Jason Lee Bruns: "I realize how much I took for granted as an American and how much there is still to learn."
Jason Lee Bruns is more than an expert percussionist and teacher living in L.A. He is a world traveler who has sought after authentic musical experiences straight from the source, Cuba’s forbidden heartland, Brazil’s slum- and crime-ravaged favelas, Trinidad and Tobago's humble but rich culture. In doing so, he’s gotten robbed and risked his life with both locals and their corrupt policia. But he’s also found the kind of organic, native world music we Americans could only dream about, better than a Broadway production or the Grammys.
Despite rampant, abject poverty and lawlessness in these forgotten, afflicted countries, Bruns has learned firsthand that the arts, specifically music, can provide indigenous pride and happiness, and cost nothing. “Through the music, the people's communication and expression is not limited by money, because money cannot buy talent,” Bruns said. “For many of the poor, this is the only thing they have that can’t be taken away from them because it is inside of them and a part of their community.”
These experiences – the darkly harrowing and the breathtakingly glorious – have informed and improved Bruns’ own abilities and deepened his commitment to do more than just be an appreciative tourist. He has used every opportunity, through his teachings at North Hollywood’s Campbell Hall school and his gigs, to introduce the Cuban, Caribbean and Brazilian music he’s appreciated so much throughout his travels. And in his gigs, he’s made sure to include as many of the musicians he’s met overseas. So we never forget where it all truly started.
You specialize in Brazilian and Cuban percussion, (plus, steel drums from Trinidad). What initially drew you to the music of these countries?
It was in college that I first really got into this music during my undergraduate studies at Miami, through recordings I was introduced to from professors and classmates, specifically the Afro-Cuban All Stars and Poncho Sanchez. Brazilian Music came later during graduate school at the University of Southern California, not through any teachers, but a classmate who had been to Brazil and had many Brazilian friends.
I noticed right away that you love to study abroad, where the music’s happening—often in treacherous terrain (Brazil’s favelas, for example). Most musicians are content to study and gig at home in the States and leave the traveling to TV. What drives you to brave the elements, the corruption and crime, to go into the heart of darkness for that glimmer of light, to find really good, really authentic music?
I wanted to study the folkloric styles of music in their native countries from the native masters, because I felt that I had already learned most of what I could from the local scene in L.A. and at college, and, if I, too, wanted to become a real master, that I would have to go to the source of the music, to hear it in the context of its culture (the people, food, weather, language, economy, etc....). Rio de Janeiro, Brazil was the scariest place, because of the favela (gang neighborhoods and corrupt police).
Was there any one particular time where you thought you’d never make it out?
When I was walking along the beach to my hostel after a late hang-out with a musician friend in Copacabana, two police stopped me and asked me if I had drugs (which I didn't) and they searched my things, looked around to see if anyone was watching, then tried to get me into their police car – I was pretty scared, as I had heard there are some corrupt police there. I took a risk and told them they can meet me at my hostel up the street (I was almost there thankfully) and that we would continue the conversation (in broken English) there if they'd like. They talked amongst themselves (in Portuguese) for a moment and it seemed like the one cop told the other that whatever they were plotting wasn't worth it and they let me go – thank God!
Your experiences in Brazil were particularly fascinating, especially the time you met with Maestre Gilson and his Daruê Malungo group – made up of young kids from a nearby slum. You had to go into an area known for rampant crime and violence in order to enjoy quite a show. What was it like to see such stunning performances given such poor conditions?
This was in Northern Brazil in the suburb of the city Recife called Olinda. The children performers were magnificent and took much pride in their show. I felt like they were really bringing it, because a white man (me) was there. So much talent, this group could out-dance a Broadway show – really! After the show, their leader Maestre Noite told the children that they may be poor, but that their music has traveled the world and that me being there was a sign of this. I noticed one of the drummers had a broken drum head, so I gave them $20 (which is like $100 to them) to get it fixed. I wish I had more money to give them at the time. As their leader spoke to them about my symbolic presence, some of the children were crying. This performance space was like a place of healing to them, a real community that offered hope.
It must've been frustrating for you to witness all this fantastic musicianship thriving in Brazil and Cuba, in and around the slums and the rampant corruption, despite the slums, corruption and crime, and have it go unnoticed and unrewarded in the rest of the free world. What are you personally and professionally doing to broaden the focus on these amazing artists that you encounter in your travels?
All of the artists I encounter I share (brag) about to my students and colleagues, a few of them I have pending partnerships with on my independent record label (Panout Music Group). Roberto Fonseca and his band in Cuba would be a huge success in the USA, as big or even bigger than some of the famous jazz groups of today. They get to tour Europe, but not here because of the trade embargo with Cuba – check them out on iTunes. In Brazil, there is this pop artist named Paulo Otávio, he has a new album called "Super Soul" and it is like Jamiroquai but better. Anytime I have the opportunity, I hire these musicians. For example, in 2008, I commissioned an original composition from the Brazilian composer Thiago Marcondes to write a samba for the school I teach at, Campbell Hall. You can hear a recording of it, "Hello My Friend," with the student performers here: Brazilian Percussion Ensemble.
What did you take away from your overseas experience that maybe helped you develop a different perspective performing and teaching back in the States?
I now have this experience to share with my students which helps them (and me) to not take our first-world "Western" privileges for granted, and that quality music doesn't have to come from an academically trained setting like it so often is here (i.e. classical music).
Is there a country you haven’t been to, but would like very much to visit? Why?
Puerto Rico and West Africa are at the top of my list, because I teach and play music from both of those places but have not yet been there. Puerto Rico has the Plena and Bomba styles that are unique to their culture and West Africa of course is where it all started!
You and your band play Cuban-jazz Tuesday nights at the Standard Hotel in downtown L.A. How’s that been?
The Cuban-Jazz Trio has been great in May. It was fun for me to get to incorporate the rhythms of all of the Cuban percussion instruments into the drumset. The band is great too. We did cha cha, Son, Montuno, Descarga, Bolero, mambos and more fusion type grooves. I am doing a similar thing with the Brazilian rhythms this month in June with a new group I put together called the "Sounds of Brazil." It's always a good feeling when you finish a gig as an American musician (aka "gringo") and your native Brazilian band mates tell you they were impressed with your playing and feel!
How would you characterize your playing and your music?
A lot of people tell me after a show or on a set break that they can't believe it's just one drummer playing, that I actually sounded like three. This is because one of the things I have been working on for a while now is to replicate the layered rhythms that are so characteristic of the African derivative styles from Cuba and Brazil, which I studied to be originally performed by three to four drummers. This takes a lot of coordination and tons of patience in the practice room to work it all out, and then to make it sound effortless on the gig is another triumph.
What do you try to do in the music whenever you play? What would have to take place in order for it to be considered your best effort?
For me to not try to force the music or ideas out of myself or the rest of the band, to not feel like I have to impress anyone, to let it happen and to stay completely physically, mentally and spiritually relaxed. This is when I sound the best and can offer the best accompaniment to the band and connection to the listener. It's comparable to meditation, some people call it, "The Zone." I have had major breakthroughs in the area since I have finished grad school, which was highly competitive and you're always trying to please the professors – a terrible formula for playing great, but a necessary right of passage too, I guess?
What drives you as a musician? What really captures your attention and gets you going, creatively, emotionally?
I am mostly driven by playing with other equally or better musicians, I love learning new things and sharing my talent with other musicians. It doesn't matter to me how many people are listening as long as the band is good. Working with a great bassist is always inspiring. Any time someone hires me or wants to jam, my first question is always, "Who's playing bass?"
What are your best qualities as a musician, and what, in your honest opinion, tends to be your worst?
I can play many instruments and styles very well, my rudiments and coordination are a plus too, and I have a musical touch. I would like to be a better soloist, and don't have many "flashy fills or licks." I am a groove drummer and a poly-rhythms junkie! I am currently working on some cool metric modulation grooves.
What are your plans for the future? Any more traveling? CDs?
No immediate plans for traveling or CDs. I traveled for the past three summers and self-produced four CDs last year alone, as well as launched two websites (www.LA-CE.com and www.BrunsDrums.com). Now it's time for me to stay put in L.A. and start having my travel and CD investments work for me – I think my resume is pretty complete now.
What would be your ideal gig?
It would be great to get to tour and/or record with a great artist like Paul Simon or someone classic like that.
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