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#SIDE ONE
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INTERVIEW WITH
DANIEL STUDER

​«Vedo che l’aspetto stilistico è sempre meno importante...L'esigenza di esprimersi, di comunicare, anche in un gruppo mi sembra tuttora il motore che spinge le persone verso la musica»

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«I see that the stylistic aspect is less and less important...The need to express oneself, to communicate, even in a group, still seems to me to be the engine that drives people towards music»
Born in Zurich in 1961, Daniel Studer lived in Italy for fourteen years, from 1981 to 1995, and is undoubtedly a musician accustomed to exploring and pushing the boundaries not only of his instrument, being an improviser of great depth, but also accustomed to open forms of sound fusion and multiculturalism.

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Nato a Zurigo nel 1961, Daniel ha vissuto quattordici anni in Italia, dal 1981 al 1995, ed è senza ombra di dubbio un musicista abituato a esplorare e oltrepassare i confini non solo del suo strumento, essendo un improvvisatore di grande spessore, ma è anche avvezzo a forme aperte di fusione e commistione sonora e di multiculturalità.
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"I AM A PEACOCK"
​ALBUM CONTEXT INTERVIEW WITH
PIERPAOLO RANIERI
​«Il disco è incentrato sul basso ma mi piaceva l’idea che potesse essere fruibile da tutti; inoltre rispecchia quello che sento io, non amo i dischi in cui c’è una prova dello strumento muscolare fine a se stessa...»
Pierpaolo Ranieri approda al primo disco solista con nonchalance, ironia, personalità e imprevedibilità. Il bassista romano, classe 1977, sforna un lavoro che coniuga l’urgenza espressiva del suo strumento con un senso della ricerca che caratterizza Pierpaolo anche nella sua notevolissima attività come sessionman (Paola Turci, Marina Rei, Massimo Ranieri, Diane Schuur, Matt Bianco, Tony Hadley e mille altri) e didatta (ricordiamo i tre volumi, imperdibili, di Bass Therapy).
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INTERVISTA A PIER MICHELATTI
​«Registrare non è come suonare live, in studio si sente tutto, la minima imprecisione viene amplificata, e anche se io preferisco un po’ di “sporcizia”, quello che consiglio è di applicarsi sotto quest’aspetto, cercando di mantenere però un minimo di qualità interpretativa, insomma, di non suonare come un basso midi...»
Collaboratore fondamentale di Fabrizio De André, parte integrante di dischi e progetti di nomi quali Enzo Jannacci, Vasco Rossi, Giorgio Gaber, Fiorella Mannoia, Adriano Celentano, Anna Oxa, Roberto Vecchioni, Loredana Bertè e tantissimi altri, Pier Michelatti è un bassista estremamente espressivo, con un approccio strumentale raffinato e potente al contempo. Turnista di rara intelligenza, Pier è uno dei musicisti che ha contribuito in modo decisivo all’emancipazione del basso elettrico in Italia, senza mai ricorrere a manierismi o involontarie clonazioni. 
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GETTING A GLIMPSE OF THE INFINITE WITH
"ONE OF THE NECKS":
INTERVIEW WITH LLOYD SWANTON
«Just the fact that you embrace a double bass like you’re putting your arms around a person - there’s nothing else like that. Acoustic has that lovely fat, woody grain to its tone, so that you can focus on just playing the right notes at the right time, and that’s usually enough for a given situation. Electric makes you have to think more about movement and activity»
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ALL THAT FOR JAZZ: 
​INTERVIEW WITH ATTILIO ZANCHI
Attilio Zanchi is an unlimited and creative artist being active since the beginning of the ‘70s. As a faithful partner of Paolo Fresu for many years, Zanchi can boast an infinite pedigree such as important recordings with Sheila Jordan, Bobby Watson, Garrison Fewell, Franco D’Andrea, Tony Scott, Tiziana Ghiglioni and many other jazz artists and not just it...
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INTERVIEW WITH STEVE YORK
​​A LIFETIME OF MUSIC INSPIRED BY THE LOVE FOR THE BASS FREQUENCIES
Steve York is a bassist with a really solid background. He’s the perfect partner for several musical contexts ans he’s definitely a musician who in a long and honourable career  has combined reliability with creativity, which is one of the rarest skill.  Steve has made available his bass playing to the very cream of UK and US rock; the pioneering  adventure together with Manfred Mann, his art-prog history with the unforgettable East Of Eden, three seminal albums along with Vinegar Joe the band which he shared with Robert Palmer and Elkie Brooks. And moreover his gold collaborations with Marianne Faithfull, Dr John as well as the great and always regretted Graham Bond...
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BORN TO "FIGHT" FOR THE MUSIC:
INTERVIEW WITH
​MAURO GARGANO
«The bassist is a figure who always continues to play, even if everythings stop. He looked like a compass to me which gave the direction to the music.  I’ve always seen him like a sort of quiet figure but he stood out also for his discretion and for his responsibility. We could consider it as a father figure....»
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A JAZZ ATTITUDE WITH A ROCK PERSONALITY  
​INTERVIEW WITH
INGEBRIGT HÅKER FLATEN
«I like to create surprising sounds of music with my groups and try to avoid the obvious path without it becoming forced» 
This is a really hard task to encompass a musician like Ingebrigt Håker Flaten in a specific genre as well as to associate him to a single group or music trend.
This Norwegian electric and upright bassist, born in 1971, is endeed one of the most surprising and avant-garde artist out there....The list of his collaborations is really impressive: they range from The Young Mothers to the incredible trio The Thing (with Mats Gustafsson and Paal Nilssen-Love); from the suggestive and overwhelming quintet Atomic to the Scorch Trio, together with Raoul Bjorkenheim and Frank Rosaly.
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A CONVERSATION WITH ONE OF THE MOST SOUGHT-AFTER BASSIST:
​INTERVIEW WITH
​NEIL STUBENHAUS
«Let’s face it, Jaco changed the world of bass. He changed it for me in a big way. I should also credit him for helping to make me confident enough to leave my upright in the closet. He was a friend and I cherished that lucky friendship. A Jaco, a Hendrix, a Brecker comes along once in a lifetime. I can't predict if there is more evolution to come, but anything can happen. Expression is individual, and in the ear of the beholder»
Neil Stubenhaus has played on something like a thousand albums, collaborating with some great stars like Quincy Jones, Gino Vannelli, Blood, Sweat&Tears, Tom Scott, Barbra Streisand, Larry Carlton, George Benson, Steve Cropper, Randy Crawford, Al Jarreau, Commodores, Julio Iglesias, The Isley Brothers, Dionne Warwick, Ute Lemper, Smokey Robinson, Natalie Cole, Burt Bacharach…The list is far from being complete. He’s able to enhance music proposals that are close to Adult Oriented Rock as well as to soul; he’s refined and essential in fusion context, accurate and implacable in rock music. 
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EXPLORING THE ROOTS OF JAZZ IN FINLAND:
​INTERVIEW WITH 
ULF KROKFORS
«Sometimes you hear people play the bass like it is a treble-clef-instrument and that is great. I love Miroslav Vitous for example! But in the music we try to do the bass needs to fulfill a more "bassic" role. Maybe not so many notes but instead strong own melodic lines. It is possible because our music is mostly very open harmonically»
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THE ART OF BASS  TOLD BY ONE OF ITS LEGENDS:
​INTERVIEW WITH
​MO FOSTER
«I sometimes get very depressed when watching YouTube videos of young bass-players trying to impress. They completely miss the point about the role of the bass: its function is to support the other instruments and to dictate the emotional content of the harmony above»
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LIKE A SOUND SCULPTURE SHAPED BY THE BASS LINES 
INTERVIEW WITH ADELHARD ROIDINGER
«In 1978 I met Jaco Pastorius at the Jazz Festival in Berlin and we became close friends after he heard me rehearsing on stage. He jumped on stage and said: «Hey Adelhard, what you are playing? I never heard those lines in the USA before». Since this time he always called me, when he was touring with Weather Report in Europe».
Surely we are faced with a great interpreter of double bass as well as a fine composer, who’s able to maintain his clear and recognisable signature style within the universal and multifaceted language of jazz.
Adelhard Roidinger is a model role as regards the dynamics of the instrument and he’s a leading figure in a kind of jazz landscape that we could define as romantic and expressionist...
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JUST BEHIND THE MYTHS OF JAZZ, THE STORY OF AN AUTHENTIC AND PRICELESS CAREER:
INTERVIEW WITH
​ENZO PIETROPAOLI
«There’s always something to learn and the thing I keep searching is not a “plus” but rather a “minus”; even there, we should aspire to be more in touch with ourselves, by overstepping the clichè and the patterns, and by accepting with love our limits so as to make them a distinguishing feature»
Enzo Pietropaoli is the historical memory of the Italian jazz. An not just of it: Enzo went into the substance of jazz in a multifaceted as well as clever  manner always inspired by his own restless and creative curiosity. He’s a skilled and very appreciable musician both on upright and electric bass...
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THE MUSICIAN OF “TWO WORLDS”:
INTERVIEW WITH
​MARK WADE
«The more I  listened to jazz, the more I realized that if I was to be able to participate in this music I was going to need to approach it as a double bass player»
Directly from New York City, Mark Wade’s debut solo album, Event Horizon, has been the first and successful step to international fame, and it gained the unanimous approval of critics and audience. As a jazz musician with a launched career in classical music and clearly  as a composer, Wade has proved to be one of the most distinctive voices as regards the transversal communication between seemingly distant musical universes. 
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A RISK-ORIENTED CAREER:
​INTERVIEW WITH STEUART LIEBIG
How would I define my bass playing?
​I used to think of electric bass as a combination of double bass, guitar and a drum. A while back, I add cello to that list. I guess that might set up some of the concept. 
Steuart Liebig is endeed a musician who doesn’t gravitate towards a single area,  even if for convenience (not of his own!) he is usually associated to a kind of avant-garde that is closely related to jazz. Clearly, this is a too restrictive definition of his work as well as of the intentions of the artist, also looking at his own peculiar sound on 6-strings bass and his approach respectful of the tradition – not only jazz – but highly risk-oriented, given how many times he’s engaged in recordings and solo performances. 
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