Francesco Bigoni: A Long Love Affair with Siena Jazz

On the occasion of the fifty-fifth edition of the Siena Jazz summer seminars, we met with saxophonist Francesco Bigoni, the new artistic and didactic director of the National Jazz Academy of Siena. With a long trajectory as both student and educator at Siena Jazz, Bigoni reflects on the institution's evolution, its unique approach to jazz training, and his vision for the future.

Siena Jazz: More Than a Festival or a School

All About Jazz: Siena Jazz is a reality that most European jazz lovers have heard of. However, I think not everyone fully understands exactly what it is. Some think it's a festival, some a seminar, some a music school.

Francesco Bigoni: That is understandable. Siena Jazz has evolved over many years, expanding and changing its shape multiple times. I first attended in 2000 as a summer seminar student. I was very young, and Siena Jazz was already a key institution in the national jazz landscape. At the time, there were few jazz training centers in Italy. Conservatories offered jazz courses, but they were traditional, with limited enrollment and available only after completing classical studies. Teachers like Tommaso Lama, Paolo Damiani, and Franco D'Andrea were part of these courses, but they were niche paths, mainly focused on composition and arrangement.

I wasn't interested in classical training, so —encouraged by one of my saxophone teachers —Siena Jazz became my outlet. By then, the seminars were already around their twentieth edition, offering the possibility of learning from top figures of Italian jazz like Enrico Rava, Paolo Fresu, Gianluigi Trovesi, Franco D'Andrea, Stefano Battaglia... Two weeks in the Fortezza Medicea, our still-current headquarters, in a format similar to today's. The period is now shorter, but the spirit remains: a full immersion with a strong communal character. It's what convinced me to become a musician.

Siena Jazz was born from an intuition by Franco Caroni (founder of the association who passed away in January 2024—Ed.), initially as a grassroots seminar. Over time, Caroni secured funds to establish more permanent structures: summer seminars, a popular music school, and, eventually, permanent training courses. Fifteen years ago, Siena Jazz entered the AFAM system (Italy's higher education for music), obtaining accreditation for academic courses. Today, it's a private institution under public oversight, offering legally recognized diplomas equivalent to state Conservatories: three-year courses, two-year advanced courses since 2019, and a research doctorate since last year.

Preserving the Original Spirit

AAJ: Despite this "institutionalization," it seems the original spirit has remained intact.

FB: Absolutely. Much of the energy and historical memory remain. Even our academic courses were designed by Franco, in consultation with the teachers. The full-immersion approach persists: intensive modules where students spend concentrated periods together. Physically demanding, yes, but the communal and artistic impact is huge. Many ensembles and recording projects have emerged from these courses, benefiting from our late hours and flexible setup.

AAJ: Siena Jazz recurs in virtually every Italian jazz musician's résumé. Would you say it's unique in Italy?

FB: Given our history and the community-based development, yes. Few Italian institutions have this radical, intensive teaching structure. Abroad, we do look to other jazz schools, but even major conservatories in Amsterdam, Berlin, Copenhagen, Oslo, London, and Paris operate in very different systems. Siena Jazz's uniqueness lies in its bottom-up foundation, later integrated into the AFAM system—a rare feat.

AAJ: Jazz often seems to address an older audience. How can you revitalize the scene?

FB: It's a challenge. As educators, we can rejuvenate ensembles and, indirectly, audiences. At Siena Jazz, attracting young practitioners helps form a listening public who attend concerts and bring friends. But in Italy, musical education at the compulsory level is still limited, so the process often begins at the university level. Opportunities for casual jazz listening have also decreased due to fewer clubs, making festivals more intentional rather than spontaneous encounters.

Artistic and Didactic Direction

AAJ: Since becoming artistic and didactic director, how have you approached your new role?

FB: I inherited Franco Caroni's multifaceted role. I coordinate study plans, teacher selection, and occasional artistic collaborations. I'm also building a team of teachers to delegate responsibilities and embed them more organically in school operations. Handovers are always difficult; replacing a strong figure leaves a void. Compared to my predecessor, Jacopo Guidi, I bring a different skill set—more of a musician's perspective than a promoter's.

AAJ: This year's seminars opened with a round table on the gender gap and a concert themed on peace. It seems Siena Jazz aims to educate musicians about their societal role.

FB: Precisely. We hosted a symposium on improvisation, hybrid workshops, performative interventions, keynotes, and concerts like Franco-Norwegian group Dans Les Arbres and Rezo Kiknadze. Inclusion and gender equity aren't just institutional requirements—they're civic responsibilities. Siena Jazz fosters dialogue on these issues alongside music training.

AAJ: How does Siena Jazz interact with its local community?

FB: Basic training and pre-academic courses are closely tied to Siena. Academic courses attract students more broadly. Summer seminars offer the most city visibility. We also collaborate with local institutions like the Chigiana Academy and the Franci Conservatory, co-producing concerts and sharing projects. Siena Jazz ensembles perform regionally, enhancing cultural exchange.

Balancing Teaching and Performing

AAJ: Can teaching and performing coexist for you as a musician?

FB: Siena represents a major commitment. I'll reduce teaching slightly but will not stop, as it enriches my music. Protecting time for research and artistic creation is crucial, while teaching provides an essential exchange that deepens my musicianship.

AAJ: What projects are you working on?

FB: I'm leading the Franco-Italian quartet Weave4 with Francesco Diodati, Benoit Delbecq, and Steve Arguelles, with a self-titled album released by Parco della Musica and another upcoming. I also have a trio, Hands, with Mark Solborg and singer Alut Kühne, integrating live sampling via a custom interface I built. It's performative and interactive, challenging traditional notions of control, and we're planning multiple releases and live performances in Italy, France, and beyond.

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