Entrevista - Pedro Moreira

What's it like to be the musical director of the Big Band of Hot Clube?: The Hot Clube Big Band has some of the best portuguese jazz musicians, and we've been playing together for almost 15 years, so that really makes the band a very special one. In general, trying to keep a big band together isn't an easy task, but in this case I'm very fortunate. It's been a privilege.
Can you tell us more about your favourite gig so far (where, when, with who, why was it so special)?: I've had some gigs that truly made a mark on my development as a musician. Just to mention one, I once played at the Hot Club with Benny Golson and Curtis Fuller in sextet. One night Benny Golson played his own "I Remember Clifford" as a feature and at the final cadenza he started to cry. It was one of the most intense musical moments I've ever experienced, and also a great lesson: how can you still be so envolved with a piece of music after you played it for 40 years?
How did you start playing sax? What inspired you to choose this instrument?: My brothers and I started to play at the same time. We wanted to form a band, and since I had been playing recorder (I learned "oleo" on that instrument, which I still hate...), and some of the other instruments were already taken, I chose the alto sax. My main inspiration was Charlie Parker. My father had a good collection of LP's, and Bird's collection had great looking covers.
What kind of "gear" do you use (saxophones, mouthpieces, etc.)?: I use a King Super 20 tenor, with Otto Link rubber 7* mouthpiece and medium-hard reeds (#3 1/2). I have a Selmer Mark VI alto with an old Selmer Soloist G mouthpiece. And I have a Yamaha soprano, with Vandoren S35 mouthpiece and Vandoren reeds #3 1/2.
How did you like living in New York, while studying there? New York has a strong jazz scene, so did you get a good taste of it? Tell us your best and worst experience there.: I had a truly great time in NY. My best experience was working with Wayne Shorter, Herbie Hancock and Robert Sadin. Just being around this people is extremely inspiring. A good surprise was receiving the Down Beat Award for best student soloist. Apart from that, it's simply a fantastic city to live in, specially if you are a musician. I think it's the energy that makes it so special.
As for my worst experience, it's hard to tell. I guess I was lucky. Maybe a jam session at Smoke, the club uptown, after I had been sick and without playing for a while. I was completely wiped out. The band only played very fast tempi and I simply couldn't play. These guys can give you a hard time, and enjoy it. I felt terrible.
Why don't you have your website?: I'm technologically disabled. Just answering these questions online is a kind of a miracle. Also, there is a bit of narcisism in the idea of having a personal web page. I'm not sure I like the idea of exposing myself in that way. Having said this, I know I will have one, sooner or later.
Do you think life of a jazz musician is any different from "regular" people?: I'm not sure my wife's opinion and mine are the same. I think the life of a jazz musician is the same as anybody else's...except that it's better! Just make sure not to compare your annual income with that of your high school friend who became a lawyer.
Did you ever embarrass yourself in public or playing?: Once after a few drinks too many I joined a jam session to play a blues. It went really well, except that when I finished my solo I realized that I played the entire solo in the wrong key...
What advice could you give to all the kids that are starting to play jazz?: Believe in what you are doing, and, most of all, practice, practice, and practice.

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