, which was my first concert of jazz. I was 24 at the time, playing guitar for just two weeks, and I didn't understand a single note in the nightI didn't even know what happenedso I told to myself to go deep into that to try to figure it out. And then I fell in love with jazz.
Your sound and approach to music: My approach to music is simple, I try to do my best every day, I try to learn something every day and being late, due to my path to it, I practice as hard as I can. I put all my emotion into it because I think that energy and a great heart are very important. Concerning the sound, my research is to find my own voice; if someone can recognize me, the I've succeeded.
Your teaching approach: I don't have a standard philosophy, I think that every student is different and my goal is to let him/her express the inner voice. A student has to find his/her own original approach on the instrument. Obviously I have my suggestions, especially concerning the harmonic approach on the guitar to take advantage in the best way. Too often a guitarist is similar to a saxophone so I think we have to develop a strong harmonic sense.
Your dream band: Hard to say. I had the fortune to record with some of my heroes, and I will do again soon in November with Peter Erskine. I have some artist that I love involved in my projects, I see regularly some of them, I can mention Joe LaBarbera. But if I really have to make a choice I will say Wayne Shorter.
Road story: Your best or worst experience: I can't say anything about this, I'm too new in the business to have a lot of stories, I consider a great experience everything coming to me. I would love anyway, sometimes, more respect for the artists by the audience, especially in the clubs, sometimes it's too noisy.
Favorite venue: Holland tour, in general, last year.
Your favorite recording in your discography and why? There are many. Speak no Evil (Shorter)-because it contains the first song I ever played in a jazz gig, "Witch Hunt." Kind of Blue, by Miles Davis
What do you think is the most important thing you are contributing musically? I think I bring my personal vision of jazz writing a lot of original music and putting into it my life experience. I'm truth to it any time and I show my feelings in any songs. If you're not scared to show who you are, that's jazz for me.
Did you know. . . That I was a professional soccer player (football for Europeans).
CDs you are listening to now: Joe Diorio, Tribute to Jobim (RAM Records); Simone Gubbiotti,Sinergy (ART); Keith Jarrett
, all records; Tomo; Pat Metheny, Day Trip (Nonesuch).
Desert Island picks: Simone Gubbiotti, Tracce di Eoni (Comar 23); Simone Gubbiotti, Essenza (Sonikrecords); Simone Gubbiotti, Sinergy (ART)these are albums I made, the tracks I leave to the world.
Miles Davis, Kind of Blue (Columbia); Wayne Shorter, Speak no Evil (Blue Note).
How would you describe the state of jazz today? Hard to say, I think that there is a lack of interest for the new projects and too space given to big names only because they are famous and they sell. There is a lot of business and less interest in the artistic side, in the creative process and fear I add to invest in the new generations.
What are some of the essential requirements to keep jazz alive and growing? Believe in it!
What is in the near future? I just finished writing my new album, dedicated to my best friend, who died two years ago, and I just made the booking to record it In Los Angeles with Peter Erskine and Darek Oles. It's a very emotional project. I'm working also to the next Italian tour with my Hammond combo with Walter Calloni on drums and Alberto Marsico on organ, and I plan to sign a contract with a European management agency at the end of the summer.
If I weren't a jazz musician, I would be a: No idea honestly but, knowing myself, I think I would created my own company.
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