When did you start playing the guitar and why?
various academies. Later I resented by chance the sound of the classical guitar when I was 17, when I were at the top of my rock / metal period, and I fall in it headlong keeping the electric guitar’s
study that in the meantime had become increasingly consolidated in my life playing with my progressive group Nefesh, we keep on playing still with more than ten years of activity.
his stylistic versatility and his interest in contemporary music and especially the fact that disdained the electric guitar, or rather used it also for the contemporary pieces.
several parts so that I do not consider longer even a Jackson. My pickups are made by Bill Lawrence for example.
sipping sounds. I recorded several ideas on cassette via an old recorder that my father had at home and I had so many ideas bubbling incomprehensible even to myself.
ambition had found a solid footing to try to become truly possible. I continued with more and more enthusiasm to carve out moments where you try not to think about all that I had learned and simply
listening to me play.
Do you draw up a “default form” making adjustments when necessary, or you let the “form” itself to emerge in different situations, or exploit both creative approaches?
What does improvisation in your music research? You can go back to talking of improvisation in a repertoire so encoded as the classic or you’re forced to leave and turn to other repertoires, jazz, contemporary, etc?
West has developed over the centuries a harmonic and structural depth at times impressive, (Giants come to mind as Ockeghem, Bach and Wagner, for example) and a refined melodic sophistication. In other parts of the world other roads are traveled. The world we now call “classic” was live music all the time, I think very often born from those who might be called “improvisations”. We know for a fact the improvisation tilt J.S.Bach, of N. Paganini, of all the musicians of the previous period to Bach and many others. Of course everyone “improvising” within its period with the influences of
their path and often through the stylistic rules of their time. Jazz, also seen in the history of music, is yet another musical expression in which improvisation has a vital role but here we have in most cases an improvisation with its structural and formal rules. For example, in the time of Bach the art of improvisation could express through the impromptu variations on a given theme, the proof is the very old Reinken that excites and moves feeling playing Bach in Hamburg in 1720 a series of variations on a chorale leading him to say “I thought that this art was dead. Instead, I see that lives
in you … “.
Basically what I want to say is that improvisation, conceiving this word with the widest possible sense, it is almost always that activity through which the ideas have an
important opportunity to “come into the world”. So often a theme of a symphony, an aria, a sonata comes to the world through an improvisation, a “mistake” … so in the end the improvisation has always been part of it. In my musical research improvisation is a soft ground, liquid, not clearly defined from which emerge more or less clear things, more or less done and from which we’ll have to be good at we see one organic being from an embryo. Even my record “D’Improvviso” does not want to be the manifestation of my compositional art, but is simply a series of paths.
The repertoire of “classic” now appears as a series of ivory towers powerful and perfect in a sense, as if everything had been born exactly like you see it as accomplished, but
of course, with minor exceptions, is the result of a process more or less tormented and workings of a continuous and constant times on some pretty clear ideas. Ideas for the note often born from “a small table intuitions” but just as often as insights “in
the hand tool.” Although jazz is encoded, as you say, except a few strands that take specific names like “free jazz” that often most jazz musicians stand apart among others. Contemporary classical “music” has in recent decades given rise to
movements like the one I mentioned the “free improvisation” going to get in another vein still being researched, and if we look at the ‘900 we find other movements such as the “aleatory music “I sincerely believe that in a sense part of my research is going to place between the aleatory music and free improvisation as sometimes some lines or very small issues we have just defined in starting them.
In today’s final the word “improvisation”, like many other words, it should mean a little ‘everything and a bit’ nothing looking at the long history that has experienced. And I avoided talking about the experience of the improvisational music of other cultures such as Indian and Middle Eastern.
Your record is very special, more reminiscent of a kind of “stream of Consciousness” that does not articulate a more defined project and presented .. so is there a risk of overloading listening with excessive repetitions and iterations which can move without an organic development?
The answer to this question may be “Yes. And then?”. In the sense that today we are obsessed in principle first of all to label what we hear necessarily having to put it into
a loaf rather than in another. By doing so we are first of all reassured by the fact that we know that we are listening to such a kind and not another, that we are part of a thing and not another. It is often an involuntary attitude that has been instilled in our time
from the commercialization of the music that must necessarily create circles calls with a name so that all fans can mettercisi in and buy more easily with the reassurance of being part of something definite from another (metal, rock, jazz, blues, pop, house …). Just think about it often enough to change a word in a definition to ensure that a listener not a priori exclude another kind (Rock’nRoll, hard rock, british rock, alternative rock, progressive rock, psychedelic rock …).
Secondly, above all arrived in this era, in this century, I have to ask “why should there be an organic development? Why I should avoid excessive repetitions? Why should I try to make sense of a socially acceptable music rather than worrying about the best
expression of what I need to express? “. The point then, regarding this particular record, is that “D?improvviso”
is a series of photos of my precisely sudden emotional flow taken through the language of sounds. It’s definitely not a composition, it is more like a declaration of love trivially expressed no time to think of poetry, a belly flop instinct in which the problem that if
it can be aesthetically “beautiful” or “ugly” I do not ask myself . The point and purpose are totally different from communicating and much more on expressing. Maybe … maybe it is a naive and sincere form of “uninteresting improvisational expressionism ” … random music soaked in a bit of romance …