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Devendra, you spent much of your childhood in
Venezuela -- what's the cultural relationship between
that country and Brazil ?
Banhart: It's two incredibly different things. In Venezuela
we think of Brazil as another world
Gil: But at the same time, I think all the South American countries relating to the Caribbean area,
they've been very influential on Brazilian music. The different styles -- the cumbia, the mambos, the
rumbas, the cha-cha-cha -- all those passed from the Caribbean islands and ſon to] Venezuela and
Ecuador, and even Peru and Colombia. It's in our musical DNA.
Devendra, you've recorded many songs in Spanish -- do you draw from a wide range of
Latin styles?
Banhart: Yeah, it's like, OK, the United States has Bob Dylan. But when you go to Brazil, OK,
there's Gilberto Gil and there's Caetano Veloso; these are the Bob Dylans, right? And then you go
to Argentina and let's say it's Atahualpa Yupanqui. You go to Chile, its Victor Jara or Violeta Parra.
Each one of them is filtering their culture through themselves, but they're still individuals, so
that's how you see a light amongst lights. I think the influence is that
And also it's great being alive at a time when -- and Gilberto's one of the first people that got into
the idea -- of using the Internet as a tool for sharing music.
Gil: I'm not the first one, but in Brazil we've been struggling for more openness with the whole
digital culture, so it's open to as many people as it can have. In a sense we need to politicize the
whole question about the new technologies so that society can really participate and have an
opinion and have a role in the policy-making processes. I'm seen as kind of a pioneer in Brazil, but
I'm contemporary with so many people in the States and Europe and Africa and everywhere.
Banhart: Why I brought this up is because it's exactly what Gil said. It's about participation
Therefore it takes less laziness, it takes searching, it takes some effort on your part to find music,
but it's such a slight effort and you have the world at your fingertips. It's taking advantage of being
alive right now by not limiting yourself to one style of music.
Gilberto, you were exiled by the military government and lived
What impact did that have on your music?
London for a few years.
Gil: A very strong one. London was a very big scene then. I was there from 69 to 72. I arrived in
London the day the Rolling Stones gave the concert at Hyde Park, and I was able to mingle with
different people from the Moody Blues and from Pink Floyd. Terry Reid, an American musician that
was living there, he became a very close friend. The Incredible String Band members used to
come to our place three days a week and play and talk and discuss.
Did you know that Mike Heron from the Incredible String Band is also on the Hollywood
Bowl show? He's playing with the opening band, the Album Leaf.
Gil: No. Fantastic. Brazil and States and England. Good
Banhart: I've got to say, though, could we please mention how amazing Gilberto's record that he
made in London is?
Gil: It's just me and bass and drums, very simple. It was full of enthusiasm and life. I was
struggling to keep myself collected, being expelled and everything. So I was trying to digest
everything that I could digest. So the album sounds like that. That freshness, that eagerness for
life
Banhart: But let me ask, Gilberto, are you going to be playing mostly new stuff from the new
record, or some old stuff, or a mix?
Gil: Some old stuff too, and some versions that I do of different songs, like George Harrison's
"Something," with a soft reggae beat. I'm going to play "Girl From Ipanema," also with a soft reggae
beat. And then seven songs from the new album and hits from the past.
Devendra, what kind of show are you going to do?
Banhart: Well, we're going to do what we always do, which is not practice till a couple of hours
before, write the set list as we go along. We're very lazy and we really don't know what we're
doing, and so we're not going to change that for the Hollywood Bowl
richard.cromelin @latimes.com
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