Interview with Youn Sun Nah July 2011 by Nico Conversano

Born in Korea, but resident in France since the nineties, singer Youn Sun Nah has made herself known for her chameleonic ability to express herself through jazz, pop, chanson, rock and bossa. An heterogeneity mastered performing the tunes in many idioms, regardless of borders between styles and countries.
A cosmopolitan aptitude confirmed by her latest recording, entitled "Same Girl", published by german label ACT.

How did jazz get into your life?

It was definitely an eye opener. It was my first public performance and having received the honor of performing with the Korean Symphony Orchestra, it was nerve-wrecking for me. But it did make me realize that to make great music, you need to learn how working together and give your best. In terms of singing, I learned that I still had more to learn.

In 1995 you decided to move in France to study jazz and chanson. What was the musical environment you found in this country when you arrived, compared to that you came from?

Unfortunately I can't compare. We have a shorter history of jazz than France's. In Korea, jazz is rapidly rising and now we have the biggest jazz festival in Asia. This is helping the development of jazz market here. France is the country where you can easily find all kinds of music. French people are not at all reluctant about receiving different people or cultures. This country gave me so many opportunities. I tried out many musical approaches with musicians from all over the world and I discovered my lifelong passion in Paris.

Your rendition of the famous standard "My Favourite Things" is one of the most interesting of the album. How did it come the idea of performing it with the only contribution of kalimba?

I first heard this song when I was very young, watching on TV ‘The Sound of Music'. I fell in love with it immediately. It became more meaningful when my mother was casted in the Korean version of this Broadway play, which I went to see almost everyday. Having heard most of the different interpretations, I wanted to try it with my own style. When I bought my first kalimba, this was the first song I played, so I decided to share it with my listeners.

Can you tell us something about "Kangwondo Arirang", the Korean traditional song contained in your last album? Do you have particular memories of this tune?

I've always tried to include a Korean song into my albums or repertoire during a performance. It's my way of presenting my home country to the audience. This song in particular was selected because my musical partner, guitarist Ulf Wakenius, had rearranged it before and he's been wanting to perform it for a while now. There's nothing in particular in my memory about this song but I've heard this and many other traditional songs several times. I love them all.

It's surprising and unexpected your choice of covering "Enter Sandman" a track by famous American heavy metal band Metallica? How did it come in your mind?

It was Ulf that suggested this song. I already knew this song but I was really surprised by it as well. I tried to search for an alternate version featuring a female vocalist but I could hardly find it. I was initially quite afraid to attempt this famous heavy metal song but Ulf told me to sing it with my style. So we tried and I hope it's not disappointing.

Since your musical beginnings French chansons caught your attention and musical sensibility. This aspect is underlined by the presence of "La Chanson d'Hélène" by Philippe Sarde. What fascinates you most in this typical French music style?

The emotional aspect of the songs. Somehow I find myself being deeply connected with most of the French chansons I come across. Maybe because I studied French Literature in University, I am more sensitive to them.

Among your contribution to compositions is "Pancake". Why a "tribute" to food?

It's just a simple song, not complicated. It was basically about food and how we eat everyday. We have a choice to make about what eating and what should be healthy for us. Once it happened to me to have just 5 minutes to think about what to eat and so I thought it could be a good subject for a song. It's one of the most literal songs I've written. It does help that I love to eat as well.

Among the songs also less known ones as "My name is Carnival" by American folk singer Jackson C. Frank and "Moondog" by British drummer Terry Cox. What do a song need to have to get your attention and make you want to make a rendition of it?

Usually I am attracted to a song by its lyrics and the interesting composition behind it, but also I am attracted from the composer's life and its process or journey taken to complete that song. For example, "My name is Carnival" by Jackson C. Frank is a song that I felt described well our lives. As for "Moondog", I was suggested from the life of the blind American composer, musician and poet, whose memory this song was respectfully dedicated.

Many are the inspirational sources you draw from for "Same Girl". What's the common link connecting all these songs?

These are songs that I have listened to and grown to love. They all mean a great deal to me and to some extent has kept me grounded in my life and music. Basically, these are my favourite songs.

Eclectic Swedish guitarist Ulf Wakenius, along with Lars Danielsson and Nguyen Lè, is among the musicians playing with you in this album and one of your long term fellow musician. He's also your only musical partner on stage in your recent tour presenting the songs from "Same Girl". What can you tell us about his musical skills and how did he affected your approach to music and performance on stage? Why do you choose to perform live accompanied just by one instrument?

I've performed with different formations and I realized I was at a stage of my musical journey where I wanted to strip everything away and try to work minimally. I felt that one can find new ways of musical expressions when is in a smaller set up. I really enjoy the available space to explore and interact during those duo performances. I mean, different formations are great as well but, for now, this is great. Ulf is an amazing musician. I think he is at a stage where he is also enjoying the exploration and interaction of a small formation.

During these years, you often came back to your native country to perform your music. What's the response jazz receives in Korea, today?

The response for jazz is definitely getting better. There are many international jazz musicians making a stop in Korea to perform, showing that there is an increasing demand for such performances. But the most significant sign of a good response is the Jarasum International Jazz Festival. The festival has been running for 8 years now and it attracts roughly 150,000 people during its 3 days. I think it is a good thing that Korea is showing such response for jazz.

What's the most attractive quality of jazz for you?

The interaction. I have always appreciated the interplay jazz musicians have on stage that allows them to create good music. I think it is because of this interaction that the audience come back for more.

Which are the musical and human aspects that kept you the "Same Girl", since you began your musical activity?

I've always reminded myself to stay humble and do my very best. I think this is still true to me today, as it was on the first day I started to sing.

Projects in your next future?

I am trying out different formations, creating music with new musicians and I think it will eventually lead me to my next project.

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