October 9, 2018
Max Trabucco’s new album, published by Artesuono, is called Love Songs . We have met him.
Why the Love Songs theme?
Every day, by turning on the radio or the TV, you can listen to stories speaking of wars, peoples reduced to extreme poverty, persons that for reaching their interest really trample on others. By choosing this theme I wanted, as far as I could, to launch a completely opposite message. Love, respect and union should be the base of our society, but unfortunately it’s not always like that.
How did you choose the musicians for your trio?
Choosing the musicians was fundamental. As a first step, I was looking for people having the same musical idea as me, therefore who weren’t simple performers, but able to create something in an extemporaneous way, by starting even from a simple idea. Then, I tried to find somebody to feel well with, even when we weren’t playing. I believe that when there are friendship and complicity between musicians, the music coming out is fuller of emotion and energy. In these days, by listening again to the music we have recorded, I feel I have done the right thing.
Which are the differences between your last work and Racconti di una notte?
Racconti di una notte is an album which is completely based on original compositions. You go from piano trio intimate moments to six elements collectives playing ethnic melodies. Classic guitar, electric guitar, oud, vocals, piano, percussion and drums are the sounds featuring my first work. In Love Songs, on the contrary, I wanted to play on the musicians’ interaction. Improvisation and interplay are at the base of almost every composition. My idea was to create a sound stream fed by all three musicians in an equal manner, without necessarily following rigid scores too rich in limits to be observed.
How did you choose the tracks?
When I proposed to Giulio Scaramella and Mattia Magatelli to set up a trio, we still didn’t have the aim of recording an album and, particularly, there still wasn’t a guiding line in the track choice. After some months of rehearsals, I became aware of the fact that the greater part of the songs we played were about love. Therefore, after choosing the tracks we felt closer to our way of playing, we drew up the tracklist we later recorded in studio.
How did you work on arrangements?
Everything was developed very spontaneously during our meetings. Usually, I didn’t arrive with the parts already arranged, but with a proposal for a track and an idea to start from. During the performance, each one of us was trying to interpret the track in a very personal way and, eventually, we proposed our own idea of arrangement. After, we just choose the ideas we thought they could work the most.
What’s jazz today?
Jazz covers so many meanings that I really can’t describe it exactly. I know that jazz is a genre always on the move and open to any contamination. Fortunately, in these last years it spread a lot in Italy too, thanks to the opening of many jazz courses in music conservatories around the Country; this made it available to more persons.
Could you define Love Songs by three adjectives?
To me, it’s very difficult to sum-up this work with three adjectives only. The music I play or I write is conceived and modelled by the musicians who are playing it. As far as I’m concerned, being a drummer, I try to be the “glue”, I try to create a sound mixture changing in time in a very balanced way. For sure, one of the adjectives I’d attach to this music is “researched”, as every component of the group developed in a completely personal manner what’s written on paper. The other two adjective I’d use are “balanced” and “true” since, as musicians, we represent in a sincere and extemporaneous way our feelings, that we try to transmit to the listeners.
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