Chapter 8 FB: Musically, Marcello, maybe you could talk about some of the other interesting musical challenges that you've had, like the Indonesian violinist. Lulu Peruanto? MP: Lulu Peruanto, she's an amazing violinist who I met in Amsterdam. She was playing with Billy (inaudible) back in Europe. We had this band with her husband, who was a Dutch pianist, and a bass player (inaudible). From New York, Art Blakey, Messengers. So in this band, who were combining elements of several cultures. Melodic elements from Indonesian music, Gamelon music, specifically Lulu being of Sondanese descent, she had all those melodies that were new to me but were so unique. Uh, her husband was reharmonizing, so bringing a lot of jazz harmonic concepts but with a European flavor to it, as well, a European approach to it. And myself bringing the New York Style of playing, high energy, which they wanted to have for the music. FB: Did you have to expand your kit to bells and gongs and things like that? MP: I had some Gamelan gongs, the pre-tuned ones. And I, we had an oppourtunity of playing with Gamelan orchestra players, we did this tour in 2003, Mahabarata tour, which was the shadow puppets. There was the show going on, we were touring with a stage bus... FB: These were the Hiundu Gods and Goddess puppet theater. MP: Yeah. There was a Gamelan Orchestra, five percussionistsand a Jazz quartet. We were touring with a stage bus, which was a creation of this visual arts from Holland, a bus that opens up on one side, and a stage comes out of it. FB: Oh man, a travelling theater. MP: Exactly. We did, we travelled all over Indonesia, all over Java, Bali, playing for people. FB: Like a state department tour or something like that. Because it's all free. MP: Yeah.It's all free. In huge sqaures, universities, some Borobudu? You know that temple? They never had music in there, we were the first, it was amazing. FB: Talk about breaking down cultural walls. And so compact. A real roadshow. Amazing. MP: So Lulu was one experience that kept going through the years foir ten years. FB: You had to learn different kinds of rhythms, different kinds of patterns, how to adapt with the Gamelan... MP: Um we had to, especially when we played with the Gamelan Orchestra, yes, I had to become familiar with some of their rhythms, some of their calls, two of the players, where one was from Java, playing a Javanese Kandun, which is a two-headed drum and the other one was from Bali. And there is a difference in concept between the Balinese Gamelan and the Javanese Gamelan. Balanese is more rhythmical were the Javanese is more calm and sweet. So it's interesting to see how the two things might interact together, and trying to get my act with them and working some stuff out. So it was quite something and I had to learn some stuff which wasn't easy. FB: Do you have any other cross-cultural anecdotes that you could share? About having to learn something different? MP: Let's see, well, as far as being involved in several other cross-cultural projects, you know with Bruno Rayberg doing the Nordic stuff, his music is fantastic. Spiros Exras was this great guitar player from Greece has this world Jazz ensemble, and he combines Greek rhythms and modal music. That's another thing from which I had to learn something. Bruno's music gives me enough freedom to play my stuff, although sometimes now he's getting more into Indian music... FB: He went to India last year. MP: Yes. So there are some new elements that he might throw at me soon that I might have to practice. But any of those experiences to me are very welcome, because I feel highly enriched by it. And I accept the challenge. If something is new to me and it's not easy, I welcome it.