David Broza is an Israeli music superstar. And with more than 25 albums, many of which have become multiplatinum, he’s also someone who gets attention worldwide.
His style has been described as charismatic and energetic, a fusion of the three countries in which he was raised: Israel, Spain and England.
In the past, Broza, 58, would tour the country singing his songs for the masses. His sound engineer was a local man, Peter Winer, who tragically passed away in a motorcycle accident in June 2012. He was 54. On Nov. 21, Broza will return to Baltimore for a concert in Winer’s honor.
The Baltimore Jewish Times caught up with Broza to ask him about his music and his friend.
JT: How are the parts of the world in which you were raised reflected in your music?
Broza: With Spain, I spent my teenage years there. But it was only after that it had an effect on me. My connection to Spain came in the aftermath, when I returned to Israel. Then I realized how much Spain was a part of me and how I had been influenced there. I furthered that connection in 2000 when I went again to live in Spain and write music. I had three albums released in Spain.
You always put on an energetic show. But your life off stage is pretty robust, too. Talk about your passion for the Palestinian-Israeli conflict.
It is not a passion, but I am living in the reality of what I come from, and I have been dealing with a possible solution [to the conflict] coming on a people-to-people level, not political. People-to-people needs to be introduced at a very young age through education, and we can condition ourselves to tolerance and coexistence. This is just part of my life.
Have you done work with Palestinian artists?
I have … collaborated with Palestinian musicians, and I work in East Jerusalem a lot. I am about to release an album I recorded in East Jerusalem. This is not a show, it is part of my way of life. … I have been working with Palestinian-run studios in East Jerusalem — on an engineering level and playing together.
Talk about how music can be a catalyst for peace.
Art and music penetrate deep into the subconscious, into the heart and soul of people; it is not about intellectualizing. If you like it and you strike a tone, then people connect. … They could decide to put earmuffs on and block the sound, but if they don’t, then they get affected. It is a nice role to try to build trust, to try to break down the walls through music, which inadvertently can
help in conditioning people toward resolving the conflict. After that, the politicians have to come in and finish up the hard work. But music can penetrate the heart and mind.
The lyrics for your songs are often poems — your own and others. Talk about the importance of the rhythm versus the words. How do they interplay?
Lyrics and music are one; when I write lyrics, I try to dress them with a melody. One feeds off the other.
Talk about your connection to Peter Winer.
I met Pete when I came to the U.S. in the 1980s. He was introduced to me by a friend who used to work with me in Israel, and we struck a professional relationship. He toured with me as sound engineer. … We crisscrossed this country together for about 13 years. He got to know me very personally, and I knew him intimately. In the last years, we were each in our own worlds, and we lost touch a bit, though we tried to keep in touch. His life ended tragically in an accident. I feel honored to be able to bring [this concert] in his memory.
Is there anything special/unique that people should expect?
I like the city of Baltimore, I have always liked it and have written a few songs around that. Since Pete came from Baltimore, it was a reference point for 13 years; we started in Baltimore, or he came from Baltimore to pick me up. I have not been back in a long time, and I am looking forward to coming and playing this concert.
In Memory of Peter Winer
Thursday, Nov. 21 at 7:30 p.m.
$28 in advance; $32 at the door (subject to availability)
Maayan Jaffe is JT editor-in-chief — email@example.com