Interview with harmonica player Gianni Massarutto. An interview by email in writing. All very bad, not music, only trash!ha

Jazz Blues: – First, let’s start out with where you grew up, and what got you interested in music. How exactly did your adventure take off? When did you realize that this was a passion you could make a living out of?

Gianni Massarutto: – I live in Italy, where 30 years ago, when I began, American music like the blues wasn’t easy to come by. Back then, radios predominantly played rock, pop, and Italian singer-songwriters. It so happened that my jazz-loving brother bought two LPs that struck me: Leadbelly and Memphis Slim. I remember Sonny Terry was on them, along with another harmonica player whose name escapes me. It was then that I recalled my father had gifted me a harmonica, and that’s when I started playing.

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Music isn’t my primary profession, but I still manage to earn a decent living from it. I realized my potential when I started receiving numerous offers to perform outside of Italy. By interacting with the world beyond my country’s borders, I gained insight into my true level of skill.

JB: – How has your sound evolved over time? What have you been doing to find and develop your own sound?

GM: – Over time, I’ve come to understand my instrument and analyze it from a functional perspective. This awareness has empowered me to realize my musical visions. I’m capable of modifying the harmonica to achieve optimal performance, which has led to a significant improvement in my playing style. Coupled with a study of airflow techniques, I’ve attained a decent control over reeds, creating a symbiotic relationship between my throat and the reeds’ vibration. An example of this can be heard in “Sleepwalk.”

JB: – Have you changed through the years? Any charges or overall evolution? And if so why?

GM: – I am constantly striving to improve my sound by listening to harmonica players from all musical genres. I draw inspiration from a wide range of styles to continually explore new sounds and techniques. For a long time, I predominantly played acoustic, as I believe that the natural sound of the harmonica is where it all begins.

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I’ve studied Phil Wiggins extensively for his mastery of accompanying; he’s one of the finest acoustic harmonica players in my opinion. William Clarke’s powerful tone and swing have also greatly influenced me. However, my greatest transformation came when I encountered Howard Levy, who taught me how to fully control the instrument and showed me that there are no limits to its potential.

Nowadays, I no longer limit myself to listening solely to harmonica players. Instead, I seek inspiration from phrasing and sounds from other instruments. This approach has helped me develop a unique style and sound that truly reflects my personality and musical journey.

JB: – In your opinion, what’s the balance in music between intellect and soul?

GM: – The intellect and music merge when, for example, during an improvisation, one forgets about musical rules and plays instinctively, feeling carried away by the effect experienced during the solo. It’s not just about the notes but also about the sounds being produced…

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JB: – There’s a two-way relationship between audience and artist; are you okay with delivering people the emotion they long for?

GM: – Fundamentally, the musicians’s purpose is to satisfy the need to communicate their emotions and feelings through their instrument. It often happens that the way of playing corresponds to their personality. This need can be channeled into the desire to make the audience happy, and when this happens, it creates the perfect situation where the purpose of communication finds its maximum expression.

JB: – How can we get young people interested in jazz when most of standard tunes are half a century old?

GM: – Speaking in terms of blues, I often find myself playing in front of young people and I must say there’s a fair amount of interest. They clap their hands, tap their feet to keep the beat; in short, they seem to enjoy it when the music is presented in a certain way. Unfortunately, after the concert, they are enveloped by the power of radios and televisions that promote other musical models in social situations. It’s important to create social moments with other musical genres. For example, swing dance schools are emerging in Italy, and this is encouraging.

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JB: – John Coltrane once said that music was his spirit. How do you perceive the spirit and the meaning of life?

GM: – There is some affinity with what Coltrane said: For me the music is not just a passion or a profession, it’s a profound expression of the human experience. When i play the blues on my harmonica and sing, i feel like i’m tapping into something grater then myself, something to connect to the others and to the essence of life itself.

JB: – If you could change one single thing in the musical world and that would become reality, what would that be?

GM: – I don’t know what I would change, but I would definitely try to give more importance to the healing effects of music, and I would consider musicians as carriers of natural medicines.

JB: – Whom do you find yourself listening to these days?

GM: – As I mentioned before, I listen to various genres, and lately, I’ve been listening to a lot of African music, particularly that originating from Mali. I find it to be music filled with musical content worth delving into.

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JB: – Let’s take a trip with a time machine: where and why would you really want to go?

GM: – Undoubtedly, in Chicago and New Orleans in the 1970s, the charm of those years convinced me to start playing the blues!

JB: – Do You like our questions? So far, it’s been me asking you questions, now may I have a question from yourself…

GM: – The questions have been quite deep, I hope I’ve conveyed the idea clearly. One question? What struck you about my music?

JB: – All very bad, not music, only trash!

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Interview by  Elléa Beauchêne