This music is about our subterraneans. The place and its citizens.
The place is our internal life, about being open to a sincere and fearless dialogue with ourselves, about accepting the risk to meet presences we’re not prepared to face.
It is about not being afraid to live in dark places, it is about the gentleness of delicate shades, it is about sensitivity becoming strength.
Subterraneans has been recorded while I was living by the lake Garda, in Salò. It has been my first solo album and it is composed by recordings collected between December 1999 and February 2002.
It was the first time I published what I used to call “private music”, the music I have been making alone since I began to play and that I thought nobody would have been interested to listen to.
While playing in bands I always have been keeping a sort of secret side activity in which I was using a completely free form, keeping exploring in the direction of the real view that made me begin to use an instrument: emotional properties of sound.
It has been recorded with very simple tools: a couple of songs have been recorded on a cassette recorder in direct stereo, then I moved to a Roland something and finally to digital recording via a computer using Acid software.
One of the great remembers about this album is bringing me to the meeting with Markus Stockhausen, with whom I was in contact just after the album had been published. When he listened to it he told me “a trumpet would be very nice on this music”.
This surprising and generous sentence made me shivers and brought to experiences I had never expected: being invited to the Suoni delle Dolomiti festival to play with him, with Tara Bouman, Deborah Walker, Andreas Polyzogopoulos and Davide Ferrari.
It has been the beginning of a beautiful friendship and long collaboration who brought to many concerts together and to the Flowers of Now project and its live album.
The first two tracks I composed for this project are “Su me” and “Gio’s Lake”; as you can hear, they have been recorded on a common stereo tape, with no overdubs or editing. They represent the “urgence” there was behind the need of music.
One important thing that fed and encouraged the beginning of this project has been meeting Roberto Zorzi. This meant to be exposed to the american and european improvising scene. Until that time “improvisation” was just a sort of composing mean I had been using since the beginning of my musical life; I had no idea there could be a whole world gathering around of it.
That step was important to find a self-consciousness of my musical identity. Improvisation is – still now – for me nor a method, nor a faith; it is an explorative method and, more often, a strategy that allows me to reach a very deep contact with myself and meet the unexpected.
Meeting and sharing time and music with some of the most important improvisors has been a great human and creative experience that gave me energy to dive deeper into my language.
This cd marks a new beginning.
As you can see, on this website there’s almost no trace of my musical activity together with the bands I had before 1999, the year when I left all of them.
Subterraneans is gathering the feeling of my first solo recordings (The Room and Solo Works) and is somelike the real me coming to surface. I had played this kind of music since 1984 but I never thought there could be a place for it, so I kept it as “private recording”.
Originally, the first title I thought for Subterraneans was “a life from the inside”.
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