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04

March, 2025

Text: Jazz-Fun.de

Photos: Jacek Brun

jazz-fun.de: Monica. It’s great to see you. Great to have you here in the Hanover Cultural Center and Pavilion. How do you feel?

Monika Roscher: I just feel amazed. I’m really looking forward to the concert tonight, and it’s been a year since we were here, so I’m really excited to come back.

You have already been here once or has it been several times?

One time. And it was great because it was our first time in Hanover. And so, um, yeah, it’s exciting because we are from Nuremburg and Munich, so they’re quite far away.

I see, you had a pretty long drive.

Yes. Six hours.

So tell me something about yourself. Where do you come from?

I’m from Nuremburg, but I went for music studies, guitar, to Munich, and we formed the big band in Munich. Most band members are still in Munich, but some are also in Berlin as well as Leipzig and Karlsruhe. In other words, all over Germany.

I see; so you are more or less connected with everyone around Germany. But what also interests me is what was your first contact with music? What do you remember? What was your first contact to music? Making music?

I would say probably my parents. We had a piano at home, a double bass and guitar. My dad bought all the instruments, and my brother played the double bass and my mom guitar. And so I also wanted to play. And after a while, I started making up stuff. And then, yeah, I really liked the instrument.

So you started by playing around and not methodically, but you learned to play the instrument.

And my mom taught me the stuff she knew, but mostly it was all about fun making music, because every time I heard music my heart was like, oh, it’s so great, let’s sing, let’s do something wild.

Cool. Do you remember what shaped your sensitivity for music in the past? Maybe a specific band or a specific instrument?

I think I went to a youth club or something like that. I’m from a small town near Nuremberg, where there were a lot of hip hop bands and metal bands, and all the metal bands had great guitar players. I was really fascinated by them, so I decided that I needed to learn guitar. It’s amazing. They can play so fast. I really liked the music and I liked the approach of the singers, but I also listened to jazz, and I asked myself, “what are they doing?” I don’t understand what the thing is. How can they communicate? Yeah. And I like all these mixtures in music.

You definitely have to have had some role models over the years who played guitar, some people who influenced your guitar playing. And you already told me that you listened to metal music a little bit because you were fascinated by the playing. Have you any specific guitarists you like?

Yes. I went to a Mars Volta concert and I liked how Rodriguez-Lopez played because it’s a very unique way of playing. So I really liked that. And yeah, but there are tons of guitar players such as all the jazz guitar players, because I went to study jazz, so I listened to all of them such as Wes Montgomery and all the old classics. So yeah, I’m fascinated by that as well.

The next question I want to ask is a little bit outdated, but it’s definitely something we find interesting. Are there any female guitarists you look up to?

Of course I know Jennifer Batten from Michael Jackson’s band. Yeah. And there is St. Vincent. She’s amazing. And let me think. Hmm. You know, the thing is that I’m actually not really interested in the people that much, because I simply like a piece of music at times. I like the idea of music. So I’m not just interested in which musicians I find fascinating, but rather which ones impress me. Wow. How fast they can play or something like that. But it’s the music that touches me, the something inside of it.

And I think many people look at this differently and in another way. They like the person who is making the music. But for me, there are artists that make stuff that I like and stuff that I don’t like that much. And that’s okay.

Yes. And you can even take it bit further and say what kind of person is that? Yeah, actually, I’m not really interested in the person behind the music, because I don’t know if I would like the person or not. So yeah, I really like music, so I don’t want to know too much.

Kind of differentiating between music and the personality. Exactly. Yes. I think that’s a very healthy attitude.

I do too. And after a while you think, oh, I don’t want to hear about the person.

Your music and your orchestra have some notable influences. How many of those influences maybe came from Frank Zappa?

Actually, I’m not quite sure how conscious this has been, because I didn’t listen to Frank Zappa in the beginning. I just started listening to him when people came after our concert and said you have to check out this and that from Frank Zappa. And I thought, okay. yeah, of course I know the name. And I know his big hits. But I hadn’t heard that song. And then I started getting deeper into his music, and then I felt like there might be a connection because he thought of a guitar as a guitar player and a composer, and that’s what I am. So this might be a connection where we think in the same way.

Like on the same wavelength in terms of personality?

Maybe. Yeah, I don’t know. But I don’t know him too well, just bits from interviews and the like. He was very political. So maybe.

It’s like the music is more important than Frank Zappa.

That’s what I think.

That what we said. Yeah. So let’s talk about the time when social media was evolving with respect to your creativity in music; how did the effect of social media influence you or how did it impact your creativity in music?

Well, at first–I must confess–I didn’t like it, didn’t want to be a part of it. I thought that I want to just make my music and then perform concerts. And after a while, you notice that people need to find you somehow. So you have to be on social media. Yeah. So okay, so I started posting on them and then I thought, oh, how amazing. I can connect to people in different countries, for example. Yeah. So that that’s amazing for me. I didn’t realize that before because you are in your own little world, you’re functioning in it, you’re playing and you’re having fun. Right now I think, okay, yes, we’re involved in it. That’s cool. But the most fun is, of course, the music.

So of course. Yeah. So the social media type of thing is like another world. But it’s starting to affect creativity. Do you think that you have to change part of your creativity because of the pressure that social media puts on musicians?

Yeah, but I’m not gonna give into that because I have music that is 12 minutes long, nine minutes long. If I play the Spotify game, for example, I’m gonna play it. So I have also split up my pieces into smaller bits. But when I’m playing live, I play the song and it takes 12 minutes. I’m not going to change my way of composing music just to have the chorus in the first 30 seconds or something like that. Exactly. That’s not what I want to do.

I understand that.

I might do it sometimes if I want to do it. But right now I’m not into something like that.

I see that’s not your main mission right now. And that’s very, very cool. I’m very cool with that. I know a band which has a Spotify song that lasts an hour and oh, wow! And I also think that when I want to listen to it, I listen to it, and I listen to it 15 times. So where’s the problem exactly?

Yeah, yeah.

Yeah. But not only the songs are big in the sense of long, but your band is also very big. Yeah. And you are a leader of a big band and also an electric guitarist in the band. And I think you’re the only guitarist in such a big band I know who is active today. I don’t know if it’s true, but what do you think about that? How does it feel to be a guitarist leader of a big band?

Well, normal. Nothing more.

Normal. Okay.

Because that’s what I started to do. In the beginning, I thought that I was going to form a guitar trio, and then we composed for a big band in school, and I thought, wow, I want to do that because now I have a much bigger playground to mess with. So I thought, okay, let’s try it. And after I graduated from the university, I called the other musicians and said let’s try this, try different stuff. And now we are all friends, and we know each other very well. I know all the musicians. I know their strong points and what their best moments are. So I can really compose for them. So that’s the best thing for me.

So it wasn’t planned, but it just started, right?

Oh, yeah. It was not planned. There was never a plan. Actually, I was not a big band fan at all.

Yeah, but it just depends on what you think a big band is. And you can make a big band in whatever way you want to.

Exactly.That’s true. Yeah. And then you start listening to big bands and then you think, okay, you can play it like this, or you can do totally differently. And I decided that I was gonna try something different, which is a lot of fun.

It’s very cool. I like that a lot. But there’s also very much commitment, time and work with so many people. How many people are there in your band exactly.

We are 18 on stage, and we have our mixer with us and band organizer who helps us, for example, arranging for coffee or other things.

And it’s gotta be a lot of work to organize that, isn’t it?

Yes. Yeah, terrible.

It’s terrible. And speaking of that, you have to have some someone who is taking care of bookings, planning and logistics. Are you doing that or is someone else doing it?

Yeah, I do it because I tried to contract someone a couple of times, but usually I got the feedback that the band is too big to take on the road. And I didn’t want to change it, because that’s what we want to do. So I just keep on doing this myself, and I really like it. We might not have the biggest tour, but that’s okay. Our tours are really big enough. So I do it.

It can be small but impactful. You know what I mean?

And it’s real. We are all friends. I don’t want to say we want to get rid of four people. No, everyone’s part of the band. And we play as this band.

That’s very cool. Going back to the orchestra and to the size of your orchestra and all the people playing in it. There are a lot of instrumentalists, a lot of capable instrumentalists who maybe are capable of having their own projects or something else. How do you work with them and which roles do those instrumentalists have in your band?

In the beginning, we all basically come from jazz. So it’s normal for us to have different projects. Everybody in the band has his or her own band where they play. And my project is also a band where we play, so it’s not as if we depend on the band. We do it all parallel. And I know each of my musicians, their strengths. I can hear the sound for this song and know this is a flute solo. So I know who I can ask to play this solo. And I also want the audience at a concert to experience all the musicians, all the colors. It’s not just solo guitar all the time, because I would want to hear all voices of the band if I go to a concert. So I want to hear all personalities, and I want to show that it’s beautiful.

Yeah, that’s very beautiful. And speaking of the solos, you have some soloists, I guess not every member of your band is a soloist.

Yeah, but actually they all are.

Oh, really? And do they have a determined time when they can play solos, because we are speaking of a lot of people and we want to make it fair. Is there any communication about that.

Yes. And we even change sometimes in the beginning because I’m always playing different setlists, of course. We have a lot of fun with that, I can say I’m taking your solo tonight, okay? And you’re taking hers or she’s taking yours. You know, we mix it up a bit. Yeah. We have some that are fixed, but we mess around with all of them a bit.

That’s very cool. Good to hear that you interact so much.

Yeah, I think it’s important so that everybody is part of it.

It might be time-consuming with 18 people and more, but it’s extremely important to express the essence, isn’t it?

Yes, I think so. And the thing is also that these musicians are not machines. They are humans. And I really want to have a good time with them. We want to be able to have good talks backstage and say what did you like today or what do you want to try? It’s important that everybody’s also involved.

Very cool. We have been speaking about every one of your members. But let’s get back to you. And what I really like about your performance is your own characterization on the stage. And where do you get the ideas from? From where do your inspiration to have these nice outfits?

Yeah, it’s all a bit out there, you know, it’s just like with the music. By composing it, you also think, oh, this could be like a song about what? What is moving you. And then when I find it, I think, okay, this might look like this, for example for The Witch’s Song, I look for a witchy outfit. I need a crown of woods. Or I need big sticks or something. I don’t know, I play around with these ideas, and I’m never finished because I’m still adding stuff to it, and I’m still searching for something. And then when I see something, I think, okay, I’m gonna wear that to be more a part of this song.

Very cool. And for all the individualists out there, maybe the main question, do you make your costumes yourself or do you have someone helping you with that?

I just go on the internet and check out where I can find stuff. Yeah, it would be amazing if somebody would make them for me, but…

But that’s even cooler. Like, you make your own outfits. It’s exactly what you want.

Yeah, but I don’t make them. I just buy them.

Okay, okay. I didn’t want to say too much. Of course, I didn’t want to say something to make you uncomfortable. Very cool. Do you have any favorite outfit?

Well, I still wear a witchy crown that I like. And, um, right now I still wear a mask that is like a, hmm, how do you say it? I’m guessing, I’m searching for the word: vampires, okay. And it depicts a rather strange person, and I think it’s fascinating.

I think I see what you mean. Vampires are depicted in many ways in different cultures, but I really understand that. I guess they have a charismatic dominance, also visually.

And it there’s some connection to nature, but maybe it’s also power from nature.

I think I understand what you mean.

Yeah. I’m just messing around with that stuff or with witches, with everything. That’s all stuff which inspires me. Very much. So I’m reading books about it.

I can understand that well. So we get to the more personal questions right here, because there’s some things that I wanted to ask. But don’t worry, they’re not too specific because I just want to know, what ambitions do you have in addition to music? Um.

Oh, ambitions? Besides music?

I don’t know, maybe outfits?

Uh, yeah. okay. I made a little label for my band, so that’s what I’m doing. And it’s always been about music, actually. But, you know, I like playing some sports and exercising. Yeah, but actually not with a lot of ambition. So I’m just doing those things for fun.

So no plans, no baking.

Not so much. No. Oh, okay. So I’m just doing a lot of stuff, you know, but it’s not like I’m ambitious doing them. I need to try other things out.

So you’re putting all your energy into the music. Yes. And it pays off.

I don’t know, I would say, but it’s fun. I mean, you know, that’s the thing. I wake up in the morning and I start doing something that has to do with music. Yeah. And even if it doesn’t have anything to do with it, I’m still thinking about music.

Very cool. So I have only two questions left and they are not specific either. The first one is what is your favorite place to enjoy looking at your surroundings, for example at a mountain or somewhere else. Do you have something like that?

Um. So um, mountains are amazing. Of course. Do you mean a specific place to go to.

A specific place with personal space where you go.

Since I live in Munich, there’s a river called Isar. And you can take long walks along it and or go by bike. And at some point you can see the Alps, but you have to go quite far, for example approximately two hours by bike. And there are moments when you go around the corner and then–if it’s a nice day–you see and the river and the Alps in the background. It’s really beautiful. Yeah, I like that.

And do you have a specific drink that you would take on the ride there? Your favorite drink?

Probably coffee.

I see. Yeah I’m also completely sold on that. Very cool. Monica, it was a pleasure talking to you.

Yes. And thank you.

I would have continued for longer, but we have no more time. And you also have to get to the soundcheck because you’re playing in two hours. I wish you very, very much luck. And I’m really looking forward to seeing you up there on the stage.

Cool. Thanks. I’m also looking forward to it.

Bye.

Bye.

Este artículo se publica simultáneamente en las siguientes revistas europeas, en el marco de “Groovin’ High”, una operación para destacar a las jóvenes músicas de jazz y blues : Citizen Jazz (Fr), JazzMania (Be), Jazz’halo (Be), Salt Peanuts (DK/SE/NO), Jazz-Fun (DE), In&Out Jazz (ES) y Donos Kulturalny (PL).

This article is co-published simultaneously in the following European magazines, as part of « Groovin’ High » an operation to highlight young jazz and blues female musicians : Citizen Jazz (Fr), JazzMania (Be), Jazz’halo (Be), Salt Peanuts (DK/SE/NO), Jazz-Fun (DE), In&Out Jazz (ES) and Donos Kulturalny (PL).

#Womentothefore #IWD2025

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02

March, 2025

Text: José Cabello

Photos: Aritst’s concession

NAÍMA ACUÑA:  A NEW VOICE THROUGH SOME HANDS

Naíma Acuña is a renowned musical percussionist with a distinctive versatility and personal style of performance. Her exceptional skill has led her to be requested to participate and record in prestigious projects in a variety of musical styles.

Recognitions and Publications

Her talent has been recognized by international magazines such as Jazzwise Magazine and Jazzmagazine, as well as by renowned musicians such as Greg Osby or Mulgrew Miller. She has been praised for her dexterity and stage presence in several publications.

Featured Performances and Festivals

Naíma has participated in important jazz festivals and musical events around the world. From the LangnauJazz Nights International Jazz Festival in Switzerland with the project of saxophonist Greg Osby, which also includes renowned names such as Matt Brewer, Marquis Hill, to concerts at the Philharmonie de Luxembourg, Elbphilharmonie Hamburg, Kolner Philharmonie with the project of accordionist Joäo Barradas, which also includes saxophonist Mark Turner.

High Level Collaborations

Throughout her career, Acuña has collaborated with an impressive list of renowned musicians including Pablo Held, Wolfgang Muthspiel, Jasper Hoiby, Matt Brewer, Marquis Hill, Greg Osby, Mark Turner, Joel Ross, Joao Barradas, Abe Rábade, Jorge Pardo and many more. Her versatility and ability to adapt to a variety of musical styles has made her a sought after choice for numerous projects and recordings including collaborating with artists such as C. Tangana.

We hope you all can enjoy the interview she has done with us!!!

In&OutJazz: When and how did music first appear in your life? What memory do you have of your first contact with music?

Naíma Acuña: It appeared when I was just a baby. My parents took me to see Miles Davis at the Royal Festival Hall in London when I was only a few months old, in a little wicker basket.
My first contact with music was with the guitarist Ike Isaacks, mentor of guitarists like Martin Taylor and my father, José A. Acuña, who is also a guitarist. From a very young age, I would watch them as Ike and my father played together at home, and I would try to imitate them with a small toy guitar or a keyboard.

When did jazz enter your life? What does jazz and improvised music mean to you?
From a very young age, jazz was always playing in my home. I specifically remember an album that was played repeatedly: Eastern Rebellion 3 by Cedar Walton, among others.
Jazz is an artistic expression, a fascinating universal language endowed with creativity, freedom, and personal expression. It is a dynamic sound space where the musician explores, connects, and communicates. Improvisation adds an element of surprise and spontaneity, which is one of the many things that make it so special.

Of all the collaborations you’ve had with renowned artists, which ones would you highlight? What have you learned from those artists? What do you think they’ve learned from you?
I would highlight all of them because they were all very special: Mark Turner, Jasper Høiby, Greg Osby, Pablo Held, Mulgrew Miller, Joel Ross, Matt Brewer, Wolfgang Muthspiel…
Very briefly, there is a common factor: discipline, high standards, professionalism, and absolute respect for music. They are deeply conscious of the “why” and “what for” behind what they are playing at any given moment—whether they are truly contributing something to the music and to the connection with the musicians they are playing with.

What do you think they’ve learned from you?
Rather than them learning from me, I think I’ve offered them a different perspective on how to perform musically and take care of the sound on the drums.

Do you compose and write music? If so, what is your composition process like?
It’s a fusion of complex yet accessible melodies with intricate and sophisticated harmonies, combined with a variety of rhythms that range from the most subtle to the most energetic, influenced by many different types of music.

What would you say are your strengths when it comes to performing and composing?
I think they are creativity, musical interaction, versatility, rhythm, and sound.

You have many admirers and followers. Many of them say you have a very distinct style with a strong identity. Who are your biggest influences? Could you recommend an album? And one that features yourself?
From Ali Jackson, Brian Blade, Karriem Riggins, Georges Spanky Mcurdy to Tyshawn Sorey, Eric Harland, Rodney Green, Richard Spaven and Jojo Mayer.
I would recommend the album Echolocation by Ben Solomon.
For one that features me, I’d say the most recent one: Reflexividad by my admired saxophonist Daniel Juárez.

Why do you make music? What purpose or search is behind your music-making and being?
Music is a fundamental part of my life, a form of personal catharsis that allows me to release emotions I sometimes find difficult to communicate with words. It is an artistic process that enables me to experiment, create, and simultaneously connect and inspire, which, for me, is one of the most beautiful aspects of being a musician.

Este artículo se publica simultáneamente en las siguientes revistas europeas, en el marco de “Groovin’ High”, una operación para destacar a las jóvenes músicas de jazz y blues : Citizen Jazz (Fr), JazzMania (Be), Jazz’halo (Be), Salt Peanuts (DK/SE/NO), Jazz-Fun (DE), In&Out Jazz (ES) y Donos Kulturalny (PL).

This article is co-published simultaneously in the following European magazines, as part of « Groovin’ High » an operation to highlight young jazz and blues female musicians : Citizen Jazz (Fr), JazzMania (Be), Jazz’halo (Be), Salt Peanuts (DK/SE/NO), Jazz-Fun (DE), In&Out Jazz (ES) and Donos Kulturalny (PL).

#Womentothefore #IWD2025