— You play bass guitar and double bass. Why did you choose these instruments?
— I heard Zucchero Sugar Fornaciari's Oro Incenso e Birra when I was a boy of twelve. Polo Jones' deep sounds came as a revelation. I had been playing the piano at the time and was trying my hand at the violin, but when I heard the record I saw that the bass was my destiny. I played bass music on father's acoustic guitar before he bought me a real bass. I switched to double bass, however, when I went to conservatory after school.
— Do you prefer bass or double bass now?
— When I play with a band, I prefer the double bass, with its unique sound. But for solos, I like the bass guitar. It allows me to open myself up completely as a musician. With the guitar, I can express through music whatever I want. Unfortunately, I don't have the technical capability to play the same way on the double bass, and I change instruments while playing, when I feel it necessary.
— Was it hard to attain such perfection with the bass guitar?
— Not at all! Nothing is difficult when you really want something, especially when you devote all your time to music. I was lucky to have this opportunity. It was my father's dream to have a musician in the family. He played the guitar in several bands in his time. He decided that I would become a professional musician when he saw me trying to play the piano at the age of five. There was no way to pull me off the instrument.
To tell you the truth, the bass is among the simpler instruments. I've seen young children playing better than me; they have no problems even with the thick strings. (Laughs) I heard Victor Wooten was a child prodigy.
Things are not so simple with percussion. But have you heard of Igor Falecki? He is just 11 years old, if I am not mistaken, but if you listen to him drumming with your eyes shut, you'd never say it's a child's music.
— Many think there is a magic in the Italian climate that encourages the perfection of the musical gift. Did this help you?
— No. I don't think climate matters at all. What matters is the environment. Take Brazil. It has its jazz samba, especially in Rio. If you live there, you breathe that music. Naturally, you understand it and can perform it.
We don't have anything like that here in Italy. There are lots of pop, but only snatches of jazz. It isn't broadcast on the radio or TV. The United States has special jazz, gospel and soul TV channels. Here, you have only what you can find on your own.
Many people have told me I have an African soul. I really love their music and try to play it, though with my own flavor. But then, they have it in their blood, while I am something like a vampire.
— When did you realize that you are a celebrity?
— Me? You must be mistaking me for someone else. (Laughs)
— What does it mean to you to be a jazz musician?
— It's hard to be a jazz musician, so I am just a musician.
I recently played with a band in a Christmas concert for TV. I had to play something dreadfully primitive, just one note. That was hard! But a job is a job.
It's good to be a jazzman: it gives greater opportunities. To me, jazz is a language in which I communicate with other musicians. Thanks to jazz, I have worked with such great men as Alain Caron and Hadrien Feraud.
— Are you pleased with your career? Does the life you have chosen satisfy you, or would you like to change something?
— I would like to play only what I want: something like pop-jazz or gospel, but this is impossible here in Italy.
I would also like to go to the United States and see what I can do there. I'm not sure I'll be successful there, but we shall see.
I have turned to a solo career. I sweated for television for ten years. Now, I work only for myself. In 2009, I tried to become popular on the internet so as to play with other musicians all over the world without leaving home. I achieved something, sure, but there's a lot of work ahead.
— Do you know Russian jazz and Russian music in general?
— Of course I do! Your musicians are fantastic! I adore Anton Davidyantz — he's superb! I also know Valery Stepanov. He's excellent on the keyboard. As for Fyodor Dosumov, I think he is one of the world's best on the guitar.
On the whole, I think Russians make quality music rich with unique cultural echoes.