Charles Pasi in interview: “I never wanted to question style”

At the Salaise Blues Festival, we met Charles Pasi, who looks back on his latest album Adamas, his wide range of influences, and his relationship to a form of creation free from labels. A conversation closely connected to his music and his journey. This interview was recorded as part of a special show available as a podcast.

Photo © Ségolène Delavault-Mairie de Salaise-sur-Sanne

🎙️ Charles Pasi in interview with Cédric Vernet

On Adamas, we hear many influences. Blues of course, but also soul, pop, and jazzy colors… What did you want to explore on this record?

In reality, nothing more than what I’ve been doing for twenty years. It’s about letting all my influences express themselves. I’m someone very eclectic, so my albums reflect everything that I am.

I compose according to my mood. And since my moods change, it naturally brings different colors. I’ve never wanted to question style, or even what you’d call musical coherence. Coherence already exists in the scales we use, in the sounds… we only have twelve notes. And then we start creating divisions based on what we listen to or not. There are purists everywhere, and music is no exception.

The album title, Adamas, means “untamable” or “indestructible” in ancient Greek. Is that something that reflects who you are?

In this case, it wasn’t about me. It’s also the root of the word “diamond”. It referred to an untamable diamond, very hard, very difficult to cut at the time.

I’ve been passionate about stones since I was a child, I even graduated in gemology. So it was a nod to that. And this is an album I dedicated to people close to me who have passed away. The analogy was more for them, with the diamond. I wasn’t calling myself a diamond! (laughs)

You’re signed to Blue Note Records, a legendary label. How does that even happen?

At first, I thought it was a misunderstanding. I didn’t really believe it and I wanted to sign the contract as quickly as possible before they changed their minds. Luckily, I had a good manager who told me to slow down, because like any contract, it needs to be worked on.

There was something very symbolic about it. It could have been intimidating, but in the end it wasn’t. They let me do whatever I wanted. I think those kinds of labels last because of that. There’s a selection process at the beginning, but after that, no one stands behind you telling you your chorus isn’t catchy enough. They never imposed anything on me.

You even refused to share demos at one point?

Yes, on a previous album. I wanted to go into the studio without anyone knowing what I was going to do. That was the whole point. I didn’t want to demo, I didn’t want to lock anything in.

It caused a bit of trouble, but I managed not to let them hear anything and they trusted me.

On Adamas, I did some demoing, I let them hear a few things, not much. But it always evolves. The problem with demos is that you start getting attached to them. Your ear gets used to it and you feel like you won’t do better, like it was a moment of grace. But that’s purely psychological. So yes, it changes a lot between the demo and the final record.

🎧 Listen to the special show