Words by David C. Obenour
Our surroundings make an imprint on us. Both the surroundings that we are born into, the setting of chance, and the surroundings we later find ourselves in, the setting of choice. For Brazilian born and New York City based vocalist and composer, Jamile both settings play a role on Pursuit of a Pulse. Language is the obvious starting point for the listener, with Jamile singing both in English and Brazilian Portuguese, but deeper roots can be found through the traditional rhythms of southern Brazil and the inspiration of Manhattan clubs filled each night with some of the world’s most talented musicians.
Off Shelf: Cover art can be such a crucial component to an album and I was really struck by Pursuit of a Pulse. Can you talk about what inspired the photograph, wardrobe, font and design? How does it strike you?
Jamile: Just like my personality, my wardrobe is very colorful, so when I got together with my dear friend and very talented photographer, Vinicius Carvalho we worked with a few different options. I can’t remember if I had already chosen the title of the album but I did have the theme very clear in my head, so that’s what mainly guided the photoshoot. I remember knowing right away that this picture was the one… no specific thoughts came to mind; it was mostly this feeling I can’t quite explain. Maybe the patterns and colors of the dress felt familiar, maybe it’s my expression, I’m not quite sure – it just made sense.
After I chose the picture, I knew I wanted the text colors to match the main colors of the dress, so it felt harmonious. I was also leaning towards a more bold font style. Perry Chua, the designer, captured my vision right away and did a wonderful job.
OS: Tell me about your band on Pursuit of a Pulse. What is your history and what makes them right for this album?
J: I have a very special relationship with Steve Wilson and Miki Yamanaka, two people I admire deeply.
Steve has been a mentor and friend for years and he has played on my two previous albums. Having Steve record with me has become a tradition and this time having him play one of my original tunes was a true honor. He’s an exceptional musician and human being who elevates anything he’s involved in.
Miki Yamanaka and I have been playing together for years at this point. From the first time we played, I knew there was something special there. Our synergy started growing the more we played – especially at my Mezzrow gigs – where I would bring new music each time. Aside from playing everything amazingly, Miki would also be very supportive and encouraging, even when I felt overwhelmed by my own choices. Given that I have this close relationship, adding her trio to the mix felt only natural since they are very tight as a band, and I had worked with them in the past as well.
OS: How do you consider the musicality of language? What one handles better or differently than the other?
J: Different languages offer different possibilities: some are more nasal, some are more guttural, some are more melodic, some are more rhythmic – all of these elements can contribute to the overall musical development. Since I always approach everything I do musically through the lens of rhythm, it’s no different when I’m singing in multiple languages. I feel like I’m equally comfortable with both Portuguese and English, so it’s always really exciting to get to explore the nuances and intricacies of each of them.
OS: How set or composed do you approach your vocal delivery for the songs? When you revisit them in front of an audience or otherwise, what is the balance of replication as opposed to improvisation?
J: It depends on the song. Some songs I tend to sing closer to how they were written, while others I do add a lot of improvisation – sometimes in a more rhythmic aspect, sometimes melodic, sometimes both.
A lot of my improvisation happens over the lyrics, that’s a practice that I’ve fallen in love with and has helped me develop so many aspects of my musicality – I basically approach it as if it were a scat solo but with the lyrics of the song.
It also depends on how inspired I’m feeling that day, how free I’m feeling, on what level I’m connecting with the rest of the band, how adventurous I want to be – among other things.
OS: Born and raised in Brazil, can you talk about some of the regional influences in your music that might be lost to listeners without that knowledge?
J: I wasn’t very concerned with anything sounding “authentic” when it comes to Brazilian music for this particular album. I wanted us – as a group – to have our own sound through conversation, collaboration, listening, and interplay under the umbrella of these different styles and influences. In general, I always want to hear the different personalities in the band, I want to be surprised by any fresh ideas each person might bring – I might be the “bandleader”, but most of all I want us to be a team within whatever context we find ourselves in.
OS: Thinking of your album title, I wanted to ask about the connection of percussion for latin informed jazz. What do you hear in these rhythms and drives? How do you see them as unique and exciting? How can they also be contemporary and modern?
J: I wasn’t overly specific towards grooves or fidelity to styles. I mostly described to Jimmy Macbride [drummer] in general terms what I was envisioning for each song and the universes those visions drew from. I was more interested in hearing how he would play them. What would be his personal interpretation from all of that and how his ideas would interact with mine. It worked not only because we already knew each other’s playing but also because his skill level and sensitivity are extremely high.
Oftentimes I can be overly specific and picky with certain things, but it is equally important to me that the musicians I’m playing with have the freedom to inject their experiences into the music. There’s a reason why I play with specific people; it’s not only because they’re highly skilled, it’s also because their creativity and collaborative spirits can elevate the music to unimaginable heights. My main focus is always to make music with the band, not just be accompanied by them. I think this is how these rhythms can be contemporary and modern. Because each of us has a whole unique set of influences and – if we allow ourselves to play these rhythms the way we hear them, or add different expressions to these already established languages – it can be very refreshing!
Another very important aspect of the way I make music is the fact that I’ve spent years singing very difficult, fast, and rhythmic songs without drums. I have no doubt it played a part in developing the percussive approach to my singing. I realized recently that ternary rhythms are very natural to me, which is definitely reflected in my phrasing and my writing. The majority of the songs I write are in 3 or have a triplety feel to them. It most likely comes from the rhythms I was exposed to as a child. In the south of Brazil, where I’m from, there are a lot of ternary rhythms that are very mainstream, such as chamamé, valsa, and rancheira. I never really performed the traditional music from my state that much but just by being exposed to it its influence became undeniable. It’s amazing how much we can internalize on a subconscious level.
OS: Now based in New York, as you further your development as an individual artist informed by so much beyond upbringing and geography, how do you think that has furthered the evolution of your sound?
J: A student asked me the other day if I thought moving to a big music scene made a huge difference, and my answer was: I would be nothing without New York. New York City attracts the most talented and ambitious people from all over the world, and being exposed to such excellence and drive inspires me to pursue my full potential every single day. I am constantly in awe of all the amazing musicians I get to hear and collaborate with in this great city. Much of my musicality and awareness blossomed over here and I was also able to deepen my connection to Brazilian music by being surrounded by all these different cultures and experiences.
OS: Comprised of original compositions and those of others, how did you go about conceptualizing the songs for Pursuit of a Pulse? Were there anchor songs that set a direction? How did the others join and build the album?
J: An important thing to know about me is that I have an obsessive need to learn new songs – new to me, at least – and to fall in love with them. Learning new songs makes me feel like I have a purpose – but it’s not just any songs! They are songs that I deeply connect with, they leave me speechless, they make me want to put them on repeat during my train commutes. I’m usually drawn to more complex and dissonant sounds, so whenever I find them, it’s like I’m being reborn and my whole life revolves around that music. I focus on every single detail and start envisioning how I can adapt those newly found sounds to my band. That’s how each of these tracks happened for me.
Some of them have been with me since my Brazil days, like Céu de Brasília, Jogral, and Vale o Escrito, while others came later, such as Come Running to Me and Timeless Portraits and Dreams. Some I literally learned a few weeks prior to the recording, like Bodas de Prata and Quatro Cantos, for example. It is impossible to describe the impact these two songs in particular had on me when I first heard them – I immediately knew they needed to be included in the album, even though I had just a few weeks left before the recording date.
With that being said, I usually make it a goal to add new songs to my set list each time I play with my band. Again, most notably at Mezzrow – which I’ve been doing for quite a while now, so I built a whole new repertoire comprised of these really obscure songs that not many people have thought of singing or even heard of. Building that repertoire, nonadjacent to the Brazilian and jazz standards, and developing a sound with Miki while having her support and enthusiasm each time I brought a new song, injected a new kind of drive into my spirit. I was connecting with those songs a lot as I went in this more modern jazz direction!
I also started to realize I was singing a lot of music from people who are still alive. We should be celebrating the living too, giving them their flowers while they’re still with us! So this became the direction of the album with Come Running to Me and Moon being the primary inspirations for what the vibe should be. This theme and these amazing composers also inspired me to write the two originals I included in the album Come With Me to the River and Another Day in the Mind.
OS: Featuring two Herbie Hancock songs, what about his approach resonates with you? Do you believe your performances here extenuate or differentiate from that?
J: Herbie Hancock is so special and so inspiring to me, and his impact and contribution are immeasurable. I’m deeply grateful for everything that he’s taught us all throughout his journey. I think what resonates with me the most about his approach is the way he plays and writes; it’s so utterly himself… even when he’s navigating different genres and styles, his identity remains clear.
I’ve always been told I have to choose one thing if I want to be successful – and the hint has always leaned towards the standard Brazilian repertoire. But I’ve realized over the years that what I really need to be successful – and to me, what being successful really means is to be at peace with my choices and to enjoy the music I’m singing – is to be myself. That means incorporating the several styles and genres I resonate with; it means saying the things I feel like saying, not what others think I should say; it means looking for impactful sounds and striving to connect with others in a meaningful way through music; it means owning my plurality unapologetically.
Watching and hearing Herbie throughout his journey has taught me that I should be a human being, not just someone who should fit in a certain label. That great things come from being authentic. Herbie is a gift to us all.