’s produced a lot of this kind of
music from the 70s to current day, and even Sinatra
and Bobby Darin, and the writers Cole Porter and the
Gershwins from the Songbook clan. Somewhere along
the line, jazz, bossa, and surf all got mixed into my pot
I suppose.
It’s funny, but a lot of music pumped out these days is
r eally limiting itself to either an age group or a specific
culture. I suppose I like to write about the things that
all humans can relate to. Sex, love, hurt and the
protection of our world and our cohabitants, whether
they be whales or the monkeys. But musically, I think
the sound may gel with diverse cultures because it’s
not pop, it’s not classic, or metal, but something
different – and difference, real difference, seems to
stand out these days, whether that’s an intended
difference or just happens. Some have said my music
is just feel-good music, others even say it’s elevator
music, but that’s the beauty of listening to feedback
and what the fans think – they all see it differently! It
relates to their own experiences and whatever makes
them feel good, and that’s more than fine by me.
How do you communicate with your fans?
I communicate a lot with my fans on Twitter, all the
time. I’m really big on communication – I love
communicating with them because it’s good to find out
who they are, and I know exactly what they look like,
where they’re from, what they do and it’s great to
know that. I have an idea of who I’m speaking to and
who I’m writing to.
Have you found any differences in the way that
audiences in these countries respond to your
music?
That’s a hard one. In generalizing (and I have to here),
while Japanese tend to like anything sunshine, neon,
and happy, the Turks are really into the meaning of the
lyrics and the stories which come from them. Brazil,
I’ve heard, feel that it’s an extension of bossa and
reminds them of their own lush surroundings.
Netherlands and Germany (who love their jazz) tend to
like its new surf jazz element that they don’t find in
their traditional jazz shows.
In the lead-up to Anzac Day this year you will be
releasing a special Gallipoli single. Why did you
decide to write this song?
You have a wide following internationally, with
fans in countries including Japan, Brazil, Turkey,
the USA and Germany. What do you think it is that
makes your music appealing to people from such a
diverse range of cultures?
Turkish artist ChanCé and I decided to write a song
that was a significant commemorative work for both
Turkey and Australia – in relating to the landing in
Gallipoli, Canakkele in 1915 – and bring together
Turkey and Australia in saluting the Anzacs to mark
the 100th commemoration year. We wrote it in English
and Turkish, and ensured the musical arrangement
would also reflect the way both Australia and Turkey
commemorate their heroes: Australia’s more humble