An espresso with…
Roberto Gatto and Perfect Trio

Image Credits: Roberto Gatto Perfect Trio © Leonardo Schiavone

June 19, 2018

Passion and joy

The Italian drummer Roberto Gatto can boast a career full of collaborations with some of the greatest jazz musicians of all time. We interviewed him just before the concert recently held at Piazza dei Mestieri in Turin with the Perfect Trio.
 
> Ivano Rossato
 

 
By observing your career, very rich in collaborations and projects, which is the Perfect Trio’s main feature?
It’s a project which was mainly created for generating improvised music. At a certain stage of my career, I felt it necessary to form a group I could go on stage with and improvise. This was the main feature the project was created for. It wasn’t easy as, while in some areas such as the Netherlands and Germany improvisation is a well distinct musical genre, in our Country it is a bit difficult to improvise among musicians. Actually, it’s a well experimented music, but it also requires to be played.
 
How do you consider the pure improvisation?
I believe that, in Italy, it has always been a problem to play this genre of music, maybe because the musicians have always been afraid of awing the public. But improvisation includes a lot of methodologies, even those based on the key, for instance. It is not necessary anymore to improvise as it was done in the 1970s. Actually, if we take as an example, a giant of improvisation as Cécile Taylor, we discover that behind the improvisation there are an actual thought and a very well defined methodology. Therefore, after having played for many years a lot of organized music in many different forms, I strongly felt the need of having a group with whom to go on stage and take risks, play music for an hour and a half without any coordinate.
 
How does your experience in other musical genres affect this kind of approach?
In this group you can also find rock music, that it’s in effect the music I grew up with, a musical world that, as far as I’m concerned, enriched me a lot. To play jazz by being aware of having listened to the 70s rock and progressive rock is really making us more dreamers, and that’s a thing that nowadays’ musicians do not have. This specific historical moment affected our music very much, by making us see it in a more visionary and probably “freakier” way! In that time, music was made very simply and there was a great wish of communicating among musicians.
 
Roberto Gatto Perfect Trio Jazzespresso magazine Rossato interview
 
What do the musicians you played with have in common?
The generation of musicians I was lucky to play with, that I dare say that they have made the history of jazz, with whom I came across at the end of their shiny careers, all were characterized by a great passion and joy for what they were doing, especially black musicians, and I deem it’s still so. They’re very friendly, they remember you even after 25-30 years they have played with you. They have something really unique in the way of approaching to other musicians. Probably this comes from their relationships with the religion, the gospel, and the “social” aspect of music is very important to them. White musicians have often been characterized by complicated personalities, with problems partially connected to drug abuse, I think for example of Chet Baker. Absolutely unstable personalities with sudden changes of mood. Anyway, they all had in common the great passion for what they were doing and they all were very expert and also very attentive of what their colleagues were playing. Even now, when I travel and I meet new musicians, they all distinguish for their will of examining and investigating.
 
Which recommendation would you give to a young musician?
I suggest to young musicians to put anything aside and to think of doing this job with as much passion as they can. Unfortunately, on the contrary, I often see that there are many distracted people. It’s a pity when I speak to young musicians and they look too presumptuous, wishing to be successful at any cost, by rushing into things and by looking for an immediate economic return, without putting enough passion. You have instead to really love what you do, without filters that could distance yourself from this objective.
 
 
 
Reservados todos los derechos – All rights reserved – 版權所有 – 版权所有;  An espresso with… Roberto Gatto and Perfect Trio Music copyright Jazzespresso 2018.
Jazzespresso es una revista, un sitio web, una red, un centro, que conecta todas las almas del jazz de todo el mundo. América, Europa, Asia, Australia y África: noticias de todo el mundo en una página en cuatro idiomas. Un punto de referencia multicultural en inglés, chino y castellano para los amantes de esta música en todos los países. Para el aficionado o el profesional que quiere mantenerse informado sobre lo que está ocurriendo en todo el mundo. Manténganse informados!
Jazzespresso is a magazine, a website, a network, a hub, connecting all the souls of jazz all over the world. Americas, Europe, Asia, Australia and Africa: news from all over the world on a page in four languages. A multicultural reference point in English, Chinese and Spanish language for the lovers of this music in every country. For the amateur or the pro who wants to be updated about what is happening all around the world… Stay tuned.
Jazzespresso 不只是一個爵士樂雜誌,也是一個能將擁有各種不同精髓的世界爵士樂,包括美洲、歐洲、亞洲、澳洲及非洲各地,互相連結起來的網站及交流站。以中文及英文寫成的內容將是一個新的多元文化交流的參考點,為各地的爵士音樂愛好者提供來自全世界最新的消息。請持續關注!
JazzEspresso 不只是一个爵士乐杂誌,也是一个能将拥有各种不同精髓的世界爵士乐,包括美洲、欧洲、亚洲、澳洲及非洲各地,互相连结起来的网站及交流站。以中文及英文写成的内容将是一个新的多元文化交流的参考点,为各地的爵士音乐爱好者提供来自全世界最新的消息。请持续关注! 
 
Info: info@jazzespresso.com; Advertising / 廣告 / 广告 / Publicidad: adv@jazzespresso.com.

Leave a Reply

Your email address will not be published. Required fields are marked *

By continuing to use the site, you agree to the use of cookies. more information

The cookie settings on this website are set to "allow cookies" to give you the best browsing experience possible. If you continue to use this website without changing your cookie settings or you click "Accept" below then you are consenting to this.

Close