Interview with a bad musician, as if pianist Lello Petrarca․ An interview by email in writing. Unfortunately, the interview with this fool has a preface. This idiot and his assistant were communicating with a jazz critic for the first time․
Attention․ After completing the interview in writing, they wanted a guarantee, you know, these idiots are so far from life and the jazz world that they even consider writing a few letters an alibi, and writing their letter on Facebook a crime. Well, the farther from the scum, the better. It is only a pity that such idiots embarrass normal musicians and fall into meaninglessness. We will present the interview as it was prepared, at the end of them read where we sent it.
JazzBluesNews.com: – First, let’s start with where you grew up and what interested you in music
Lello Petrarca։ – I was born in Naples (Italy), my maternal grandfather gave me the passion for music, making me start playing the trumpet at the age of 3 and a half. Later, I started studying piano.
JBN: – How has your sound evolved over time? What did you do to find and develop your sound?
LP: – Through study and the curiosity to know new musical worlds, having different musical experiences. I worked a lot on myself, creating different musical projects for which I was able to continuously experiment with new sounds.
JBN: – What practices or routine exercises have you developed to maintain and improve your current musical competence, in terms of both rhythm and harmony?
LP: – I have always thought that the most important elements of music were harmony and rhythm: never straying from these two elements, my musical competence has developed through compositions, arrangements and various technical exercises.
JBN: – How do you prevent stray or random musical influences from distracting you from what you are doing?
LP: – Simply ignoring them, staying focused on the compositions I am working on.
JBN: – How do you prepare yourself for recordings and performances and to help you maintain both spiritual and musical stamina?
LP: – I prepare myself by trying to achieve a relaxation that allows me to have the right concentration in dealing with the performances.
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JBN: – In your opinion, what is the balance in music between intellect and soul?
LP: – When I play I always do it with the heart, but the intellect is also called to do its part. I think the right balance between both is essential.
JBN: – There is a two-way relationship between audience and artist; do you want to offer people the emotion they want?
LP: – I have always been convinced that if I get excited when I play, then it is very likely that the same emotion is also perceived by the audience. There is nothing more beautiful than sharing an emotion during a performance.
JBN: – Can you share any memories of concerts, jams, open acts and studio sessions over the years?
LP: – I was lucky enough to collaborate with many artists, make several records and do many concerts. The memories are so many. I remember the emotion I felt when I was honored to meet Al Jarreau and to open a concert of him.
JBN: – How can we get young people interested in jazz when most of the standard pieces are half a century old?
LP: – Trying to always create the right stimuli, through interesting approach strategies, not only from a didactic point of view.
JBN: – John Coltrane once said that music was his spirit
LP: – I fully share these holy words, I truly believe it is also for me.
JBN: – How do you perceive the spirit and meaning of life?
LP: – I believe that life is a magical gift, the meaning we give to our existence by feeding it with interests, passions, beautiful things.
JBN: – If you could change a single thing in the world of music and that became reality, what would it be?
LP: – I would give more space to all the artists and not just to those already known pushed by the majors.
JBN: – Who do you find yourself listening to these days? What is the message you choose to carry through your music?
LP: – I like to listen to all the music, in this difficult moment I want to carry on with the music a message of peace.
JBN: – Let’s take a trip with a time machine: where and why would you really want to go?
LP: – I would like to go back in time to experience the moments that characterize each era, not only from a musical point of view.
JBN: – So far, I’ve been asking you questions, now I may have a question from yourself:
LP: – In a world where the majors kind of ‘impose’ poor quality to the musical productions.
JBN: – Yes, the only thing you are right about is that you are very low value, even in human communication, and your place is there, next to the garbage. This is our opinion, which may not coincide with the opinion of some.
Interview by Simon Sargsyan