Q&A: José
James
Q: What’s most salient about your music is that it
doesn’t fit neatly in any one category. Is that a conscious effort on your part
or does it happen organically?
A: I don’t set out to not fit in, but the way I
listen to music is I jump from a lot of different genres. It’s a natural
outgrowth of how I experience music. I’ve never been a pure hip-hop or rock or
jazz dude. I think it’s interesting in the time we’re in now where there’s a
trend of people bringing in disparate styles—like James Blake bringing in
European church or folk music into electronica. I think it’s a natural thing
that’s happening in music in general.
Q: How were you exposed to all these different
genres?
A: Just being a fan, growing up in the ‘90s.
Pre-Internet, I remember being really excited about videos on MTV, being
excited when Nirvana or A Tribe Called Quest came out with a new album, or when
“Ill Communication” by the Beastie Boys came out. It seems quaint now, but it
really stoked my imagination and enthusiasm to be an artist. It was a different
time and there was a lot more freedom. People just liked great bands.
Q: How did the Twin Cities specifically influence how
your sound developed?
A: When I lived there, there were really only two
stars on my radar: Michael Jackson and Prince. “Purple Rain” was my first vinyl
LP. I felt really proud of Prince; not just musically, but to have somebody put
us on the map in that way, internationally. It was exciting to be part of that
scene and watch it unfold as a kid. I was too young to know about the great
rock bands, but I remember The Jets and bands like that. It’s always been a
great music town, and it had a great connection to Chicago ,
too, which is how I got into the jazz. A lot of Chicago
musicians live in Minneapolis .
Q: Since then, your career has taken you all over the
world. What other kinds of music scenes have you experienced?
A: New York
is the most internationally sophisticated music city I know, because most of
the musicians are from other countries or cities. All of the best players go to
New York . I’ve been able to keep
my bands fresh; there’s always somebody showing up and playing who’s amazing
and has a different take on music. Right now, my bass player is from Kansas
City , my drummer is from London ,
my guitarist is from Memphis , and
my keys player is from L.A. , but we
all met in New York . That gives
it an edge. In terms of production, L.A.
and London are way ahead of any of
the other cities I’ve been in. I lived in London
for a year, and new genres and sub-genres were being invented by the week.
Q: The titles of some of your songs, like “Bodhisattva,”
“4 Noble Truths,” and “Salaam” suggest you were inspired by spirituality on
your new album?
A: I went to Jakarta
and played the Java Jazz Festival. I stayed in the hotel that’s modeled after
the Borobudur Temple
Q: You said the songs just came to you. Do you ever
have to work at it?
A: When I try to write something, it’s horrible. When
I’m inspired, it’s great. I try to focus on the more boring, fundamental
things, like warming up my voice and playing guitar, and when an idea comes,
I’m in good shape to do it. I’m not one of those writers who’s like, “I have
to write a song today.” I wait until I have a really good idea, then I obsess
over it until it’s done. It could be 10 minutes, it could be a year.
Q: How do you balance the commercial side of the
music industry with your artistic needs? Are there conflicts?
A: I’m realistic. I don’t say, “This is going straight
to radio.” There’s definitely a format, especially in U.S.
radio, and it’s a game you have to play. I made a decision a long time ago to
be an album artist and to put more of my focus in my live show. The quality
grows. My band has gotten better every year since I’ve been out since 2007. My
writing and production have also. It’s quality over everything else. I don’t
want to chase a hit. If something clicks with people, I know it’s because it
means something to them, not because somebody told them to listen to it 20
million times a day.
