Sean Steinfeger w/ Camilla George
Your second album „The People Could Fly“ is a concept album based on an American book that’s based on African folktales about slavery. Can you tell us the book’s name and share a bit of your vision behind creating this album?
Yes the book is actually called, “The People Could Fly”. It was a book that my Mum used to read to me and I was fascinated with it because at first I thought it was just a book about various animals as I was first hearing it as a child. When I got older I realised the significance of the tales and the fact that these animal tales are based on slavery and the animals take on the roles of the slave and slave masters. It’s a book that has fascinated me since I was a small child.
If you really could fly, where in this world would you go right now?
That’s a hard one! Well, I’d obviously like to go to a Caribbean island- Grenada where my Dad is from which is just beautiful. I’d chill out there for a month and then head to New York where I am continually inspired by the standard of musicianship and the jazz scene in general. It’s one of my favourite places to be. Then I’d finish off the trip by flying to Eket where I was born in Nigeria.
My introduction to your music was your version of Curtis Mayfield‘s „Here But I‘m Gone“ which gives me chills until this day. What was the reason behind this cover and placing it as the last song on „The People Could Fly“?
Thank you! I was so honored to collaborate with the legendary Omar on this tune. Yes I felt that the song dealt with an aspect of Black struggle and in this case, Black American struggle but as with the book that the album is based on, there was hope and a sense that we can all fly away to freedom and live in peace and revel in our magic not only as Black peoples but as human beings.
Within „Here But I‘m Gone“ Curtis sings „Where do I belong?“. How would you answer this question for yourself??
I see myself as a bit of a global citizen hehe! Really because I was born in Nigeria but grew up in London and my Dad was Grenadian so I had all these different experiences growing up- the London experience, Nigerian and Caribbean. I don’t see myself as slotting in in one particular place but rather floating between many!
Mayfield‘s words must have resonated within you deeply as your current album „Ibio-Ibio“ is about the exploration of your Nigerian roots. Tell us a bit behind the album‘s concept.
Yes, I wanted to write an album about the Ibibio people where I was born. I wanted to look into our creation myths and what defines us a people. The main message that I got through research and pestering family, was the sense of community and togetherness.
When you were young your dad already had an amazing vinyl collection. Which specific records where your most favorite ones back then?
Hands down Jimmy Smith Back in the chicken shack! Absolute banger!
Did your dad pass on his passion for vinyl to you so that you also have a collection these days and as a busy musician that you are have you been able to go back to a certain vinyl/music listening session just like you had with your dad every Sunday?
He definitely did! My Dad sadly passed away in 2011 and he was adamant that I should have his treasured vinyl collection. I do like to have regular listening sessions as it reminds me of him. He’d written his name on the back of his vinyl as he took them to parties back in the day, so it’s the ritual of seeing his handwriting on the back and playing the music that he introduced me to.
You got your first saxophone when you were 11 years old. Who gave it to you and what was the reason of picking the sax?
Well I had actually tried a sax when I was 8 but was considered too young to start learning so I had to wait until I was 11. I started having lessons at school and never looked back. Saxophone had always been the instrument I loved passionately and looking back, all the music I liked as a child was sax heavy!
When you were 11 you also joined Tomorrow’s Warriors. For those who don’t know this organization, can you explain their work incl. the massive impact they have on the UK jazz scene?
Yes, TW are an organisation who are at the forefront of U.K. jazz. They provide weekly sessions where young jazz musicians hone their craft with celebrated professional teachers such as Denys Baptiste and Binker Golding. The organisation also provides instruments for those students who are unable to afford their own. The most important aspect is that it is free- this means there is no barrier to music education access as there normally is. It is dedicated to nurturing predominantly although not exclusively young talent from black and other diverse backgrounds. They have an “each one teach one” ethos which means alumni such as Nubya Garcia, Moses Boyd and Shabaka to name a few, have all lent their expertise to nurture young warriors. The founders are Gary Crosby and Janine Irons- two absolute legends!
About one month ago you’ve joined Tomorrow’s Warriors board of trustees. Can you describe your work for them and how does it feel being back?
It means everything to me- I started when I was 11 and then graduated to playing in Jazz Jamaica- which I am still a member of, and now I’m on the board! I am dedicated to most importantly keeping the programme free and continuing to uphold our excellent standard of producing amazing young artists.
Was there a certain moment in your life where you decided to become a professional musician and how did your parents react to it?
I think I always knew I wanted to be a musician but my Dad’s father was a jazz musician (sax player also)- I never met him but I gather he was quite a character! My Dad didn’t approve of his lifestyle and didn’t particularly want that for me so I did an undergrad degree in Ancient and Medieval History of all things and actually had a job in fashion PR for about 5 mins! I think it was that job actually that really convinced me that I had to be a musician. I resigned and auditioned for music college and never looked back!
Being a musician in the UK nowadays isn’t easy at all, especially after Covid and of course dealing with the effects of Brexit. If you were in political office now, what would you do differently?
Well I did hear that there was a proposal made to the government to allow musicians to tour freely throughout Europe but that was obviously rejected because the Arts in general doesn’t seem to be a priority these days to any government! I would push this through as the red tape surrounding Brexit is what is killing off the touring industry. I would also petition the US to reduce visa costs as they are prohibitive to any UK bands wanting to tour the US.
How important is it to you to balance out your stressful everyday life as a professional musician and what do you like to do to switch off and think about something else?
I think balance is so important- I had a period where I got quite unwell and I think that was a lot to do with my schedule. That was a wake up call. I now schedule in time for exercise and relaxation and have become more sensible with what I eat. I also have made lots of friends in my local area who mainly have nothing to do with music so hanging with them has made it easier for me to switch off and relax.
What is on your heavy rotation at the moment?
Well it’s always Kenny Garrett for me and I am revisiting Triology at the moment. I also really love the Roy Hargrove album that was posthumously released a few months ago. His passing was such a loss- his musical genius never fails to astound me.
Have you ever played in Berlin before and what have you heard of Gretchen so far from your fellow musicians?
I have played in Berlin before with Jazz Jamaica but I have always wanted to play Gretchen! It’s been on my bucket list for many years!
What can the Berlin audience can expect from your upcoming concert at Gretchen on March 17?
We have a special show planned and will be playing music from all 3 of my albums. I’m really enjoying revisiting older compositions and mixing them with new ones.
Camilla George & Band live @ Gretchen.
Click here for details: https://gretchen-club.de/detail.php?id=2707