Archive for the Interview Category

Press Release

Posted in Cd Release, Interview, Press Release with tags , , , , , , , , , , , , , , , , , , , , , on July 30, 2009 by bottabass

Another Press Release, on PRLog and

Here it is:

“LAS VEGAS, NV, July 24, 2009 — Multifaceted and colorful, Morning Grooves is a continual delight on the staff, a carefree sound that comes from the best influences fusion, funk and electro. The technique comes out perfect from the first listen but the rest Bottura after five years of piano, guitar joined, on drums and finally to the electric bass on the disc that is practically the prince, in 2007 obtained the degree in music at the DAMS Bologna. Sounds far, summer and tropical converge in a single melody with “Out of Sight” and endless frenetic pace, a stroke on the keys of the bass, dancing on the strings and then for a moment, the notes of a piano show an immense calm that once again welcomes the ecstatic frenzy, is “Mind, Passion & Instinct” the second track, a highway along which the various sounds are chasing interweaving. The dances are not finished yet, not until the shock of “Quetzalcoatl” has slipped in the legs making you move your pelvis and shoulders around the clock, the sounds permeate the listening nullifying the effect of size simply by scrolling over anything that is about as a colorful stream. “Deaf Kids’ Disco” bounces with her hyperactive performance funk, putting well highlighted the harmony of different instruments as they rotate, but the real substance is known to pause in that Bottura introduces several songs calm down for a moment the tumultuous rage of the piece with a mirror of melodies. “Sweet Tears” is reflection, memories, known simply blown in the slow drip of rhythm, the low legal guardian of a trumpet ragged in a carousel of sounds just barely whispered. “Stern Memories” tends his hand to jazz joking about sudden changes, a chamber piece, from taste to the end, recovering the wake of the funk that pierces the entire album, “Mayday Mayhem” flows directly from the seventies, low blows known as boils, cut the battery is alternate with furious attacks of the instruments, perhaps this is the track that encloses most of all the immense versatility and versatility of the artist, sin will end too soon. “Black Lady”, a cocktail of funk and jazz very successful, especially the choice of sounds simple, minimal parts makes even more appreciable, the disc is perfect for a relaxing evening in the company of friends, but in the long term appears in some passages “static”, linked to a well-defined line. However Bottura can enter every trace elements in surprising and totally subversive shares than the main structure, such as time of Arab “Black Lady”. “Tropical Night” starts winding up and promises to notice what the title means, get lost on this final track is almost like dreaming, and the closure is good, the beautiful and very hard to discover, we hope to see Bottura live soon. Alessio Scicolone- Extra Music Magazine

“Funk, Rock, Pop and Jazz all mixed up in this first album by Italian bass player Alessandro Bottura; a 9-track instrumental journey in a Fusion experience that learns from masters such as Weather Report, Yellowjackets, Rippingtons, Spyro Gyra and MM&W.” -CDBaby-

This is the review appeared on 9th June 2009 on the italian webzine “” for “Morning Grooves”:

“Bottura is a really young italian multi-instrumentalist (born 1984) with solid musical bases built with harmony, drums, guitar, piano and electric bass studies. This kaleidoscopic preparation allowed him to compose, product and realize all by himself this work that can be collocated into Fusion music area.

The broad spectrum of responsibilities assumed by the musician is a strong signal of his competences, character and potentials.

On the other hand, the multi-disciplinary orientation of the single author determines the main limits of the work; it’s difficult to do everything at the top level and, above all, impossible to avoid the risk of a certain homogenity of the instrumental parts.

Compositions signal a rhythmic sensibility based on Jazz and Funk, with a fondness for syncopated and rubato merged fluidly with rolled passages. The choice of duration is orientated to mid-tempo, to create that typical cadencial schemes in which beat and upbeat are really clear and sometimes too regular.

The melodies are mainly exposed by piano and guitar that introduce the themes leaving then to the bass a series of beats for the variations. In this phase we’ve got the best from the artist, that evaluates his main instrument with interventions that recalls Pastorius or Clarke (or many others, starting from Weather Report).

The tunes’ structure often recall the classical scheme AABA; the melodies evoke different influences, from Latin to Progressive, from New Age to Blues; anyway, these ingredients never predominate in a decisive way and after all it conserves an after-taste centred on jazz rock (or rock jazz, it depends..).

The whole work result sometimes a little too much homogeneous and self-referenced, without the unpredictability that’s the main flavour of this genre.

Anyway, lights certainly prevails on shadows; the work must be considered as a really important expression of potentials that will transform into effective performance when the artist will be able to exploit his knowledges synergically united with others”

– Vittorio Formenti for “” –

RadioIndy is pleased to present Alessandro Bottura with a GrIndie Award for the CD “Morning Grooves”
Jaco Pastorius would be proud to hear the bass chops of jazz artist Alessandro Bottura. His latest record, “Morning Grooves” is a smooth fusion of rock, jazz, and pop instrumentals all rolled into one amazing sound. Bottura’s bass playing speaks for itself and is immediately evident right from the opening track, “Out of Sight.” His jazz fueled bass runs fly up and down the neck and are nicely driven by some outstanding guitar/drum work. Bottura changes gears a bit and slow things down on “Sweet Tears,” which also highlights his staccato playing skills. Any fan of Jaco Pastorius or of virtuoso bass playing will love this album, plus the band behind Bottura is just as exceptional as he.

-Shaun H. and the Reviewer Team

Check out Alessandro Bottura ‘s music on with link to purchase and links to popular sites”

To see the original page, click here


2nd Interview for “Imbuteria Social Network”

Posted in Biography, Interview, Life with tags , , , , , , , , , , , , , , , on May 7, 2009 by bottabass

Translation of the second interview made by Balconaggio for “Imbuteria Social Network” on May 6th 2009 :

‘mbuti: “Independent music, independent artist, a mixed blessing?”
AB: “I think “mixed blessing” without question mark! Being independent involves a continuous effort both physical and economic to realize and promote yourself and your works; moreover, we’ve got to say that, unfortunately, Italy isn’t the best place to be in terms of attention to the emergent musical scene, expecially talkin’ about gendres that issue from the actual mainstream current. In the last years, thanks to a really infinite resource that’s the net, it seems like things are going better, since you’ve got the opportunity to submit your works not only to a “limited” public, like in case of really sporadic and badly remunerated live shows, but to the whole world.
After this, the best advantage in stayin’ “independent” resides in the total action autonomy that leads to the relization of a product that really reflects all that the musician has inside, that really is the expression of the deepest ego, without being manipulated by market’s logic that a relation with a major label would impose.”

‘mbuti: “Art and social, do you match them? And how?
AB: “In “The World as Will and Representation”, Schopenhauer told us that music, thanks to its universal language, express the most intimate essence of the world. So, if we think about Social as everything that regards the human society, then every kind of music, apart from gendres and composers, has in itself a social component, just because it has been composed by human beings.
Anyway, I personally think that there are several arguments, for example politics, that’s best for us to avoid because, in my opinion, are not so useful to Music, if ever the opposite, turning it, most of times, into mere political propaganda rather than into Art.”

Interview for “All About Jazz”

Posted in Biography, Interview, Life, Press Release with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , on March 27, 2009 by bottabass

This is the complete interview appeared tonight on “All About Jazz”, American Jazz Magazine

Take Five With Alessandro Bottura

Teachers and/or influences?
Bass Teachers (in chronological order): Enrico Lazzarini, Glauco Zuppiroli, Jeff Berlin, Massimo Moriconi, Pierpaolo Ranieri, Luca Pirozzi, Mario Guarini, Alessandro Patti.

Influences: Jaco Pastorius, Stanley Clarke, Jeff Berlin, Marcus Miller, Weather Report, Yellowjackets, Spyro Gyra, The Rippingtons, Medeski Martin & Wood, Mezzoforte, Mike Stern, John Scofield, Prince, Jimi Hendrix

I knew I wanted to be a musician when…
I first listened to Jimi Hendrix’s “Voodoo Child.”

I was nearly 10 years old, and I remember that I was flashed by that awesome guitar intro! Every time I listen to that track, I feel the same I did then!

Then, at the age of 16, I definitely chose the electric bass after listening to (guess who?!) Jaco’s first solo CD, Jaco Pastorius (Epic, 1976).

Your sound and approach to music:
I try to catch something from all the great musicians. If I listen something I like-a solo, a riff, it doesn’t matter what the instrument is-I try to understand it, play it on the bass, get it in my hands and in my head, and then insert it totally changed in a different context. On the other hand, I love when I’m training and I like something I’ve improvised, I repeat it and then it starts to take the form of a track. I simply think about music as the most pure form in which I can express the real me.

Your teaching approach:
I think that a good teacher always knows what to teach. If you’re going to a lesson, and your teacher asks you “Well, what do you want to learn today?,” well, I don’t think you’re spending your money well!

I’m convinced that we’re always both teachers and students, because in life you never know, maybe one of your students may make you think about something you’ve always bypassed. Definitely, we never stop learning!

Your dream band:
The best formation for me is a classic quartet: guitar, keyboards, bass, drums.

Choosing some names is difficult but I think that they’d be:
Mike Stern (guitar);
John Medeski (keyboards);
Dennis Chambers (drums);
And if I’ve got to choose my favorite bass player, no way: Stanley Clarke!

Road story: Your best or worst experience:
Well, between the worst experiences I just can’t choose.

Regarding the best, I like to think that the best will be the one that’s coming!

Your favorite recording in your discography and why?
I’ve got only one, is there some choice?

The first Jazz album I bought was:
Jaco Pastorius, Jaco Pastorius (Epic, 1976)

What do you think is the most important thing you are contributing musically?
Trying to bring fusion music back.

Did you know…
I’m losing all my hair?

CDs you are listening to now:
Medeski, Martin & Wood, Radiolarians (Indirecto);
Yellowjackets, Lifecycle (Heads Up);
The Rippingtons, 20th Anniversary (Peak Records);
Prince, Ultimate (Universal)
Mezzoforte, Anniversary Edition (BHM).

How would you describe the state of jazz today?
Unlike what I constantly hear, I don’t think that the situation is so bad. I mean, the continued development of technology applied to music gives new flow to everyone’s creativity so that we can find a new musical reality that starts from the idea of a mainstream group, i.e. a trio. Then, by developing our own sound through the use of effects and technology in general, we start to create a brand new thing, making a step forward in jazz experimentation.

What are some of the essential requirements to keep jazz alive and growing?
Ongoing, creative experimentation, but with a constant glance at the past masters’ lessons.

What is in the near future?
Surely, the second album, upcoming in the beginning 2010.

Then, perhaps, some other projects of a more experimental nature (but we’ll see..).

If I weren’t a jazz musician, I would be a:
A rock musician! No, I don’t know, maybe a soccer player? More probably, an unemployed!

See the origianl version @ All About Jazz

Interview for “Imbuteria Social Network”

Posted in Interview, Life, Press Release with tags , , , , , , , , , , , , , , , , , , , , , , , , on March 26, 2009 by bottabass

Translation of the interview of 24th March 2009 made by Balconaggio for “Imbuteria Social Network”:

‘mbuti: “How many hours per-day do you dedicate to music in all its forms, what activity prevales and what’s your favorite one?”

AB: “Right now I’m working part-time, so my training time’s average is of  only 4-5 hours per-day, mainly focused on instrumental practice,  tryin’ to takin’ care of both the purely technical part and the more musical one, that is rhythm, harmony and melody.  Tipically to this second part belongs the activity that i prefer, that’s the study, the internalization and the reprocessing  of the great musicians, not only of the great bass-players: for example, studyin’ a Miles Davis’ solo or a Jimi Hendrix’s riff on the bass and putting them foward again varied and elaborated according to my musical taste in different contexts from the original ones, a brand new range of possibilities is opening out to my mind, lettin’ me discover things that you’ll never found written on a book! All of this, naturally, without forgetting that my instrument is the bass,  and a particulare cure (and of humble reverence) must be reserved to the great masters (such as Stanley Clarke, James Jamerson, Marcus Miller, John Paul Jones, Jeff Berlin and obviously Jaco Pastorius, just to name my favourites..), studyin’ whom you can realized that all of them has made the previous exercise!”

‘mbuti: “You’re really a good musician, in my opinion with the bass you’re at the highest levels, also your original compositions are valuable, can you describe us your creative process and your feeling toward interpretation?”

AB: “Thanks a lot for the wonderful compliments! For what concearns the creation of a piece, I ain’t got a precise pattern, or better,  I ain’t got a fixed point from where to start; it can be the main theme or the bass line or even the harmony to born  first, the only fundamental point that I pre-arrange is that the complete tune, regardless of how much complicated it can be in theory,  must flow with naturalness, with no rough edges nor screeches, fitting in all the parts so that they’ll sound just like one thing. This can seem like a banality, but it isn’t expected at all, least of all simple! Regarding the interpretation, well…as the always wise Massimo Moriconi says, playin’ is like makin’ love, is havin’ fun while makin’ others havin’fun (ok, ok, those who had the luck to talk with Massimo will certainly know that his version is DEFINITELY more direct and less “politically correct”!!!), is getting emotions across, the knowledge that one word said at the right moment in the right way sometimes worths like one hundred..”

For seeing the original italian version of the interview, click here