Božo Vrećo on the album "Lachrimae": I have always been a magician of improvisation

Although the music industry has weakened significantly due to the pandemic, and many musicians have ended up on the brink of existence, there are also those who did not give up and came to terms with the current situation, but were hardworking and worked on new songs.

One of them is the Bosnian prince of sevdah Božo Vrećo, and the product of his work is the album "Lachrimae", which can be found on sale from Friday under the label of the publishing house Croatia Records.

This time, Božo crossed his voice with the lute and guitar played by the famous musician Edin Karamazov.

When Edin plays, critics say that "magic is in the air", and when it is combined with the magic that Vrećo creates with his voice, then it is a complete hit, which is best confirmed by the announcement song "Emina" based on the famous lyrics of Aleksa Šantić.

Božo Vrećo talks to Vijesti about the album, the selection of songs, the collaboration with Karamazov during the first wave of the pandemic, as well as the plans...

The album "Lachrimae" was released, which includes 11 songs. How difficult was it to choose the songs that will be on the album "Lachrimae" and why are there no original songs of yours?

The album was conceived in such a way as to include songs from the region, the influence of Sephardic music and the Turkish mecca, to touch the Dalmatian islands and return sevdah to its cradle - Bosnia and Herzegovina. The name itself speaks of the tears we cry, hide and withhold from others, those that, if they were translated into words, would sound exactly like that.

The collaboration with Edina was interesting and unusual, full of intimacy, narrative and expression of emotions on multiple levels, that lute and guitar intertwined with my voice in a microcosm of their own and without hesitation expressed sadness and longing and love within the sung verses of the great. It is a tribute to Aleksa Šantić, Osman Đikić, Jovan Jovanović Zmaj and others whom we wanted to glorify even more by returning their original texts to song form, without changing or modifying them.

My original songs are a project for myself and I don't want to mix these two extremes, two great songs are coming out for which I also recorded videos - they are called "Saba" and "Man of Salt" and I can't wait for you to hear them, feel them and let them become a part of you of your lives and small joys that make life beautiful, and for that art certainly has a goal.

You recorded the album during the first wave of the pandemic. How difficult has the corona virus made working on the same?

We recorded the album at the very beginning of the first wave, and we coordinated since we were focused on the two of us, plus the sound engineer. We saved ourselves from external influences and too much communication with others - a very intimate recording atmosphere, two steps away from each other, the songs followed each other and everything very fluidly created a story that we presented to the public in the form of the "Lachrimae" album. It's my sixth album and I'm very proud of all the people I've collaborated with, shared the stage with, recorded and created music with. These are all people and musicians that I really appreciate and love, and the reciprocated love and respect for my character and work are indispensable and confirmed through projects that follow one after the other, and I continue with this tendency. I try to direct all my time towards creating new lyrics, melodies and fully living my art. That's the only way I can and I want this year to pass, and the next one to bring again the joy of hugging, traveling and sharing emotions as befits and as we are partly used to over the years. All this is sorely lacking in the form of freedom, because it is freedom that is priceless.

During your career, you had the opportunity to collaborate with many prominent musicians - Marko Louis, Vasil Hadžimanov... and this time you and Edin Karamazov teamed up. How was the cooperation with him?

I collaborated with dear people, among them Miroslav Tadić, Mario Batković, Merima Ključo, Eslaam el Shaary, Stefan Milenković, and certainly each new experience enriched me, I know that it was mutual and that is something I strive for and that drives me. The collaboration with Edina Karamazov was concise, focused, accurate, very focused, emotional, humorous and friendly, after all. Through the whole process of creating, communicating and socializing, we had a lot of fun and enjoyed every segment. I always cooperate only with good people. The human ego tires me and the absence of it makes me happy and relaxed so that I can work and enjoy every bit of the song and rhyme that emerges from that purity as medicine and comfort for all those who need to hear and feel it and recognize themselves in it. to her.

Edin is a maestro in his field and I am always honored to have such people around me, we complement each other and make sure that the shine does not pass, it only intensifies and becomes stronger.

When it comes to your solo career, you first started a cappella, later you recorded with various instruments. Which one does your voice sound best with?

During my four-year work with the band Halka, my solo career grew and developed simultaneously and inseparably, very structured and dedicated. So it's all a great and too rich experience of great musicians, learning from them, shaping, carving crafts to the refinement of all senses and senses, a lot of concerts that empowered, defined and shaped me into the form of freedom and love that I radiate and live today. Next year in January, it will be the decade of my career and I will definitely celebrate and mark it in the right way, and as for instruments, I have always been a mage of improvisation and I really enjoy every instrument. All of them in symbiosis with my voice function perfectly and convey emotion without any deficiency. And the piano and the trumpet and the accordion and the duduk, the oud, the lute, they are all variables and nuances from song to song, and it is certain that I equally enjoy every segment of such an inspired sharing of love and dedication.

On the album, you tried to include sevda girls from all over ex-Yu. Given that you're known for always "digging up" some old and forgotten songs, because many songs we wouldn't like, they would have been forgotten if you hadn't sung them again, have you stayed true to that passion of yours?

I always approach the research of old texts, chants, chants, and formations that inspire me, touch me and ask for my influence in their realization and "revival" again. I always come to Montenegro with a sevdalinka that is specific to that region, probably wherever I go I connect more deeply with that region and the music that rests and shines on that soil. That's exactly the dose of dedication and my puzzle that I unravel again and again and make it closer to the audience, and to myself in the end. A lot of them do not have a finished form and work is needed on them, and I do it with the greatest pleasure. It's like when a restorer removes all the greasy paint and the painting that is underneath is like a jewel, and I replace all the defects and return the soul to the song that makes me exist and I'm here. That is my mission without any doubt.

The album was announced with the track "Emina". Considering that you sing it at concerts, how come you haven't recorded it yet?

I rarely sing it at concerts because of its length, there were several occasions and interventions with the audience in a few verses, but that was only an overture and as there is a time for everything, so for "Emina" this duo of Karamazov and I was needed and that lyrical , an almost tragic elegy. It's nice when you don't violate Šantić's text and sing the song originally as he wrote it. It is as if it is there and as if it approves of your approach and manner with a smile and thanks for that beauty. It is very important to me, to let the poet express himself as he wants and not to change his vision and rhyme order, because his freedom of expression is more important than anything else and it should always be adapted to it in every respect. I am not a supporter of dissecting other people's songs for the sake of the form of some new arrangement. Everything can be harmonized, it just requires effort and the absence of arrogance.

Thanks to you, Amira Medunjanin, Damir Imamović, Sevdah music is becoming more and more popular among the younger generation. How much has her status changed since you started making music?

I will always say from the domain of my creativity, because my work as a singer-songwriter has set me apart and built a place for me where I can create freely and communicate with different genre formations without comparison to others. Especially the younger world recognizes this and likes it very much in the context of electronica, soul, blues and sevdah. I am sure that if I continue at this pace of composing, I will create my own opus that will remain as a valuable traditional - avant-garde - moderated complex of modern sevdah and that is what I am getting closer to with each new and born song from my pen.

The status of sevdalinka is recognizable in the world and it goes deeper and wider and permeates through all other types of musical colors, and this is a promising effect.

How much harder will the ongoing pandemic make it for you to promote what you've done?

We are adapting to the situation and in cooperation with my home publishing house - Croatia Records in Zagreb, we are doing everything to ensure that the promotion and representation of the album does not lose its intensity, flow and presentation. In October, there will be a promotion and certainly with all precautionary and protective measures, as well as everything related to the concerts that are looming and simply life must go on and the wheel of life must start, no matter what. We live for it and from it, art has won its rightful place through all eras and centuries, and it will continue to be so in the future.

Tears are a medicine and a sigh is taken away at the sense experienced

With your songs, the audience often cries at concerts. Have you ever shed a tear during the recording of a song?

And during recording, and during concerts, and even while writing some of my songs, tears are the answer that something is painfully beautiful and touching, and if it touches me, then I'm absolutely sure that it will introduce others to that magical world of sincere generosity and boldness of love . Tears are the medicine and the sigh that is taken away at that experienced feeling. He is the seal that you work with all your heart and without mistakes.

I love freedom of expression in every domain

Recently there was a collaboration with the Bosnian rocker Almas Smajlović. When will the song be released and how did that collaboration end?

I think that a wonderful song from Almas' new album, our duet will be released during October, if we manage to record a video it will be great. We are friends and have always loved the music we make. This was an ideal opportunity to join forces and send a strong message that you should not give up on yourself, your dreams, desires and courage. That perseverance is the strongest power a person can have because love, we are made of love, we just need to awaken it in ourselves with our whole being.

I can't help but mention the song you recorded with Hele Nejse. You show that music has no boundaries and that your voice, which is synonymous with sevdah, goes well with all genres. Are you always in the mood for collaborations and with whom would you like to cross your voice?

Always when it's great and when I like it, of course yes. I love the freedom of expression in every domain, visual, musical, love and life. I will do that with everyone I want to be with. All my wishes are realistic and achievable. I am a workaholic and all my aspirations are focused on quality and work, constant work that sharpens a person on all levels and makes him a precious stone.