Adam on Hugh Masekela Tribute: It feels like just yesterday that I was in Miami with Hugh Masekela and Thandiswa Mazwai – we were on our way back to Cape Town for the International Jazz Festival. We missed our connecting flight and Hugh got on the phone and called someone at SAA (The CEO of SAA North America!) And we got redirected via London Business Class. We all made the Jazz Fest! So yeah, we spent 30 hours together waiting and drinking coffee and talking, which was really special. I never knew that ten years later I would be the one playing the flugelhorn on this piece. It was Hugh’s preferred instrument. A bitter-sweet moment…
Adam on MTN ‘Night Shift’: You have to be really on top of your game to do a re-record because you have to really analyse the music. The brief for Night Shift was to make it sound exactly like the original because we had the licensing cleared to do so. To do a good re-record, first, you have to analyse the hell out of it: what key is it in, what’s the chord structure, what does the melody do, what’s the bass player doing. I can listen to a piece of music and I can hear the bass playing at the bottom and I can hear the piccolo up on the top and the violin in the middle…I hear many layers all at once. Once you’ve analyzed the music, then you can re-arrange it, change the genre of music, strip it down, build it up. Re-records are a great challenge and I am a bit of a geek so the analysis part of it – I love. You also get to really learn how a different composer approaches a piece of music
Adam on Allan Gray ‘Father’s Share’: This is one of my highlights. We realised the music had to follow the concept of time passing through the 50 years of the narrative. A flugelhorn was the featured instrument and to add some authentic African sounds we called upon top session players to add to the score. It was such an honour to work with these industry heavyweights on this.
iDidTht: And it won a Gold Loerie no less! How long did it take for you to complete it?
Adam: I would say about 3 full studio days and I got 6 musicians to work on it.
Adam on Cadbury ‘Pre-Joy’: This was a really interesting job for me. What we had to do was match the terrible sound that was on these pre-existing viral clips. To make something sound bad is really tough. I remember spending a day or two trying to crack that stuff. To be given a brief to purposefully make bad sound is a first!
iDidTht: Well it won a Gold Lion so you might have found a new career path!
Adam: Ha, you never know.