THE INTERVIEW with musician JORDAN TOLENTINO

by Harry Padilla Chinchilla

This interview takes place at his home in Damas, Parrita. Jordan is about to leave on a trip to his native Peru. In the jam, the following local elements are identified: Arturo on bass, Chuchamón on keyboard, a guy from the neighborhood (probably a disciple), and Christian on vocals and rhythm guitar.

JORDAN

“I came to Costa Rica when I was 16. I already liked music back in Peru. My uncle Augusto (may he rest in peace) was really into rock. He played a lot of music — classic rock — and as a kid, watching Slash do a guitar solo… that left an impression that already leaned me in that direction. Later, I discovered the Beatles, and that’s when my deep love for music was truly born.”

And the language...?

“I spoke English after two years of being here. The cultural exchange in the area gave me the immersion I needed to become bilingual.”

Different places, different types of audiences?

“Yeah, and also more modern audiences. Modernity includes a lot. The kind of audience I like is people who recognize old music. I think the best music is the old stuff — that’s what I like to play: Frank Sinatra, the Beatles… I really love jazz. Joe Pass, a genius.”

“I sing music in English, French, and Portuguese.”

“I play at La Terraza on Fridays, El Faro on Saturdays. During high season, I play at Los Altos, Si Como No, and so on. We usually play for a bit more than a couple of hours.”

“A recording is coming — my first album. The single comes out next month.”

CREATIVE PROCESS

“Really interesting. First, you have to feel a rhythm. I can’t start with the lyrics because it’s such a unique process. Arturo is a guy who sings in ten languages… but doesn’t understand any of them (we all laugh). I try to say something nice — that nothing starts with the lyrics. It starts with the melody, the harmony, and the bass. When I find an interesting sound, I sing a melody to it, and it has to bounce around in my head for a while. Then I start building a structure with music theory and figure out which chords go well with it. And that’s it — you build something.”

And the lyrics...? “That process is even more interesting because, in that part, you have to really focus on what you’re going to say. I don’t know. Sometimes simple songs are beautiful, but you have to know how to write lyrics.”

THE BAND

I usually see Jordan playing with different musicians. Many are from the old school of beach entertainment. They’ve migrated from various parts of the world or are Costa Ricans from elsewhere — whatever it means to be from the Central Pacific.

About your bandmates:  “Each person is a world. Everyone has their own thing, each one is different, and the way you deal with each is different. It depends on the person.”

I ask about how he’s accepted in the local scene:  “Among street musicians, totally — I’m accepted.” (A smile appears on his face.)

I ask him about cumbia and percussion:  “It’s a really good style.” (He doesn’t elaborate.) “The one I almost always like to play with is Chuchamón.”

Arturo also plays with him and says he’s his best friend: “Impeccable in music and in everything.” I think I hear a kiss in the recording, and I regret not having captured that display of affection in a photo.

Christian, how long have you known Jordan?  “I’ve known him since we were little — we’re cousins. I used to sing in the shower, that’s all. And when I came to Costa Rica two years ago, I started getting serious about music because of Jordan. He told me to give it a try — ‘go for the music’ — and got me to work with another musician friend, and the bosses liked it and hired us.”

MEDIA PRESENCE

“The music product speaks for itself. And that’s why recording is important. The product speaks for you and by itself. I’m not much into Insta — it’s kind of fake. Doing covers is fine, but it’s also important to focus on the work of the creative artist. It’s the hardest path in the world, because if people don’t like the music you make, then it’s just a personal pleasure — you record it, it’ll always be there, and what’s left is valuing what you do. But for that, you need to be a true music lover and be willing to sacrifice. If your work catches on, it’ll go somewhere — there’ll be a reward. And if not, that’s what life is for: to try something you love, not necessarily to be famous.”

How do you see yourself in a few years...?  “I’ll stay in the area — Central Pacific. I want to keep recording albums and keep making a living from music. One hundred percent, always in a natural way — not forcing people to say I have nice pictures or that I look great… and then, at the end of the day, you sound good, but you’re not extraordinary. And I’m not saying that’s wrong, but I believe you need to have an extraordinary product.”

A SINGING CONTEST IN JACÓ

“A woman won. They have higher vocal ranges. Women took the top three places, and Lorna won — I thought she would. I brought an extra shirt, gave my best performance, but the women even had two outfits… one danced salsa and everything. That was at Terrazas, Jacó. A very beautiful experience,” he says with cosmopolitan humility.