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#SIDE ONE
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INTERVISTA A
HELLMUT HATTLER

​«There are different hearts beating in my breast, concerning instrumental music and songs (which is nothing new, if you look at the work of KRAAN). But the (electronic) tools changed a lot in the meanwhile and that’s why the result sounds different - and excitingly new to my ears»
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INTERVISTA A
RED CANZIAN

​

«Il basso fretless ha un suono che mi affascina… la prima volta che lo sentii fu in un club di New York, dove suonavano appunto i Weather Report. Era il 1977 e non capivo come facesse Jaco Pastorius ad ottenere quel suono… ma siccome facevano due set, nella pausa mi avvicinai al palco, e toccai la tastiera del suo Fender Jazz e di colpo fu tutto chiaro»
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INTERVIEW WITH
GERRY MCAVOY

​«...there was a unique telepathy between myself and Rory (Gallagher,  Ed.). I could read what he was about to play and vice versa. I always thought the bass would be the foundation of a Three-piece sound. So I liked to play as far down the neck to really get those big fat notes to underpin what Rory and the drummer were playing. I think it worked...»
.......
​«...c'era quindi una telepatia unica tra me e Rory (Gallagher, NdR). Potevo leggere quello che stava per suonare e viceversa. Ho sempre pensato che il basso sarebbe stato il fondamento del sound in trio. Quindi mi piaceva suonare fino in fondo al manico per ottenere quelle note grandi e grosse per sostenere ciò che Rory e il batterista stavano suonando. Credo che abbia funzionato...»
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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»

                                               .....

«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.

                                                ........

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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A VISIONARY BASS WITH AN INTIMATE AND UNLIMITED SOUND:
INTERVIEW WITH MARK EGAN 
«When I joined the Pat Metheny group in 1976 was the beginning of the real developmental period when I started to play fretless bass. I realized that the instrument was so expressive and that a melody or bass line could be played countless ways with different nuances around the notes. I realized that the bass is a very vocal instrument»
Mark Egan has been a musician of sublime stature with Gil Evans, a key member of the first Pat Metheny Group (together with his mate in Elements band, the drummer Danny Gottlieb), we can find Mark on the best jazz, fusion and pop recordings in a space of 30 years at least of great music, by playing with Michael Franks, Steve Grossman, Jackie McLean, David Matthews, Lew Soloff, Arcadia and a thousand others. 
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THAT'S WHEN PROG AND JAZZ COEXIST IN A SPIRIT OF GROOVE AND ELEGANCE:
INTERVIEW WITH
LORENZO FELICIATI
«Sometimes you can express the great possibilities of the bass when you stop playing it: and when the bass suddenly starts again to play, it all makes sense, even if you only play two single notes!!»
His own powerful sound, his ability to interact in ensamble and to develop the groove of its bass in the most complex ravines of the sound in addition to his fine (even "pop" when it serves) sensibility, those are all things that make Lorenzo Feliciati a really appreciated musician as well as an ideal partner.
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FINE CUT TOBACCO, A BLEND RICH OF SOUNDS WITH A STRONG TASTE:
​INTERVIEW WITH
​ANTHONY LÉTÉVÉ 
«Fine Cut Tobacco is a really personal project to me because each song tells a story of my life, or talks about my world’s vision. It took me a lot of time and a lot of energy to make this project concrete but I feel that I’ve accomplished something important for me, as an artist, not just as a bass player»
The most impressive thing is the perfect interplay between the musicians, an affinity in sound which has its roots in a community of artistic visions as well as of a shared emotional background, an aspect that according to the trio's leader Létévé should be the cornerstone for the creation of the group’s sound, especially for its eclecticism.
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#SIDE TWO
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INTERVIEW WITH MICHAEL WEDGWOOD
(CARAVAN - CURVED AIR - WEDGWOOD BAND)

«I greatly respect a lot of jazz bassists, plus any others who do something new inventive and exciting.
I’m not a pull and slap bass player, and sometimes I think too much solo bass can be too much solo bass, but of course I admire very much some of the “solo” bassists that have appeared in the last 20 years»

For anyone who wants to approach the electric bass in a vision related to the perfect blend of progressive rock, classic rock and even jazz, there are bassists who cannot be overlooked, and who represent a piece of history (and what a history!) of our favourite instrument.
One of these ones is Michael Wedgwood, an English bass player, born in 1950, who played in the ranks of legendary bands such as Caravan and Curved Air.
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INTERVIEW WITH

​RONNIE PARKES
(BONFIRE)
​
«The bass is such an amazing instrument. When writing the songs the bass can totally change the feel of the song and make it anyway the bass dictates. Just the simple fact of playing quarter notes, half notes, triplets, sixteenth notes will completely make the feel and groove of the song»​
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INTERVIEW WITH 

CHRIS LAYHE
(THE ICICLE WORKS)
​
«I love the bass guitar and find it a very creative instrument… the less strings the more innovative you have to be!»
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INTERVIEW WITH 
MICHEL VALLÉE
(MORSECODE)

«Every instrument is also very important… They all becoming ‘’leads’’ instead of being in the back like in the pass backing the singer… That’s why bass has a very important role and in prog music it’s becoming a lead instrument with its different ‘’run’’ and melody…»
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INTERVIEW WITH 
OVE HUSEMOEN
(TNT)

«I´m a romantic so I look backwards to gather inspiration. I feel it is unnatural to hook up with someone that sounds like oneself. The goal must be the opposite. You have to cultivate your own sound»
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INTERVIEW WITH RICHIE RANNO ​

​«Peter Scance was an exceptional player in the Billy Sheehan style and it shows on the first Hellcats album. George (DiAna, ndr) is great – we have been playing together for over 15 years. It’s always a pleasure to get on stage with him.... »
​Starz are a legendary band not just for hard rock enthusiasts. ​The guitarist Richie Ranno is the commander of this authentic institution. ​​
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INTERVIEW WITH JOHAN NIEMANN
(​EVERGREY)
​
«You know, the bass just followed the guitars. 
But through guys like Billy Sheehan, Justin Chancellor and Rex Brown the bass is allowed to take up more space, sonically and musically»
Johan Niemann joined Evergrey in 2010 by taking over for the outgoing Jari Kanulainen. Niemann is a really solid musician coming from many years of militancy in glorious Therion as well as in the very interesting Mind’s Eye; he finally represents a remarkable cornerstone for the great Swedish band mentioned above. 
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REVIEW AND ALBUM CONTEXT
​INTERVIEW WITH
MATS KARLSSON
(220 VOLT, THE SUMMIT)
​
THE TIME OPTIMIST
GerMusica Promotion 2019​
«I will definitely do more solo stuff, I have actually already started putting some stuff down...»
This is the first solo album for Mats Karlsson, who has already been the guitarist from legendary 220 Volt. We can say without hesitation that The time optimist opens with a fabulous track of pure classic hard rock called “Bumping along” on which power as well as the clear sound dominate. For this work Mats asked the collaboration of his brother Ulf on keyboards, the first 220 Volt’s singer Christer “Frille” Åsell, the drummers Peter Hermansson (220 Volt), Björn Höglund (already with Easy Action) and Mike Ajax, while on bass there are alternately Nalle Påhlsson (Therion, Treat, Easy Action) and Lars Ericsson (playing on Walking in starlight of the native band 220 Volt).
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THE PUMPKIN BASS REVOLUTION:
INTERVIEW WITH 
MARKUS GROSSKOPF
(Helloween, Bassinvaders, Shockmachine)
​
«I always felt the bass in the music I was listening to even before I started playing bass. For me it was such a natural thing for some lucky reason»
Helloween are a living legend of power metal and clearly of the heavy scene as a whole. And their bassist Markus Grosskopf is a legend, too. He’s a really skilled musician with an excellent technique as a tightrope walker on his instrument but never just scenic...
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NEVER SETTLED FOR ANYTHING LESS THAN YOUR OWN INDIVIDUALITY:
INTERVIEW WITH FELIX ROBINSON
​
«The bass can drive the energy, put power into the momentum of the arrangement, and solidify the whole musical theme behind the vocals. But very often, bass parts are established by songwriters early in the process to be just support for the keys or guitar, and left alone thereafter.   Whenever possible, I will find the approach that enhances the composition»  
  Felix Robinson shall be regarded as a true and proper legend of electric bass. When he joined Angel band from the fourth album on (White Hot, 1977) in order to replace Mickey Jones, Robinson immediately proved his excellent stylistic as well as technical skill, by providing a valuable contribution to the group.
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PLAY BASS UNTIL YOU DROP: INTERVIEW WITH JOHN GALLAGHER
​FROM LEGENDARY RAVEN
​
«I love guitar and learned alongside playing bass.. but something about bass really resonated with me..I could hear the way the bass could change the whole key of a piece and the melodic lines of players like Jimmy Lea of Slade..Gary Thain of Uriah Heep… Andy Fraser of Free (just to mention a few) were very inspiring to hear!»
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FIRE THROUGH THE STRINGS:
INTERVIEW WITH
ALEX MASI
​
«I adore bass and I adore the skilled bass players! I was fourteen and I was mad about Chris Squire from Yes, I sometimes realized to give more attention to the bass than other instruments… the connections, the rhythm, the harmony and melody… the bass (when it really works) is the sexiest part of music… this is the same for the classical music where the counterpoint draws spaces, perspectives, lights and shadows...»
Alex Masi has never played bass just as a filler – which seems to be a normal practice among some guitar heroes, often with no particularly interesting or important results - indeed he focused his performances not on the colour but on a powerful expressivity...To his further credit we must mention his two beautiful trio works along with the late and still tragically underrated Randy Coven and the very strong drummer John Macaluso, who’s the rithmical omnipresence as regards heavy metal. 
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CLOVEN HOOF, A MODEL OF THINKING MAN'S METAL:
INTERVIEW WITH
LEE PAYNE
«I play rhythmically and melodically but hopefully with taste to fit the dynamics of the song. I love how a bass controls a musical piece with how it drives or holds back, it is a science really and you never stop learning new things»
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THE INSTINCT OF GROOVE:
​INTERVIEW WITH
JOEY VERA
«I learned early on that players should play with attitude. Mean it. Just do it. But do it with passion and attitude [.....] 
For me it's always been about groove. If you groove, you're alright by me»
 
Our passion for Harmored Saint has begun  with the release of their first legendary EP in 1983. So for thirty-four years  we have been familiar with Joey Vera’s name as well as with his nervous, strong and elegant bass that is virtuoso without resorting to the usual tricks of the trade.
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AVANT-GARDE, THAT’S THE WATCHWORD. INTERVIEW WITH STUART DAHLQUIST
«It's important to avoid any preconception of what might be said in future criticism, not allowing the fear of acceptance (or lack of) to influence the music»
Stuart Dahlquist is one of those artists who can’t be part of a conventional pattern. In other words, he can’t be associated – easily and lightly – to a delimited genre with its own stylistic guidelines as well as its own orthodoxy. There’s indeed a magic word useful to describe quite adequately his own approach to music: that’s avant-garde. 
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THE DEMIURGE OF THE AVANT-METAL:
​INTERVIEW WITH
​COLIN MARSTON
«The balance finds me,
​I don't necessarily find it, but I love the variety.....»
Colin Marston is one of those artists who give the idea of being a perpetual motion: you can’t miss a thing that then you find him in ten new albums as musician, producer or sound engeneer… And he's always able to invariably provide the miracle of quality. Colin Marston is the leader of the avant-metal project Indricothere but he’s also the author of the extraordinary bass sections performed together with the amazing Dysrhythmia, as well as with reunited and powerful Gurguts 
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THE RETURN OF THE "VORTEX":
INTERVIEW WITH RON ROYCE FROM CORONER) 
​
​«The compact sound and the alchemy of our playing, I think is mostly a result of many years of practicing and rehearsing together for hours every single day with adamant discipline and extreme dedication, which are two indispensable qualities to achieve most goals in life»
I've been waiting for a Coroner's album since 1993, which is the year of their last studio album called Grin. From my conversation with Ron Royce, the fantastic bassist and singer of the great swiss band, I assume that there is real hope of finding again a group that I madly have adored during thrash period but who felt unconfortable within the boundaries of styles, as they're way head of them. They were too advanced. Their technical quality was so remarkable that any pre-packaged suit could dress them properly. Metal and technical thrash were the core concept, but from that central node came out a little bit of everything, with a futurist and avant-gardist approach that was able to join powerful and complex riff with glacial settings, as well as the biggest band's cover (Hendrix and Beatles) and slow anthems, which seemed to wonderfully cover you as dark capes.
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 SCREENSHOTS OF OUR ROSTER

  
TWINSCAPES

"A MODERN APPROACH TO THE DANCEFLOOR"
RARENOISERECORDS 
2018
  MARK WADE TRIO
​
 "MOVING DAY"
  EDITION 46 - 2018
JAMBALAYA 37​

"COOKING GROOVE"
​2018
JAMES ROSOCHA

"AVALON"
​2017
JOE BOUCHARD

"PLAYIN’ HISTORY"
​2017
  LORENZO FELICIATI
​
 "ELEVATOR MAN"
  RARENOISE RECORDS - 2017 
  DARIO GERMANI
​
 "TO SKY"
  ​GRM RECORDS- 2017 
LUCIO MANCA

"AN OLD MAN’S SAD STORY"
 2017
FRED CASADEI
​
 "LOVE IS A MISTERY OF WATER AND A STAR"
SETOLA DI MAIALE - 2016
TELESCOPE ROAD

 "TELESCOPE ROAD" 
​2017
HAIKU FUNERAL 

"HALLUCINATIONS"
AESTHETIC DEATH RECORDS
(2016)
FRANCESCO PONTICELLI
QUARTET

​KON-TIKI (2017) 
...........
​
ELLIPSES (2014)
TǓK MUSIC
ROBERTO BONATI -
BJERGSTED JAZZ ENSEMBLE:
 
"NOR SEA NOR LAND NOR SALTY WAVES –
A NORDIC STORY"
 (PARMAFRONTIERE 2016)
SAM COCKRELL AND THE SCB

"TRYING TO MAKE A LIVING PLAYING MY GUITAR" 
MARCO SERRATO

EL CAPITÁN SALIÓ A COMER​.​.​.
ALONE RECORDS ​(2016) 
FINE CUT TOBACCO TRIO

"RAINING NOTES"
MARK WADE TRIO

"Event Horizon"
(Edition 46 Records)
AGATE ROLLINGS

"DIOMEDE"
(DATABLOEM 2016)
DARIO GERMANI

"FOG MONK"
(GLOBAL RESEARCH MUSIC 2015)
ABC
​
"THE LEXICON OF LOVE II" 
EMI (2016) 
TITO MANGIALAJO RANTZER

"DAL BASSO IN ALTO"  
 (SOLISTA RECORDS 2014)
BROKEN DOWN

“THE OTHER SHORE”
​(Altsphere 2016)
​VIRIDANSE

"VIRIDANSE"
(Fonoarte-Danze Moderne 2015)
POLTERGEIST

"BACK TO HAUNT"
PURE STEEL (2016)
"JAZZ GOES JAZZ": INTERVISTA A TITO MANGIALAJO RANTZER
Tito Mangialajo Rantzer preferisce (da sempre) la musica alle strizzate d’occhio. E come per giusta magia, è questo sentimento integerrimo a rendere la sua proposta fresca e “leggera” come il vero jazz sa essere

 START FROM
THE BASS

​
​RITRATTI DI BASSO 
​
OMAGGIO A MARCEL JACOB
EROI PERSONALI: BENJAMIN ORR (THE CARS)
L'IBRIDAZIONE DEL SUONO TRA IMPROVVISAZIONE E RICERCA: INTERVISTA A GIOVANNI MAIER
HYBRIDISATION OF THE SOUND BETWEEN IMPROVISATION AND RESEARCH: INTERVIEW WITH GIOVANNI MAIER
IL FASCINO DELL'IGNOTO CHE SFIDA CATEGORIE E DEFINIZIONI: INTERVISTA A JEAN-PAUL CELEA
THE FASCINATION WITH THE UNKNOWN THAT CHALLENGES BOTH CATEGORIES AND DEFINITIONS: INTERVIEW WITH JEAN-PAUL CELEA
STEFANO CERRI
"LOW" ALIEN: DAVID BOWIE VISTO DAL BASSO...
​ELETTRICO  

COME IN UN NEGOZIO DI DISCHI/
​LIKE BEING IN A RECORD STORE

UNA CHIACCHIERATA SUL POST-PUNK INSIEME A FLAVIO GEMMA (VIRIDANSE)
​A CHAT FOCUSED ON POST-PUNK TOGETHER WITH VIRIDANSE’S FLAVIO GEMMA 

 INDEX


​RITRATTI DI

BASSO
​

PORTRAITS OF

BASS
«You can always tell when the groove is working or not»​

PRINCE R.I.P.






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