Password: #interplay

New cycle of interviews with the protagonists of the Conad Jazz Contest: we start with an exceptional guest, Paolo Fresu, an established jazz musician, historic member of the Conad Jazz Contest jury and world-famous multi-instrumentalist. We asked him to tell us “his” way of seeing jazz and the Conad Jazz Contest.

What does jazz represent for you? If he had to describe it in one sentence..

What was the moment when you decided to become the musician you are today?

Jazz is freedom and, why not, civil commitment. I decided to actually become a musician because I loved this freedom and this commitment. The exact day? When returning to Berchidda (my small Sardinian town where I was born and raised) from the small concerts I gave in the small jazz clubs on the continent, my fellow citizens asked me when I would be leaving again. There I realized that I had, in fact, become a musician in all respects. Or rather, the others had decided so. It was 1982!

You are a “historic” member of the Conad Jazz Contest jury. What was the initial motivation that pushed you to agree to be one of the Contest judges and what does it mean for you to be part of the jury today? What does the Conad Jazz Contest represent for you?

Each contest is important when it offers young people the opportunity to open a window on the world and make their music heard and appreciated. This is why I believe it is important to be part of the jury of a contest like the Conad one which is also linked to such an important and prestigious festival event as Umbria Jazz.

It is necessary to make ourselves available to young people and provide all the opportunities so that they feel surrounded by the attention of others. This is a confidence booster regardless of whether they win or lose the contest as well as an important lesson.

The Artistic jury evaluates the 10 finalists and identifies the overall winner. What are your judging criteria? What must a jazz musician have to deserve her vote?

My vote takes into account instrumental as well as compositional skills but above all the ability to construct music and play in dialogue and listening with others. Today everyone sounds good. However, it is difficult to speak and narrate with music.

What advice would you like to convey to the participants of this year’s Contest?

To focus on mature projects that take into account musical and human interrelation. With a single word this is called “interplay” and is the jazz metaphor par excellence.

Is being a novice jazz musician different from being an established musician? What distinguishes the two career phases in your opinion? How to make the most of the Contest opportunity to start a career as a jazz musician?

In my opinion, the contest is not intended to be a consecration but a push. You never arrive but there is always a piece of the road to go and a new door to open. In my opinion, starting a career means becoming aware of the commitment to being a musician. This is not easy today, because it involves renunciations and sacrifices, as well as total dedication in exchange for enormous rewards. The novice musician must be aware that, to build the future palace, the first stones must be chosen and laid well. These are the development of language, the personality of sound, the architecture of the group and internal relationships as well as improvisational skills although musicians don’t have to be composers. Going back to the first question, you can be a magnificent leader without writing a note…