Fabrizio Bosso master cla at saint louisFabrizio Bosso it's jazz. And he is unanimously considered, internationally, one of the greatest musical talents of our times.
Child prodigy, he began playing the trumpet at five years old and has never stopped since then, even playing three hundred concerts in a year. Anyone who has heard him play even just once cannot fail to have been impressed by the extraordinary energy, vitality and even lyricism that his trumpet can express.

Yet, it is said that jazz is in a bit of a crisis, perhaps that it has become repetitive. How's jazz?

In my opinion it's not repetitive at all. Of course, it always depends on who plays it and who listens to it, and how much desire there is to let yourself be taken by this musical genre which among other things has a lot of nuances. There are other things that are in crisis. Indeed, I believe that musically jazz is experiencing a moment of great vitality, there are many young people who play with excellent results. There are many schools that work very well, such as Saint Louis in Rome or Pentagramma in Bari and then there are the chairs at the conservatories. Then, seen from inside, from a subjective point of view, it always depends on how aware you are of what you want to convey to the public.

Is jazz a music that also brings together the listening public?

Yes, but it always depends on the desire you have to communicate and join others. Even in jazz, as in all environments, in some cases there can be competition, so when you go on stage, if the desire to excel prevails, the aggregation risks crumbling. For me, the desire to share is important. When I go on stage it is essential to hear what others are doing and together with them to give my best, rather than excelling individually. It's when you play with the desire to be together that really good things can come out.

And in fact, in jazz more than in any other musical genre, interplay between musicians is important, especially in live performance.

Interplay is always necessary, but in jazz it plays a cardinal role. Even a solo succeeds based on the stimuli that other musicians can give you. If this is missing it is difficult to create something concrete. It is obviously important to know the language of jazz well, but then contamination with other musical genres is also important, which can enrich you and give you new inspiration.

Jazz is certainly designed for live performance, but what relationship do you establish with the audience and how much does it influence you?

It's obvious that when you feel that the public is on your side this makes things easier, but it depends on how you are psychologically. First of all, however, it is important to see what cohesion there is with the other instrumentalists. Then if there is a good reaction in the audience, then you do the concert in crescendo, in a certain sense you do it right together with the audience.

A jazz player, unlike other musicians, when he plays his solo does something reckless, he throws himself without a net.
He has to adapt to everything that happens around him. It's a bit like in life, we leave the house and have to adapt to what we encounter. Does throwing yourself into the solo make you feel dizzy or shiver, or does it give you more of a sense of freedom?

As I always say, for me playing jazz, improvising, is an experience of freedom, but with rules to respect and which you must be aware of. It's true, it's a bit like throwing yourself without a net.
But in reality there is always a network underneath, if you have studied and are convinced of what you are going to do. In my opinion you can take great freedom, but when you have very solid foundations. Technically there is always a margin of risk, you have notes in your head and you have to make the instrument play them.
But this is also the beauty of jazz.

These rules are the musical language, with which she expresses something. But is it always the same thing or is it different every time?

Surely the mood, the synergy that is created on stage with the other musicians and the relationship that is created with the audience are all things that influence the performance. Something different can happen each time, already from the exposition of the theme and not just in the solo. I believe that it is precisely the strength and beauty of this musical genre, which allows you even on a theme, perhaps a famous one that thousands of people have already played, to put something personal into it, with your intention, your interpretation.

His latest work "We Wonder" is coming out these days, which he will present at the Auditorium on January 7 and in which he pays homage to the genius of Stevie Wonder. Where did the idea of ​​reinterpreting her music come from?

Wonder's music has always been a great love since I was a child. I grew up with his music, as well as with that of the great Italian singer-songwriters, and then obviously with jazz. I started trying my first improvisations on these records. Furthermore, I find Wonder not only brilliant as a singer, but he is a great composer and arranger. Even apparently easy and catchy melodies actually have an incredible harmonic construction and rhythmic idea, which in the Seventies were already absolutely cutting-edge. And then Wonder has an extraordinary mastery of moving between various different musical genres, from Brazilian music, to soul, to jazz, to funky. Among the many beautiful songs by him, I selected a few and it was really fun and stimulating to compete with such strong music.

Wonder's music is very structured, even in terms of arrangements. Was this a limit or an opportunity for you?

It was certainly an opportunity. We created light structures in which we could move in an agile way, working a lot on interplay to create a dialogue between the musicians (Julian Oliver Mazzariello on piano, Jacopo Ferrazza, double bass and electric bass, Nicola Angelucci on drums, guest Nico Gori, on clarinet and tenor sax). In reality, I designed the album specifically to be able to play it easily live, thus guaranteeing maximum freedom in performance.

To close, what can jazz teach a young person who is approaching music?

Brotherhood, the search for cohesion, being together. To make good jazz, something strong and communicative can only come out with the intention of all the musicians playing together at that moment. The intention of loving one another, wanting the good of others and together building something beautiful.

Nicola Bultrini
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