INTERVIEW WITH GIANCARLO SCHIAFFINI

 

Giancarlo Schiaffini is one of the best musicians I had the pleasure to interview. He plays really experimental music with great amounts of improvisation and a really innovative sound. But he has been doing this for more than 30 years now. He answered our interview.

Why did you decide to do a recording exclusively using the tuba?

Tuba is actually one of my main instruments. I played extensively tuba as a soloist particularly with Luigi Nono from 1980 to 1990. I already recorded in 1986 a LP solo tuba + electronics (Infernal Dream); so, why not?

How did you approach the improvisation in "Tuba Libre"? Did you develope some melody in your head and translate it to the instrument?

It is always very difficult to say how one's improvisation is generated.  There is creativity, of course, memory, reaction to what happens in and around you, and it is not only a merely acoustic matter. So the patterns of generation of improvisation is never straight and clear.

How is that you have put that electronic elements in "Tuba Libre"? Is that to give a contrast with the more natural sound of the tuba?

Live electronics is another of my main instruments. The use of electronics with Tuba or Trombone is like an extention of technical and expressive possibility of natural instrument, like a mute or so.

How different is your approach to playing when you are playing solo than when you play in a big band?

It must be obviously different. In a big band you are a member of an ensemble and you are influenced by other musicians, score, obbligatos.

I read that you are self-taught...how did you learn music when you started to play trombone and tuba?

Reading and asking here and there, playing by mind, improvising, having some few lessons from band teachers, but just for the very beginning; then I had to change almost everything, step by step.

How was studying in the early seventies with Stockhausen, Ligeti and Globokar?

It was very important and exciting to come in touch with such important personalities of the Contemporary Classical Music, even if it was during a Sommer Course with 120 fellows for the general courses, 5 for trombone.

How different from your actual compositions were the ones you did with the ensemble Nuove Forme Sonore?

I still compose for Nuove Forme Sonore and for different musicians and groups. For me it is very important to know who will perform my music, to foresee their reactions, to know how they will (if necessary) improvise. So it may happen that compositions of the same period result more different than other pieces composed years apart. Then, the personal evolution, new experiences, more informations for sure modified many respects of my way of thinking music, but this is natural. How in particular, is hard for me to say.

From all the bands, ensembles and composers you have played with...which one was the one with whom you learned the most? And which one is your favorite?

Very hard to say. One always learns playing with and listening to other musicians, also in an inconscious way.

Why did you choose to put the titles of the songs in Spanish language?

It is an hommage to Cuba and Cuban people, so it seems someway natural.

How was your collaboration with composer Luigi Nono or with John Cage?

With John Cage I worked a few times in Italy and Germany, but just occasionally. With Luigi Nono it was a continuous cooperation since 1980 to 1990 (when Nono died), with a great musical and human empathy.

Are you still recording and playing with the Italian Instabile Orchestra? How is that experience?

Yes, our last CD (Litania Sibilante-ENJA) came out in September 2000. The Orchestra is an example of how permanent can be an "Instabile" (unstable) orchestra made up with very different soloists, improvisers, arrangers, composers.

Which are your memories of the Gruppo Romano Free Jazz?

It was of course an historical Group; the '60s have been very important years for the developement of music, arts, social feeling, technology, etc. So everybody was deeply committed in al his activities. Someway the GRFJ still acts as a trio (Schiano, Schiaffini, Tommaso)

How do you think your playing and compositional skills have evolved since when you released your first solo record in the seventies?

Of course (I hope) they did. It is not easy to make such an evaluation for oneself. I think that, going on with time and age, one tries less to demonstrate his own skill and can concentrate more on particular respects of his own world. This could happen to me.

Which advice can you give to musicians that are starting their careers and trying to do a living with it?

Sincerely, good luck! Unfortunately every way is different and personal.

Is there something more that you want to say?

I don't think so. If you have more questions, please do .All the best

GIANCARLO SCHIAFFINI - SELECTED DISCOGRAPHY

MARCELLO ROSA M. R. jazz! Ensemble (Horo HLL101 2, 1973)

GIANCARLO SCHIAFFINI G. S. (Horo HLL101 5, 1973)

MARIO SCHIANO On the waiting list (King NLP 110, 1974)

NUOVE FORME SONORE N. F. S. (Curci SPL 915, 1974)

MARIO SCHIANO Progetto per un inno (it ZSLT 70030, 1976)

GRUPPO DI IMPROVVISAZIONE DI NUOVA CONSONANZA Musica su schemi (Cramps CRSLP 6109, 1976 - CRSCD 109, 1990)

GRUPPO ROMANO FREE JAZZ G . R . F . J . 66/67 (Vedette VPA 8342, 1977)

COXHILL - CENTAZZO - SCHIAFFINI Moot (Ictus 0008, 1978)

TRIO SIC Pezzo (Red Records VPA 136, 1978)

TRIO SIC Altri Pezzi (Red Records VPA 137, 1978)

GIOVANNA MARINI La grande madre impazzita (Dischi del sole DS 1108/10, 1111/1, 1979)

ICP ORCHESTRA Live Soncino (Ad lib 811, 1979)

CLAUDIO FASOLI Hinterland (Edipan NPG 804, 1979)

SCHIAFFINI - IANNACCONE Memo from (Cramps 5266 212, 1980)

IMPROVISERS' SYMPOSIUM PISA '80 I. S. P. '80 (Incus 37, 1980)

GIANCARLO SCHIAFFINI A Tung Me (Orchestra MILP 70005, 1981)

GIANFRANCO PERNAIACHI G. P. (Edipan 52013, 1982)

ROBERTO OTTAVIANO Aspects (Tactus 0010, 1983)

DAMIANI - TROVESI Roccellanea (Ismez / Polis IP 26001, 1983)

PAOLO DAMIANI Flashback (Ismez / Polis IP 26002, 1984)

THE UNREPENTANT ONES T. U. O. (Fonit Cetra IJC 005, 1986)

GIANCARLO SCHIAFFINI Infernal dream (Rofo Rec. CPRr 17001, 1986)

NUOVE FORME SONORE N. F. S. (Edipan / La musica-giugno, 1986)

STEFANO SCODANIBBIO S. S. (Edipan S20/35, 1987)

EDGAR ALANDIA E. A. Edipan S20/36, 1987)

GIANCARLO SCHIAFFINI G. S. (Edipan S20/41, 1987)

GHIGLIONI - SCHIAFFINI Well, actually (Splasc(h) Records H117, 1987)

GALEAZZI - SCHIAFFINI Per devozione (Ismez / Polis IP 26008, 1987)

DINO BETTI They cannot know (Soul Note SN 1199, 1987)

ROBERTO DONNINI Tunedless 2 (Lynx Z00188, 1987)

EUGENIO COLOMBO Sorgente sonora (Jazz E. N. JEN 10001, 1988)

MASSIMO COEN M. C. (Edipan S20/63, 1989)

TANKYO BAND Il principe (Splasc(h) Records H180, 1989)

DINO BETTI Space Blossoms (Innowo IN 813, 1989)

COMPUTER MUSIC Concerto (Fonit Cetra CDC 43, 1989)

MUSICA MACCHINE MAGIA MMM (MMM CD 001, 1990)

TENTET FRANCO ITALIEN Due fois cinq (VM Box Ed. VMB CD 112, 1990)

LUIGI NONO L. N. (Ed. RZ RZ 1004, 1990)

NUOVE FORME SONORE N. F. S. (Edipan PAN 3024, 1990)

SCHIANO ET AL. Uncaged (Splasc(h) Records CD H 357-2, 1991)

GIANFRANCO PERNAIACHI G. P. (Edipan PAN 3029, 1991)

NEXUS the Preacher & the Ghost (Splasc(h) Records CD H 349, 1991)

LUIGI NONO L. N. (Ricordi CRMCD 1003, 1991)

GIANCARLO SCHIAFFINI Il trombone (G. S.) (BMG Ariola CCD 3003, 1991)

GIORGIO GASLINI Masks (Soul Note SNMJ 002-2, 1992)

ITALIAN INSTABILE ORCHESTRA I. I. O. (Leo Records CD LR 182, 1992)

TIZIANA GHIGLIONI SONB (Splasc(h) Records CD H 370.2, 1992)

AA. VV. Prove, esorcismi (AUDITORIUM A9201, 1992)

MARIO SCHIANO Original Sins 67/70 (Splasc(h) Records CD H 502.2, 1992)

GIANCARLO SCHIAFFINI BAND About Monk (Pentaflowers CDPIA 025, 1992)

ROBERTO DONNINI per FLUXMAR (LYNX REC. Z 00856, 1993)

GIACINTO SCELSI, JOELLE LEANDRE OKANAGON (hat ART CD 6124, 1993)

TAMMITTAM PERC. ENS. Chamber music by Luigi Nono (ARTIS RECORDS ARCD 032, 1993)

GUNTER CHRISTMANN Sometimes Crosswise (MOERS MUSIC 02094 CD, 1993)

GIANLUIGI TROVESI Dances and Variations (MUSICA JAZZ MJCD 1097, 1994)

GIANCARLO SCHIAFFINI Edula (PENTAPHON CDS 068, 1994)

PASQUALE INNARELLA Discanto (LE PARC 513-2, 1994)

AA. VV. Musica Presente (RICORDI-FONIT CDCI 501, 1994)

MAURO ORSELLI Navigazioni (CDA ADA 1.11, 1994)

GIUPPI PAONE Songs in a dream (LUSH TALES CD 0113, 1994)

GIUSEPPE GIULIANO G. G. (Edipan CD 3048, 1994)

ITALIAN INSTABILE ORCHESTRA Skies of Europe (ECM 1543, 1995)

TROVESI - SCHIAFFINI - MARAS LET (Splasc(h) Records 1995)

GIANCARLO SCHIAFFINI As a bird (Pentaflowers CDPIA 040, 1995)

MARGHERITA PORFIDO Nuove musiche per clavicembalo (MUSICAIMMAGINE MR10030, 1995)

COJANIZ TRIO + SCHIAFFINI Alea (Splasc(h) Records CD H 461.2, 1996)

UMBERTO PETRIN Wirrawarr (Splasc(h) Records CD H 481.2, 1996)

TROVESI - DAMIANI QUINTET Roccellanea (Splasc(h) Records CD H 506.2, 1996)

GRFJ 66/67 SCHIANO TRIO 69/70 ecstatic (Splasc(h) Records CD H 509.2, 1996)

PENTARTE ENSEMBLE Contact Areas (CALIGOLA 2013-2, 1996)

DI VOLO - BOMBARDELLA Klezmer experience (QUADRO FRAME QF 9725-2, 1997)

TRIO SIC Passemmezzo (Splasc(h) Records CDH 616.2, 1997)

GIANCARLO SCHIAFFINI QUINTET Dubs (ART - PU Records APR 04 CD, 1997)

AA. VV. Trame di Aqua Druvêda (MMTCD 002, 1997)

ITALIAN INSTABILE ORCHESTRA European Concerts '94-'97 (NELJAZZ 0968-2, 1997)

SCHIANO - SCHIAFFINI - TOMMASO (to be continued…) (DISCOTECA DI STATO CD DDS 98-I, 1998)

ITALIAN INSTABILE ORCHESTRA Italian Instabile Festival (Leo Records CD LR 262/263, 1998)

AA.VV. Linguafonie (1997) (GOETHE INSTITUT-ROM, 1999)

EUGENIO COLOMBO Guida blu (Splasc(h) Records CDH 680.2, 1999)

ENZO ROCCO Bad news from tuba trio (CALIGOLA 2028-2, 1999)

AA. VV. The swinging camera (Splasc(h) Records CDH 699.2, 1999)

AA. VV. Jazzvision (SCD 360, 1999)

DI VOLO-BOMBARDELLA Strumenti di pace (EMA Rec DDD 90002, 2000)

GIANCARLO SCHIAFFINI Marcesina (CM/01, 2000)

GIANCARLO SCHIAFFINI Tuba Libre (Random Acoustics RA 025, 2000)

GIANCARLO SCHIAFFINI L'anello mancante (Imprint Records IM 001, 2000)

G. SCHIAFFINI/ P. FRAIZE TRIO Deconstruction! (Pentaflowers CDPIA 050, 2000)

ITALIAN INSTABILE ORCHESTRA Litania sibilante (ENJA ENJ-9405 2, 2000)