YouSaid · the spoken record

Karl Jenkins

lines on the record: 53
first: 2006-12-10
most recent: 2006-12-10
sittings or episodes: 1
sources: podcast

Every line below is reproduced as it was said and linked to the record it came from. Nothing here is summarised or generated. Directory · Search · Corrections

“Probably if I had to take one, I'd probably take the ring by Wagner, which I'm included here because I don't have twenty four hours worth of music. But with what we have here, I definitely take the last one, Richard Strauss.”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“This is the trio from Strauss Richard Strauss Rosen Cavalier, the trio from the last act. I think it's possibly the most sublime piece of music ever written.”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“Yes,'cause I'm doing what I want to do. I'm enjoying doing it. People like her to make once again this emotional connection with people. People are moved by what I do. And I like to think what I do has some integrity. So that's fine. That's fine with me.”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“Yes, he's very talented. He followed my footsteps into, he won the scholarships of the Royal Academy as a percussionist and came out as a composer. So he's 25, and unlike me, he's embraced technology as young people do, where it's been a struggle for me.”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, it's very gratifying and very humbling as well, because I don't consider myself of. Great importance compared to the masters, some of whose music I play today I think when you're actually doing it in concert you can have divorced yourself from the fact that you've written it. Obviously, all kind of technical considerations to consider. So it's not a question of standing there and wallowing and this self-gratifying experience. It isn't like that at all. But as I say, it's humbling and also gratifying when the response is good.”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“Benedictus from the unman amounts for peace that was a millennium commission by the Royal Armories. If I were on this island it would remind me of in recording studios in London with orchestras and choirs and my son worked on it and have conducted it a lot so it would mean something to me.”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“The seventh is I used to listen to this program as a boy when Roy Pomley was to do it, and I remember Elizabeth Schwartzkoff being on and she had eight of her own albums on it and I always followed the height of arrogance for anyone in this program to have their own music and now I'm going to do exactly that.”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“And how do they? Yes, they do, do they? I've had the twice the old hat and jacket. This is somewhat embarrassing sometimes being dressed up on stage, like a wizard”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“I didn't think of it at the time like that, so I suppose I'd found something that created a kind of rapport with people, I suppose something that reached out. It took off at different times in different territories.”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, I suppose so, but I didn't expect anything different really. So it eventually broke barriers down, and it was, as you say, it was fairly accepted universally”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“as possibly true yes there was a huge furore about it at the time because it wasn't considered classical music and then the alpo kind of wrote letters and various people wrote letters saying which came from that source it was, you know, it wouldn't have existed without classical music. So they relent kind of amusing really to a certain extent but”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“In his full form it would have been about three minutes before the audience was a minute that was the genesis of it all and then we created an album around it and composed five or six other pieces in the same style.”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“Such a large chunk of my life was involved in Kenned and Jazz Fusion, but I think one of the best composers in the Chandron was Jose Avinol and his Bankel Weather Report, and Mr Birdland at Y drew on different cultures again which is high of some kind of empathy with. So this is Birdland weather report.”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“Yes, indeed, and that's what eventually happened with the Adamus project, and that was asked to do a commercial for an airline company. I had this idea of floating around of music based on kind of Western principles, European classical principles, but where the sound is more ethnic, using percussion and ethnic sun invoices with an invented language, singer phonetically, much like Jasing actually, but more organized and written down. So the idea's project was born which was fairly successful globally.”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“rather than what you just said it made one learn to be very concise and pithy and make the musical message brief, and initially what was fun eventually kindled the downside because I wanted return to more expansive forms.”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, it went pretty fine, really. We won an industry award early on, the second or third job we did. And DNA D award for best music, and then it kind of snowballed, as they say, from there, and we did quite a lot of high-profile commercials. Our main work was writing what one would like to think of as creative music and sports for these ads. But that was an important part of the industry at that time.”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“Yes, because that was purely kind of self indulgent, the jazz side of things improvis over half an hour, and that's just one person in the band and then the other one would do the same. So sometimes they went on, they were interminable sometimes to kind of improvise jazz evenings. But anyway.”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“I'd have to take a mile of symphony because I think he's absolute genius, so I've chosen the adjetto from Marlus five. During the nineteen eighties there were a whole series of fantastic concerts in London by Klaus Tenstadt and a London philonic orchestra at the Royal Festival Hall, an amazing Marla conductor. And I was actually present at this recording. I used to go to them religiously. So this was one I was at.”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“To a certain extent, yes, and major regret in my life is my wife didn't meet my father. They only kind of missed each other by, I don't know, a couple of years or so. You know, he died in and I met my wife later. So that's a regret. And also that my son, Jodie, who never saw there was no chance he'd have seen my mother, but not my father as well.”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“While I went back to Ailes and sort of the funeral arrangements, those kind of things, what one had to. Just dealt with it as one would, I suppose, just plough on. I mean, it was easy when I go back to London and started working again. Once I forgot it, I still dream about it sometimes, but it was easier to manage when I was removed from the kind of Welsh culture around it.”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“I was playing this was slightly earlier, I was in the south of France with playing the Antibe Jazz Festival, the Grim Collier, and there's a phone call from the British Consulate, and knew then what it was, because my father had a heart attack the previous year. intuition, whatever. I just knew what it was, and then the phone call came around the beach and he told me. So immediately went back to Wales.”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“That was interesting as always good to be part of a band. It's good fun at first. There being in us such a small knit group, I mean, you move on, you kind of get on each other's nerves after a while. situation can have fragments.”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“Yes, my son's Jodi is also a composer. He's twenty five now, but probably he was about five when it was released, and it's been a soundtrack to our family life really.”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“always been a great fan of kind of steal you down which is the other side of not one did labour music again but it's more in the kind of rock direction and particularly American style and Donald Heagan's half a steely Dan and fantastic songwriter creator and this is a track The Goodbye Look from his Album Nightfly.”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“I was kind of around it was part of it, but I wasn't. Musically it didn't affect me that much, you know, but it was very much a dual existence student by day, jazz at night.”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“He was here immensely proud, yes, indeed. This was doubly important because I don't think I'd have come to London if that hadn't been there for me to go to. young man who would make that step and go to London on Sunday. speculative kind of venture, you know.”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“It was good and it's of eternally grateful for having had a very academic schooling in music, study in harmony, counterpoint, fugue, orchestration, history music, so it was a thoroughly academic degree which stood me in good stead really.”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“necessarily a lot a lot of the greatest music ever written was written to commission Barque wrote Cantatus because they were needed by the next Sunday or he wrote his Brandenburg concertas because the count wherever wanted them performed at court similarly Mozart a whole batch of the greatest music ever written was written to commission because someone needed it the next week and you people go on about it. Performances of Bach, Brandenburg and Shirt is a weather should be one shell or what did Bach mean and did he mean two or three or whatever? Very often as a working musician what was available if there were money to pay for three you might have wanted three you know these kind of arguments exist and so I've got a very pragmatic approach to music making in that sense”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“I think so, but most people find me mild mannered and laid back. My wife wouldn't agree. I mean, she's a composer as well. I don't think I'm tricky, but maybe other people do.”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“I suppose as true, I suppose it would have been pompous about and as true of any artist really what you present is what you are. So it's honest in that sense.”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“Communication to a certain extent To my mind has pointless being an artist if one doesn't have an audience and has been to so many performances of one man and his dog turns up. a ripple of applause and the pieces never played again. That kind of world doesn't interest me because I think you have to make an emotional connection with people. That's where I believe, in my opinion, some contemporary music has lost its way. If you don't engage with people through what you do. It's a pointless task.”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“For the greatest of all jazbans in my book Jazz Groups was the Miles Davis Quintet Sextet of the sixties which had a great penis belance, great saxophone players, jonkil train, and Cannabal Adelie. This is an album called Kind of Blue, which is one of the seminal jazz albums, hugely influential. And I spoke to Bill Evans about this. I met him in Ronnie Scots one night when he was playing there. when I made it, I didn't think it was anything that special. They thought it was good, but not innovative. But this is blue and green from that album.”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“Generally, that kind of area, yes, which didn't appeal to me from a credo point of view as a composer, but jazz did because one could work within what was still a relatively kind of tonal framework. It was a music there that just captivated me early on.”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, what attracted me to jazz was that jazz occupied a world that was accessible, although maybe it didn't sound like it to many people, but it worked within a tonal framework, it was within keys, where classical composition at that time was very, very difficult to listen to”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“I think so, but I've no idea in which direction it's only during my teenage years when I found jazz that I had kind of a pass that I may be thought I wanted to go down.”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“Yes, it was through that kind of scheme where the instrument was given to one, you know, thankfully it was there for me and many, many other young people.”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“it was fantastic school as an old fashioned Welsh grammar school where sadly in relation to today sadly but at that time all children could learn a musical instrument for free excellent school orchestra from which I graduated to Glamorgan Youth Orchestra and then the National Youth Orchestra Wales considers a progression that many children made and those days are much the fact that they've gone is quite sad really”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“Yes, I did. I did, I did like it. I'll add Barcolot, and you introduced me to whole raft of music, you know, the usual people, Mozart, Marlowe, Brookner. Beet”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, my father's influence was huge, and Bach has always been played around the house, the first composer I really heard, and as I said, I went on to play the oboe. So the obo's been kind of a featured instrument in my life. My daughter-in-law, Rosie, is now an obus, professional obist. So this is the concerto, which I in fact played with my father conducting at one point, and Rhodes played it as well. I've heard it played recently. It's a double concert of Bach for Berlino.”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“I suppose so people have asked me if that's kind of about me, but it was kind of a nice name, really, a nice title. So I suppose it's slightly kind of. about myself I wouldn't said too much by the title.”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“To a certain degree, yes. I mean, I didn't find out what I was good at until maybe a few years ago, really, but when I graduated to the Owen Woodwind family of instruments, it all kind of fell into place.”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“He did, but being a small Welsh village there were three chapels and one church there, sir. There were quite a few influential people in the community at that time, but music was always played around the house, and he was the main person who guided my life, really.”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“We moved. I was an only child. We moved in with my aunt, who was widowed at that time, and my grandmother, and there were many other relations around further aunts and uncles in the chain. So despite its sounding quite a sad beginning, it had a very happy childhood, really, from there on”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“Vague, yes, couple of once again vague occasions I can recall strange, but just a kind of angelic looking woman, I suppose. That's the main recollection I have, and very calm.”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“Yes, my mother's on the maternal side my grandfather was a Swedish seaman who came to Wales on a merchant ship and met my grandmother and stayed so I did indeed. I spent a lot of years in Sweden.”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“to a point, not totally, it was only later when I found the oboe that when I went to grammar school as it was then, that I found an instrument that actually suited me and I was reasonably good at.”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“Yes, it was a small village called Penclau and the Gau Peninsula, and my father was usually influential both as a parent and as a musician. My mother died when I was quite young, four or five, and I was raised by him and my aunt and grandmother, but yes, he was a very good organist and choir master and introduced me to music at a very young age, and kind of started me off on the piano.”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“My first one is an opera by Wagner, the master sings of Nuremberg, which, as is always the case with these things, you can listen to it on different levels, but it's actually quite a funny opera. It's about a prize song. This is Domingo singing, the actual prize song.”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, why should one listen to the opinions of people who are kind of by nature what they do, a less talented than I am, otherwise they'd be doing something, people who have fewer musical qualifications than I have, and are more reminded than I am, so I don't think their opinion is worth that much, really.”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source
“I've always resisted that, you know, I hate labels and put him using the boxes, but what it is, it doesn't matter. It's classically based, certainly. It's based on classical principles, very often orchestral and choral. It just borrows from other cultures.”
2006-12-10 · Desert Island Discs · Karl Jenkins · IDENTIFIED FROM THE TRANSCRIPT · source