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«Ez Dut Arriskuaren Zentzurik»

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«Ez Dut Arriskuaren Zentzurik» Jazza eta popa distira apartekoz uztartzen aparteko lana egin du 1960ko amaieran Canterburyko musika eszenaren sortzaileetako bat izan zenak. «Ez dut arriskuaren zentzurik» Gorka Erostarbe Agure jeinu erretxinaren itxura du, bizar zuri bohemioak lagunduta. Alkoholak eta nikotinak zigortutako ahots urratua espero dakioke. Azken 40 urteetako musikari handienetakoa da, eta aurrejuzkuek garamatzate iheskor edo harroxko izan litekeela pentsatzera. Eta hanka sartzera. Gertuko ageri da, nahiz eta telefonoz izan. Goxo hitz egiten du eta ahotsa bera leuna du. Inozentzia galdu ez duen haur sentibera bat darama barruan. Mundu juxtuago batean sinesten duen haurra. Musikaren indarrak hunkiarazten duen haurra. Euskal Herriarekin badu nola halako harremana Robert Wyattek (Bristol, 1945). Ruper Ordorika ezagutzen du. Gutun bidezko harremana mantentzen dute, Ordorikak Age Of Self kantuaren euskarazko bertsioa bidali zionetik, 1985ean: «Asko gustatu zitzaidan bertsio hura». Ez du gustuko ingeles izatea, baina ingeles umore lakonikotik ere dezente du. Hasi aurretik. Barkatu nire ingeles eskasarengatik… Lasai, nire euskara baino hobea da. Zure bakarkako lan gehienak berrargitaratzen ari da Domimo zigilua, hiru zatitan banatuta. Zure lana berreskuratzea beharrezko ikusten zenuen? Beno, hori baino sinpleagoa da. Aurreko zenbait lan argitaraturiko zigilua desagertu egin zen, eta pentsatu genuen egokia litzatekeela lan horiek berriz argitaratzea, nahi zuen hark eskuragarri izan zitzan. Ni ez naiz musika industria modakoaren kide, eta niretzat beharrezkoa da beti eskuragarri egotea. 1974tik aurrera plazaraturiko diskoak dira berriro argitaratu ditugunak. Nire izenarekin argitaraturiko garrantzitsuena bildu dugu. Urtebete da Comicopera lana argitaratu zenuenetik. Harrera bikaina izan zuen. Nola ikusten duzu urtebete geroago? Orain konturatu naiz disko arriskutsua izan zela. Eta gustura nago arrisku hura hartu nuelako. Ia-ia free jazza egin nuelako, Orphy Robinsonen bibrafono soloak, espainieraz eta italieraz abestea… Baina harro nago hori guztia sartu izanaz. Pozik nago. 40 urte beteko dira abenduan Soft Machine taldearen lehen diskoa, The Soft Machine (Volume One) atera zenetik. Ba al zenekien? Ez, ez nuen oroitzen. Zer nolako oroitzapenak dituzu garai hartaz? The Soft Machinen lehen singlea 1967an grabatu genuen Ingalaterran, baina LPa Amerikako Estatu Batuetan egin genuen bira baten erdian grabatu genuen 1968an. The Hendrix Experience taldearekin aritu ginen biran... New York eta beste zenbait hiritako bizimodua gogoratzen dut justu-justuan. Garai hartan kontzertuetan jotzen genuena grabatu genuen. Eta ahalik eta ondoen egin genuela, hori oroitzen dut. Asko ikasi nuen AEBetako bira hartan, batez ere The Hendrix Experiencekin bidaiatu genuelako. Talde zoragarria zen. Irakaspen handia izan zen. Eta dibertigarria zen 24 orduz irekita zeuden hirietan ibiltzea. Baina ez zitzaizun bereziki gustatu. Nahiko herrialde arrotza egin zitzaidan bizitzeko, eta ez dut itzuli nahi. Zergatik? Bisita bat nahikoa delako. Europarregia naiz, ziur aski. 1960eko eta 1970eko hamarkadak rock musikaren paradisua dira askorentzat. Rockaren garai onena izan zela diote. Ados al zaude? Bai posible da, baina ni ez naiz bereziki rock zalea. Garai zaharragoetan jarriak ditut belarriak. Garai onak norbanakoaren garaien araberakoak dira, haurtzaroan jaso dugunaren araberakoa sarri, erromantikoak garen ala ez… Rock musikak ez nau molestatzen, baina nik neure musika mota dut. Rock musikarekin badu harremana. Rock musikaren industriak eskaini dit bizitzeko modu bat. Baina kultura moduan rocka ez da oso garrantzitsua niretzat. Beste musika estilo batzuetan askoz ere interesatuago nago. Esaterako? Ia-ia beste edozer gauza. Jazza, musika klasikoa, munduko herrialdeetako folk musikak… Eta gainera, badira musika bera baino garrantzitsuagoak diren gauzak niretzat: politika, munduan zer gertatzen den… Musika nire ogibidea da, musika egiten dut, baina rock industriatik jaso dudana alkohol gehiegi edateko ohitura izan da funtsean. Soft Machinekin lehen hiru diskoak grabatu ostean taldea utzi zenuen. Zergatik? Uste dut laugarrena argitaratu ostean izan zela, 1971n. Eta ez nuen taldea utzi, bota egin ninduten. Zergatik bota zintuzten? Ez dakit zergatik. Ingeles jendeak ez du gauza horietaz hitz egiten. Oso isilak dira gauza horietarako. Garai hartako lagunik ba al duzu? Ez, ez bereziki. Ez dut garai hartako harremanik gorde. Lotura estuagoa dut ondorengo urteetan ezagututako jendearekin, 70eko hamarkadatik aurrera ezagututakoekin: Brian Eno, Paul Weller... Badira zuri buruzko informazioetan etengabe agertzen diren bi gai: gurpildun aulkian utzi zintuen 1973ko gertaera hura [leiho batetik erori zen mozkor zela] eta alkohola. Nekatuta al zaude horiez hitz egiteaz? Ez, ez nago nekatua. Ez dut gehiegi hitz egin izan gauza horiei buruz. Ez zait inporta jendeak gauza horietaz galdetzea. Iruditzen zait jendeak pentsatzen duela munduan dagoen gauzarik latzena dela gurpildun aulkian ibiltzea, baina nik esan diezazuket ez dela horrela. Ez dago gaizki ere. Beste era bateko ezintasunak okerragoak dira. Ikusiezin direnak, batez ere. Esaterako, gorra bazara, edo buruko arazoren bat baduzu, deprimitua bazaude... okerragoa da. Jendeak ezin baitu ulertu zure arazoa. Zaila egiten da hori komunikatzea. Hala ere, zure bizitzan mugarri izan zen, ezta? Fisikoki istripu hura garrantzitsua izan da nire bizitzan, eta zenbait tokitara joateko bada muga bat, baina emozionalki ez da hain garrantzitsua izan. Nola deskribatuko zenuke alkoholarekin izan duzun harremana? Dramatikoa izan al da? Dramatikoa ez da izan alkohola zehazki. Izaera obsesiboa eta adiktiboa daukat. Ingelesei asko atxikitzen zaien ezaugarria da neurritasuna. Eta uste dut, ezaugarri hori elikatzen duen elementu kimikoa galdua dagoela nire buruan. Neurritasunaren genea galdua dut. Zerbaitek kitzikatzen banau, edozer delarik ere, hura areagotu nahi dut. Ez dut mugaren zentzurik, ez dut arriskuaren zentzurik. Eta alkoholarekin izan dudan harremana ere halakoa izan da. Eta alkohola izan da, legezkoa delako. Zentzu horretan nahiko konbentzionala naiz. Ez dut izan inoiz legea hausteko asmorik. Ez dut denbora galdu nahi polizia-etxeetan eta halako kaketan. Beraz, nahiago izaten dut legezkoa den zerbait egitea. Ez ditut gustuko legezkoak ez diren drogak, aspergarria baita kriminala izatea. Ez daukat beste ezer legezko ez diren drogen aurka. Zure bizitzan eta musika ibilbidean ezinbesteko pertsona izan da Alfie Benge, zure emaztea. Besteak beste zure musika piezetako letrak idatzi izan ditu, ezta? Bai, 16 bat kanturen letrak idatzi ditu niretzat. Azken diskokoez gain, Cuckooland (2003) eta Shleep (1997) diskoetakoak ere bai. 1980ko hamarkadan poema txikiak erabiltzen hasi nintzen nire kantuetarako. Letrak baino musika gehiago idazten dut nik. Beraz, oso lagungarri egin zait Alfieren [Benge] ekarpena. Eta azken diskoan inoiz baino gehiago kolaboratu du. Idatzi zuen kantu bat, esaterako, hegazkin baten bonbardaketaren inguruan. 1940n jaio zen Alfie eta haurtzaroko oroitzapenak baditu bonbekin lotuak. Militarismoari buruz idatzi genituen zenbait kantu, munduko benetako terrorismoari buruz, estatuen terrorismo militarrari buruz. Out Of The Blue kantuak zehazki, Israelek Libano bonbardatu zuenekoaz hitz egiten du, baina izan zitekeen gaur egun Pakistanen gertatzen ari denaz, non AEBetako eta Ingalaterrako armadek egunero dozenaka lagun hiltzen duten haietako bakarren bat txarra delakoan. Halako istorio gogorrak idazten oso ona da Alfie, baina era guztietakoak idazten ditu. Independenteki egiten dugu lan, berak ideiaren bat badu egin egiten du eta gero ni saiatzen naiz kantura moldatzen. Ez dugu eztabaidatzen. Zaila al da zuretzat letrak idaztea? Beno… egia esan kuriosoa da gertatzen zaidana. Batzuetan oso erraz etortzen dira hitzak. Batzuetan badakit zer esan nahi dudan, baina ez da nahikoa diskurtso bat botatzea eta hari musika notak jartzea. Hori ez da kantu bat. Ideiak musikaz lagunduta datozkit, hori bezain sinplea da. Idazten dudanean, bestelako gauzak ateratzen zaizkit, lagunentzako gutunak, nire egunerokorako testuak… baina, horrek ez du esan nahi abesti bat dudanik. Esana duzu oso zaila dela nota on bakar bat entzutea, egoki kokaturiko nota bat entzutea... Bai, horixe baita musika hain zuzen ere. Nota egokia leku egokian jartzea. Gainontzeko guztia denbora galtzea da. Oso sinplea da [barreak...]. Jakina, bakoitzaren instintuaren araberakoa izaten da emaitza. Baina musikarientzat oinarrizko arazoa beti da bera: zein da hurrengo nota? Eta hori modu errazean egin dezakeen musikaririk ezagutzen al duzu? [Barreak] Ez. Benetan zaila dela uste dut. Ez dut inor ezagutzen erraz egin dezakeenik. Ezagutzen dut letrak musika baino errazago idazten dituenik, edo musika letrak baino errazago konposatzen duenik, baina … Ingalaterran tradizio nagusia, eta popa bera da adibide, hitzekin askoz hobeak izatearena da. Esaterako, Shakespeare inoizko idazlerik handienetakoa da, baina ez dugu musika konposagile famaturik. Guk ez dugu Beethovenik. Baina, egiari zor, pop musikan oso talde onak egon dira eta daude Ingalaterran. AEBetako musika beltz asko entzun dugulako izan liteke… Beltza zen Nat King Cole, zuk hainbeste estimatzen duzun musikari eta kantaria. Bai, kuriosoa da. Niretzat handia da, baina berak ez zuen bere musika konposatu. XX. mendeko musika popularraren erakusle handienetakoa da eta pianista zoragarria, eta kantari ederra jakina. Baina berak ez zuen konposatu beretzako piezarik. Gauza bat dira interpreteak eta bestea musikagileak. Nire ustez oso zaila da biak izatea,
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