He is a member of the band Los Fastidios, and works steadily, live and in the studio, with dozens of Berlin-based artists. He has been teaching since 2019 at the University School of Popular Arts in Berlin.
2015 to 2019.
The experiences directly associated with Saint Louis that I remember fondly are the experiences with Vincenzo Presta‘s Pop Orchestra, with whom I played live on several occasions, accompanying artists such as Tullio De Piscopo, Diodato, Roy Paci and Arisa on stage. I also had the pleasure of being conducted, along with other Pop Orchestra musicians, by Maestro Beppe Vessicchio.
I handled it a little badly, probably 😉 Organizationally, I tried to group my classes as much as possible; which in general can be complicated, and becomes even more so when you want to take full advantage of the possibilities (taking masterclasses, rehearsing, seeing concerts, etc.) that Saint Louis and the city offer. I have often found friends to lean on, fortunately.
In Berlin I teach at the music university School of Popular Arts in Berlin.
I currently conduct lessons in rhythm analysis, writing software such as Finale and MuseScore, and individual bass lessons. Throughout the year I am invited to give music workshops and master classes. Teaching, however, is the least part of my activity in Berlin: what keeps me busiest is my work as a live and studio turner, for songwriters and bands based in Berlin and beyond.
Some small achievements in recent years:
I play a lot with them (they have more than 100 dates each year) and I am recording the new record, even having the pleasure of being able to write some songs myself.
I came to Berlin through a Laziodisco (Lazio Region announcement) internship called “Working With Music,” which allowed me to do a music teaching internship at the university where I still teach today.
I was the first arrival from St. Louis at the School of Popular Arts, but not the last, as to this day students and interns continue to arrive in Berlin from Rome.
Regarding my personal experience, it was quite complicated at first because of the pandemic. I arrived with two other Saint Louis students, and within a few months we were stuck in Berlin in a house that was too small and expensive, considering that even the scholarships were blocked.
On the first days of the week I teach (between university and private lessons) and prepare new material, then from Thursday to Saturday I take a train/plane and go to play live. Sometimes I am only gone for two days, sometimes for a whole week or more. For example, as I write this interview I am on tour in the UK for more than a week.
I would advise him to move to Rome, although I remember well the economic difficulty that prevented me from doing so then. Wanting to build lasting relationships, work and human, especially at a young age, living permanently in one city can make all the difference.
In a world where there are really many who are musically competent, including those who have never studied music, being able to make a difference from a human perspective and in interpersonal relationships is worth much more than any degree or diploma. In most cases, having to share time and space with a person, you care little whether he or she can do tapping superlocs or what grade he or she graduated with; you care instead that he or she is a friendly, sociable, reliable, balanced, and professional person.
There are many, but the one I can relate to the most because of the work I do and his attitude is bassist Leland Sklar. I appreciate about him, among other things, that he is one of the few giants among bass pop turntables who has interfaced consistently and sustainably with the Internet. His YouTube channel has an immense amount of videos testifying to his experiences and in which he plays bass lines he has recorded or played live for a wide variety of artists.
With one track I would go crazy; rather I would bring none. If I have to bring a record instead, I would bring Is This It by the Strokes; an incredible record in its simplicity and immediacy.
