Antonio Loderini is an accordionist and composer who can boast a wealth of musical experiences to say the least. He is a profoundly sensitive, culturally rich musician who runs tedious prejudices related to musical genres. Through this interview he describes his path, telling the most important episodes that have distinguished his career.
During your career you have been performing in classical, jazz, and ethnic music. Do you have a particular preference for one of these three genres?
There are three very different dimensions, which I love for different reasons. I love classical music (especially Baroque music) because of its depth, its complexity and its balance, although my greatest passion remains the improvisation, not only in jazz, but in all its forms. A separate argument deserves Argentine tango: I have a real passion for the music of Astor Piazzolla.
You are very active with the orchestras. Is playing in orchestra your ideal size?
We say that I have been very active in the orchestral field. Experiences with symphony orchestras and large chamber bands, all over the Collegium Musicum in Bari, have been very important, very beautiful and formative. Today I like to play in small groups in which, basically, one chooses each other. For the last fifteen years, the training with which I performed most frequently, especially in jazz clubs (including the legendary Alexander Platz of Rome), was the trio with double bass, drum and, whenever possible, piano. For four years I have regularly performed with a very high level chamber orchestra conducted by M°Peppe Vessicchio: I Solisti del Sesto Armonico.
In 2002, at Musikmesse in Frankfurt, you played as a demonstrator for the accordion brand Zero Sette, with whom you still collaborate as an endorser. What are the most relevant technical features of these accordions?
This is a well-known brand among the insiders. The instruments of Zero Sette are characterized by the highest quality of materials and technological solutions, resulting from a constant industrial research effort, often carried on with the support of conservatories and musicians. All of my instruments have been built or made to be modified by Zero Sette craftsmen: from my classic instrument with free basses, to my Dallapè with standard basses.
The accordion is an instrument that is born “poor” and, like all the poor instruments, has entered into the most popular folk traditions. If I listen to a musical genre that strikes me, I will study it willingly. Even today, my curiosity and my desire to study, far exceeds the very short time I have available.
In the arena of your fruitful excursion, you’ve had the opportunity to run on the small screen, thanks to the participation in RAI for some well-known programs like Telethon, Meno siamo meglio stiamo, La vita in diretta, Amici. Did you benefit from these TV experiences?
Playing live on television, especially on a national network, is always very exciting. I had a limited number of TV experiences, so I’m not able to talk about any benefits that this kind of experience can bring you (except in terms of notoriety). But in recent years I have been working with professionals (I Solisti del Sesto Armonico) who have been involved in numerous TV shows. I was really impressed by their readiness: they are musicians able to prepare an entire concert program in one morning and perform a very high level show in the evening. Absolutely extraordinary.
Among the various professional gratifications you should mention your recognition as winner of the La Gazzetta del Mezzogiorno chamber music competition. Can you tell the backdrop of this prestigious goal?
This is a prize, which was been awarded by the Argentine tango octet Onda Nueve, with which we have presented very sought-after and generally little public performances by Astor Piazzolla. It was a beautiful experience characterized by a fruitful and stimulating collaboration with the Balletto Del Sud, directed by the choreographer of Salento, Fredy Franzutti.
As you have anticipated, for four years, you have collaborated with the well-known M° Peppe Vessicchio, one of the best Italian conductors and arrangers, as well as the famous television. How and when did this happy collaboration come about?
It is born by chance, after a meeting at the International Festival of Copertino Arts, of which the Maestro is also artistic director. It is a collaboration that is satisfying me, not only from a professional point of view. Peppe Vessicchio has a very deep conception of music, far beyond the mere technical and aesthetic aspects of the musical product.
With I Solisti del Sesto Armonico, chamber orchestra conducted by the above-mentioned Peppe Vessicchio, you recorded a CD named Parenti Latini. What is the genesis of this album and what are its distinctive features?
This album was born out of the desire to create quality music beyond gender and at the same time experiencing particularly sophisticated languages and solutions. The distinctive features of this record work are many, first of all is the extraordinary work of M° Peppe Vessicchio, author of truly unique arrangements, which have been born thanks to the instrumental excellences that make up this formation: Gennaro Desiderio (violin), Zita Mucsi (violin), Nico Ciricugno (viola), Zsuzsanna Krasznai (cello) and Igor Barbaro (double bass).
Luckily, still today, getting on stage shows me like a boy. The memories are so many, but if I just have to choose someone I would like to mention two distinct circumstances. The first is linked to the concerts of Sunday morning which, as I Solisti del Sesto Armonico, always under the direction of M° Vessicchio, we offer, within the Conad Grand Journey, a tour that sees us busy for the third consecutive year. This is a live recording dedicated to elderly people, people with disabilities, people through a complicated life stage, or who do not have much opportunity to enjoy cultural events. Bringing the looks of such a special audience is really something that leaves you in an indelible mark, it makes you realize the importance it can take on music in people’s lives, and the privilege that can be the very fact of playing when you have The luck of sharing not only the stage, but also the goal that animates the one who plays with you. The second is a concert we held in Geneve in 2015 at AMR. It was an occasion that after many years we found ourselves on stage with four of my dearest friends: Vincenzo Deluci (trumpet), Vincenzo Presta (sax), Massimo Pinca (double bass and author of all the music) and Fausto Alimeni (drums). It was a live featuring free improvised spaces that was happily concluded with the recording of a live CD (Frére De Voyage by Massimo Pinca).
Do you have a new piano project in your pot?
At the age of 45 I felt the need to make a new album of original songs after the first mini-CD made with the Soares trio. It is an album in which I am pouring out all the experience gained in these years and in which I am also acting as an arranger (in a song I was honoured to collaborate with M° Vessicchio). It will be a disk where the various and improvised styles, I have met in my career, will coexist. I will be accompanied by extraordinary sensational jazzists, such as Pierpaolo Principato on piano, Francesco Puglisi on double bass and Alessandro Marzi on drums. Moreover, I will have the immense pleasure of hosting exceptional musicians, as well as dear friends I am very attached to. I’ve been working on songs for over a year and I’m counting on ending the recordings by the end of 2017.
This article is available also in: Italian