When did you start to play guitar and why? What did you study and what is your musical background?
I started to play guitar for fun. Along with other friends, all students, I decided to form a band to play the music of our heroes (Gun’s Roses, Nirvana, Alice in chains ..). Gradually, the love for the six strings took possession of me and I decided to start a more serious study of the instrument. My first teacher was the Italo-Swedish musician Lute Berg. When I was eighteen I moved to Rome, where I graduated at University of Music and at the same time I graduated from DAMS with a thesis on the evolution of African-American people in the US society. Later it was the turn of Bologna city where I still live today, I enrolled at three years of jazz class, but I did two years only and then I left and I got a degree in music education in Florence. My musical educational studies owe much to the figure of the teacher Bruno Marazzo I consider him my true master, thanks to him I had a growth both musically and personally.
With that guitar do you play and with what you played?
The guitar I use are a guitar luthier similar to Klein built by a luthier of my city, Marcello Morrone, and a semi-acoustic Joe Pass.
Your Trio sees you playing with Carlo Cimino on bass and Francesco Gregorace on drums, How long do you play together? Your latest album “Pictures of Moments” shows a perfect interplay …
I have played togheter with Carlo and Francesco for several years even if without continuity because each of us lives in a different city. However, despite the distance it has been created between us a great harmony that goes beyond music. Let’s say that each of us has a well-defined and different personality. This means that we compensate each other, and you also feel in our way of playing.
How did start the idea for your latest CD “Pictures of Moments”? Why the choice of Improvvisatore Involontario as your record company?
Pictures of moments was born in 2014 summer after one of our concert. I had some new songs written for the trio and at the same time I had the possibility to use a theater for ten days, so we took the ball and we were locked up in this evocative place to rehearse and record my songs . It must be said that the entire album was recorded in this theater thanks to the desire and the patience of our friend and sound engineer Alberto La Riccia that led his studio Mobile in this theater.
The choice of Improvvisatore Involontario lies with both for the respect that I have in regard to this collective of musicians and because with Carlos in the past we recorded a disc with Francesco Cusa one of the founding members of the collective.
What were and are your main musical influences? How do you express your “musical form”, whether you’re playing “solo” both with other musicians? Do you draw up a “form” default making adjustments when necessary, or you let the “form” itself to emerge in different situations, or exploit both creative approaches?
The construction form of my songs starts by a precise idea written on the score. Usually when I write a song I try to define and write also parts for other instruments. I have to say also that once the song is prepared I leave space to intuition and to improvisation of the musicians who accompany me. However, despite this “classical” approach in my way of making music I leave much room for improvisation, since I consider it the life-breath of the music that can give vitality and force to written ideas.
I sometimes feel that in our time music’s history flow with no particular interest in its chronological course, in our music library before and after, the past and the future become interchangeable elements, could this be the risk for an interpreter and a composer of a uniform vision? A “globalization” of music?
A discourse about chronological evolution of music to be identified in the social context in which it was born. I do not believe about risk of musical globalization as a negative thing indeed returning to the concept that I have expressed previously, ours is a globalized society and the musician expressing this totality does not reduce music to a uniform view but rather a union of different plays and different cultures . When I am going to to perform a song, let’s say a standard, I unconsciously bring the influence of all the earlier version, but this mixture made paradoxically makes me find my own way, a kind of puzzle from which to go out and then return.
There five essential records for you, always have with you .. the classic five discs for the desert island ..
The famous 5 discs …. I do not know, every time I change my mind on them. However I would say: OK Computer Radiohead, Time Remembered by Bill Evans, Gefion Jakob bro, Are You Experienced by Hendrix, Au clair de lune by Debussy.
The blog is also read by young students and graduates, what advice would you give to those who, after years of study, decided to start a musical career?
The advice I can give to those who have gone down this difficult path is to always believe and remember why you started playing.
What are your next projects? What are you working on?
I am now concentrating on writing new songs for my next album as a quartet, I think I add a sax over the trio guitar, bass and drums. We will see what will happen.