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INTERVIEWS

'Between Sets with Al Conti' - Jazz Trenzz Interview by Karl Stober
New Age and New Sounds Magazine (English)
New Age and New Sounds Magazine (Original Italian interview)

Between Sets with Al Conti - March 2009

'Scheherazade'
Interview by Karl Stober of JazzTrenzz:

In the deepest of canals within the undercrust of music’s landscape, global lore is unearthed with the romantic direction of the conductor’s notes and imagination. Whether it’s the memories of past influences, or the fantasies one lives as a child, the stories of our youth address one's most cherished experiences.

Composer Al Conti took his experiences in time and expressed them within music sheets. Sounds which mirror the fantasy of the tales unearthed by the Middle Eastern storyteller and temptress, Scheherazade, unveil themselves. The music and arrangements of Conti capture one's inner moods as much as Scheherazade did herself, with her beauty and lore.

Conti was an actor with numerous marques to his credit, including noted soap drama, As the World Turns. In the early nineties, he received an epiphany, which vaulted his life into a passionate love affair with composing. In 2006, his debut project Shadows hit the shelves and the year after, sophomore effort Poeta, which then brought us to 2008 and Scheherazade. It is a journey that may have taken Conti full circle emotionally, however, he is far from finished with this trek; music flows through his veins with great vengeance, in synch with his imagination.

Conti’s third musical exploration, Scheherazade, involves the age old story of a seductive and ingenuous storyteller, Scheherazade, whom like Hans Christian Anderson, framed her survival by making fantasy come to life through words. Conti interestingly enough captures not only the life, but emotions of this woman, in ways only the music he arranged could unfold to us. The listener is treated to a hypnotic free-fall into her life. This is the best of both worlds.

This composition, along with the scope of intelligence Conti posses, has cured this fable woman’s experiences. Moments that brought great sadness and fear, yet times that brushed away those memories with the exhilaration of virgin innovation. This innovation bleeds pure Conti development and manipulation. His world music/fusion outlook dresses down the strict rules of music theory and allows a rewrite, as composition goes.

I think of Al Conti as an artist-entrepreneur. The tools he allows himself are centralized deep into improvisation, as well as culturally induced with a visionary palette. The enjoyment of his music is deeply rooted and intensely personal. This is an artist whom more than most, showcases his existance within his talent.

As Scheherazade went into the night with stories of endless complexities, you, the reader, go between sets with the music and conceptual brilliance of composer Al Conti. ..rejuvenating the Persian queen of the night!

JazzReview: Composer/actor/arrranger/multi-facetted musician, on and on it goes. What satisfies you the most out of all these labels stamped on yourself?

Conti: Basically, to me, all the aforementioned fall under the label ‘artist.’ As an artist, I need to feel fulfilled in what I am working on. Each of the labels you mentioned has made me feel fulfilled in one way or another at different stages in my life. I do feel that all intermingle to bring out the kind of music that I create.

JazzReview: As a well-traveled man, you (as well as your new release subject Scheherazade), have so many stories to tell. Can you tell our readers one that profoundly shaped your destiny?

Conti: I think, above all, my family’s story. I am honored to have been born into a family of such cultured background, artistic and strong individuals whom have faced adversity yet continue to be loving... and giving.

JazzReview: Your life at one time was in jeopardy, which changed the shape of things to come for you. Please tell us about that time, the emotions and the force that made you conquer that time.

Conti: I think that when one is near death, nothing else matters. We shed so much in such a short time. It changes us. I know it changed me profoundly. I think that, subconsciously, it completely envelops the music I create.

JazzReview: You state that as an actor you used sound for pulling emotions out for a scene. Music is such an emotional experience, which exhumes memories of the past or a certain time. Now as a musician/composer, what takes you to the place you need to be?

Conti: I get lost in the story, which probably comes from my innate ability to act. Furthermore, I feel like the music takes me and leads me where it wants me to go. To quote an exquisite ABBA lyric: “I let the music speak, leading gently, urging me like a lover.” The moments I spend composing are a mixture of magic, self-therapy, passion, neurosis, all rolled into one. Yet, after it is all finished, I hardly remember what was going on during the actual work or how I got to a specific emotional place.

JazzReview: Scheherazade is far different that any of your other two projects. It takes the listener out of their realistic space and into a fantasy. You can even picture yourself sitting by Scheherazade’s side, listening to her tales under the desert sun. Talk about the birth and catalyst of this piece.

Conti: I truly love the way you just put this. For a moment, you took me into that fantasy world just with your words. Scheherazade was a concept that took me over before I knew it had happened. I had made a conscious decision to break away from my more classical sound and into uncharted territories. Before I knew it, the whole album’s concept was very clear to me and I could not look back. Artistically, I knew I was in for a challenge, but that has never stopped me. The fiery eyes behind the veil watched over me through the whole journey. The result: Scheherazade.

JazzReview: How did you approach the arrangement of project?

Conti: Very carefully, and open to anything and everything. I usually immerse myself into every aspect of what my album will be about. I surround myself with music of the genre, books, movies, food and so on. I try to maintain that focus for the journey of the album’s creation. What happens next is usually a surprise for me. I know instinctively what works musically for me and what does not. I set extremely high standards for myself, and work very hard to reach them.

JazzReview: You comment that Scheherazade was an “arduous experience.” Why? How would the process compare to the 2006 release of Shadows or the 2007 spin Poeta?

Conti: In part, as I was just mentioning, I am my worst enemy and set standards for myself that are sometimes really high. There is the music that is in my head and then the arduous experience of bringing it down to this reality. I also think something was happening within me during the creation of Poeta, which was showing me that a shift was coming in my creativity. I always feel Poeta was a stepping-stone to Scheherazade and what is coming next. Part of my insatiable drive comes from never wanting to go backwards artistically. While it is always amazing to me when someone else loves my work, I am the one who has to live with it first. I am my worst critic.

JazzReview: “Seven Veils to Midnight” has that signature, sultry feel to its flow. This cut signifies Scheherazade’s acknowledgment and admittance of her plan to ward off her death. The arrangement acuitly generates that story. Describe the path you took on this piece from instrumentation to structure.

Conti: This song, which amazingly has become the favorite of many, became a transition period in Scheherazade’s story. This is the perfect example of how the music will tell me what it wants and I dare not argue. The intensity and passion of the song surrenders to a calm and introspective energy that I had not anticipated early on. Before I knew it, the song had transformed itself like a butterfly and became the basis for another song (Palace Gardens) that follows later in the album. In some ways, I feel we see inside her soul through that second half of the cut.

JazzReview: Of course, the success of Scheherazade’s plan unfolds in the exit cut “Heart Triumphant,” for she captures her would-be executioner’s (the king’s) heart. When you laid out this final chapter of the story on the music sheet, was the final score what you envisioned it to be?

Conti: Interestingly, I do not read or write music, so there is not really a music sheet before me other than the one ingrained in my head. This song in particular was composed before all the others and expresses much love for me. The song never worked out for Poeta and I shelved it, virtually undone. I knew, however, that it was meant for this album. It cloaked itself in a completely different disguise and became what you hear now. In some ways, I never quite envision what the album or a particular song will turn out to be because, as I mentioned before, the music will take me wherever it feels it wants to go.

JazzReview: Introduce us to those who helped sculpt this story.

Conti: Then I should go back to my childhood and the magical worlds I used to create for myself. My parents encouraged my artistry. My passion was acting, music and animation. Storytellers of all kinds captured my imagination deeply. I grew up in Argentina during a very dark and difficult time in that country’s history. I am sure being bombarded by this harsh energy only helped me escape further into a magical world of my own. Today, I feel this comes through in my work.

JazzReview: Is there something, whether it is an instrument or additional cuts, which you would have liked to add to this project?

Conti: No. When a new album is ready to be created, it is as if someone has turned on the creative faucet. When the last piece is finished, nothing else comes. No matter how hard I try, the well of creativity goes dry. The music tells me my work is done just as it tells me a new album is to begin.

JazzReview: Now that you listen to the final version, what emotions do you feel are the strongest that come from the piece? What emotions or feeling could have been more prominent?

Conti: I tend to separate myself from my past work, which probably comes from my experience as an actor. We move on rather quickly to the next project. I am very proud of what I have achieved with Scheherazade, but as I started work on my next album, my focus has now shifted to that new adventure. However, I find myself haunted by the album’s amazing success. I know I do not want to repeat myself artistically on the new album, but I feel a lot worked on Scheherazade that I want to hold on to. The emotions and feelings represented in Scheherazade feel perfect for me. What I can say is, expect to find a very similar energy, magic and intensity on my upcoming project as you found in Scheherazade.

JazzReview: What part of the project caused you the most issues and why?

Conti: I think the entire project was heart wrenching for me. I traveled uncharted territories I was not sure I was going to conquer. There was also a release date set for the album before the music was even composed, which added to the stress. I found, however, that I work marvelously under stress and I can conquer whatever uncharted territory I set out to discover. I owe Scheherazade that. I battle many inner issues as I work on a project and fight hard to find a middle ground between what is publicly appealing and my own artistic integrity. With Scheherazade I feel I have achieved that peaceful balance.

JazzReview: Is there a Scheherazade in your life or past?

Conti: I could say there have been several, but hating to disappoint any reader who might imagine something more torrid, I’d have to say my maternal grandmother, who used to tell me many stories as I went to sleep at night.

JazzReview: Let’s get into your off-stage self.

President Obama means to me…

Conti: You know, as an artist I have always held very closely to my belief that my music should speak for me and not the other way around. My political, religious or any other personal views are probably too boring for anyone to read about, so I rather they find that excitement in my work. That said I feel that with each new president there is always a promise of possibilities. In such uncertain times, I try and do my bit by offering people a little escape for 50 plus minutes.

Magic Lamp, One wish…name it!

Conti: Give me unlimited wishes.

Your epiphany …

Conti: I have not yet composed it.

A role you would drop what you’re doing to perform....

Conti: Any role that could help changes someone’s life for the better. Music, however, takes every ounce of energy I have. I could not imagine acting right now.

Favorite expletive.

Conti: ‘Rats!’

I stress greatly over…

Conti: Humanity and the path we have undertaken.

Then cool down by…

Conti: Being alone! I need a lot of alone time to recharge and have since I was a child. ~

EmmeK Magazine (Italy)~Interview With Al Conti - January 2009

EmmeK Magazine Cover

Interviewed by Cinzia Blanket for New Age and New Sounds Magazine

He has left television studios and theatre stages to dedicate himself to music. After composing two albums filled with poetic and intimate sound landscapes, this versatile artist born in Buenos Aires creates a new work, completely inspired by the story of Scheherazade.

Sensitive, generous, altruistic, fascinating, actor and musician. Al Conti seems to incarnate that blue prince (knight in shining armor) described in so many fables, so desired by idealists, both young and old, who still believe in idillic love. Even in a world dominated by pragmatism over fantasy we can still find, when we least expect it, characters that seem born from a fairy tale who love to enchant by reaching to ancestral stories, lost in the night of time.

Conti enters into this category. He is a romantic artist, very introspective, who loves to speak of poetry and fantastic tales, of events that speak of love and which are timeless, such as the One Thousand and One Nights on which he was inspired to compose his last album Scheherazade and which quickly rose to top the New Age Reporter charts.

Born in Buenos Aires, but for many years living in Vermont, Al is an actor full of talent who has interpreted diverse dramatic roles, be those on television productions (such as CBS' 'As The World Turns') or theatrical (such as Rozencrantz and Guildenstern Are Dead, Andre's Mother and Poor Richard). Music, however, has always accompanied him thanks in part due to a classical bellerina for a mother and an architect and poet for a father. The desire to compose something of his own has pushed him to leave for a while stages and television studios to retell, through sounds, rhythm and melodies, stories of today and of times past. Nowadays, after composing three albums, he feels he has matured to a new musical approach, as he tells us.

Al: "I do not have a precise scientific method when I compose. I am very intuitive. I start from a very spontaneous idea and slowly begin to mold it. When I have the right direction, I begin the selection of the instruments to create the atmosphere I have in mind. The choice greatly depends on the album in which the music will be showcased. In Scheherazade's case, being a project with Middle Eastern inspiration I developed sounds that expressed an ambiance of mystery and sensuality stemming from that part of the world. I began composing this album right after finishing my previous album Poeta. The concept came to me from one day to the next and began first in my mind. As such, the writing and recording process became simple after that. Scheherazade's story has always fascinated me and I looked to create harmonies and arrangements to tell its emotional language.

Cinzia: Your previous albums, particularly Shadows, seem more intimate and meditative than Scheherazade. Has your work style changed since?

Al: "Yes, very much so. Shadows was an album that compiles songs composed at various times in my life. They speak of memories and songs created at particular moments. I wrote these songs mostly for myself, never imagining that years later they'd form part of an album. Poeta was a more coherent work in the sense that it follows a more structured form and expresses emotions, images and experiences in amore cohesive way as it was composed in a brief, year's time. To date, Scheherazade is my more structured work, conceived on a precise work of literature.

Cinzia: "Do you feel that there are profound differences in the emotional plane and personal research between being an actor and a musician?

Al: "I have worked as an actor since I was very young. It was what I always wanted to be. Music has always accompanied me, but I never expected it would become my career. When I needed to enter a certain role I would allow my emotional states become influenced by music. For example, to interpret a role in which I needed to find melancholy and further break down into tears, I'd find Albinoni's Adagio playing in my mind, which would transport me into that emotional dimension I needed to recreate as an actor. Since working with music full time I have realized that I express my essence in a more profound way. Through the sounds that I choose I can express the various facets of my soul. It is a much more diverse way of communication between me and my listener.

Cinzia:"You support the Until There's A Cure foundation. Can you tell us about it?

Al: "Until There's A Cure is a foundation that promotes research and the raising of funds for those affected by HIV/AIDS. I also support two other charities which work with Alzheimer's and Leukemia. These tree illnesses I am quite familiar with because they have touched people I love. I think that, as an artist, in my own little way I can bring to people's attention the wonderful work of these people who help others with such humanity."

Cinzia:"You were born in Argentina, but for many years have lived in the United States. Which elements related to your Latin roots do you feel stronger within you?

Al: "I believe that my Argentinean origins have influenced the way I write music. I also have been greatly influenced by the Italian culture thanks to my mother who originates from your country. At home we always listened to the music of Italian artists such as Mina, Adriano Celentano, Peppino Di Capri and Nico Fidenco. We also listened to music from other parts of the world, but the Italian sound has been one has always colored sounds I love to compose. Naturally, my taste is also quite broad and, as is demonstrated in my last album, I like to travel into the ethic sounds territory." ~

Intrevista di Cinzia Blanket - New Age And New Sounds Magazine

Ha abbandonato set televisivi e palcoscenici teatrali per dedicarsi alla musica. Dopo aver relizzato due album pervasi da paessagi sonori poetici e intimisti, il versatile artista nato a Buenos Aires firma un nuovo laboro, interamente ispirato alla storia di Scheherazade.

Sensible, generoso, altruista, affascinante, attore e musicista. Al Conti sembra incarnare quel principe azzuro descritto in molte favole, tanto desiderato da piú o meno giovani idealiste, che credono ancora nell' amore idilliaco. Anche in un mondo dove domina il pragmatismo anziché la fantasia, capita d'incontrare, quando meno uno se lo aspetta, personaggi che sembrano uscitti da un racconto fiabesco, forse perché questi personaggi amano incantare, attingendo da vecchie storie, che si perdono nella notte dei tempi.

Conti rientra in questa categoria. É un artista romantico, molto introspettivo, a cui piace parlare di poesia e di narrazioni fantastiche, di avvenimenti che parlano d'amore e che sono senza tempo, come le Mille e una notte, a cui si é ispirato per comporre il suo ultimo album, Scheherazade, che a raggiunto subito la vetta della classifica di "New Age Reporter."

Nato a Buenos Aires, ma da anni trasferitossi nel Vermont, Al é un attore pieno di talento, che ha interpretato diversi ruoli drammatici, sia per produzioni televisive (come "As the world Turns" della CBS), sia per lavori teatrali (tra cui, Rozencrantz and Guildenstern Are Dead, Andre's Mother and Poor Richard). La musica, peró, lo ha sempre accompagnato, grazie a una madre balleria classica, e a un padre, architetto e scrittore, appassionato di vari generi. Il desiderio di comporre qualcosa di suo, lo ha spinto ad abbandonare per un pó palcoscenici e set televisivi, per raccontare , attraverso suoni, ritmi e melodie, storie di oggi e di epoche passate. In questi anni, dopo aver realizzato tre album, sente di aver maturato un nuovo approccio musicale, come lui stesso ci spiega.

Al: "Non ho un metodo specifico quando compongo. Sono molto istintivo. Parto da un'idea che si manifesta in modo del tutto spontaneo e pian piano inizio a plasmarla. Quando ho individuato la giusta direzione, procedo alla selezione degli istrumenti adati per creare le atmosfere che ho in mente. Le scelta dipende molto dai contenuti del brano e, piu in generale, dell'album in cui viene inserito.

Nel caso di Scheherazade, essendo un progetto che trae ispirazione dal Medio Oriente, ho sviluppato suoni che esprimessero i climi fiabeschi, misteriosi, sensuali di quelle terre. Ho iniziato a comporlo appena terminato il mio album precedente Poeta. Le varie tracce sono nate di getto. Per effetto dell'imaginazione musicale, delle melodie e le notte le evevo concepite prima nella mia mente. Cosí, il processo di scrittura, e poi di registrazione, è stato davvero semplice. La storia di Scheherazade me ha sempre affascinato e ho cercato di creare armonie e arrangiamenti che racontassero il suo linguaggio emotivo."

Cinzia: I suoi dischi precedenti, in particolar modo Shadows, per certi aspetti sono molto più meditativi e intimisti rispetto a Scheherazade. Il suo approccio creativo è cambiato in questi anni?

Al: "Si, è cambiato molto. Shadows è un album che racchiude canzoni composte in vari periodi della mia vita. Parlano dei miei ricordi e delle sensazioni provate in momenti particolare. Le avevo scritte per me, senza immaginare che anni doppo sarebbero confluite in un disco. Poeta è un laboro più coerente, nel senso che segue un preciso percorso ed esprime in maniera più coesa emozioni, immagini ed esperienze legate a un lasso di tempo più breve e ben circoscritto. Scheherazade è sino a oggi quello più strutturato, poichè concepito secondo una precisa chiave di lettura."

Cinzia: Sente che ci sono profonde differenze sul piano emotivo e di ricerca personale tra essere attore e musicista?

Al: "Ho laboratto como attore sin da giovanissimo. Era ciò che desideravo essere. La musica mi ha sempre accompagnato, ma non mi sarei mai aspettato che sarebbe diventata acnh'essa un lavoro. Quando dovevo calarmi in una determinata parte, lasciavo che miei stati d'animo venissero influenzati dalla musica. Per esempio, per interpretare un ruolo in cui dovevo provare malinconia, per poi scoppiare in lacrime, fascevo risuonare nella mia mente l'Adagio di Albinoni, che riusciva a transportarmi proprio in quella dimensione emozionale che dovevo ricreare como attore. Da quando mi sono avvicinato seriamente alla musica, mi rendo conto di riuscire a esprimere la mia essenza in modo molto più profondo. Attraverso le sonorità che scelgo posso rapressentare le varie sfumature della mia anima. È un diverso tipo di comunicazione, che avviene tra me e chi ascolta la mia musica."

Cinzia: Lei sostiene la fondazione Until There's A Cure. Puo parlarcene?

Al: "Until There's A Cure è una fondazione che si occopa di ricerca e di raccolta fondi per sostenere chi è affeto da hiv/aids. Sostengo anche altre associazioni, che si occupano di Alzheimer e di leucemia. Queste tre patologie le conosco bene, perchè hanno toccato persone che amo. Penso che come artista, nel mio piccolo, posso sensibilizzare la gente verso determinati problemi, fascendo conoscere loro splendide realtà, in cui lavorano persone che aiutano con profonda umanità gli altri."

Cinzia: È nato in Argentina, ma ormai da svariatti anni vive negli Stati Uniti. Quali elementi legati alle sue radici latine sente maggiormente dentro di sè?

Al: "Credo che le mie origini argentine abbiano influenzato il mio modo di scrivere musica. In realtà, sono stato suggestionato anche dalla cultura italiana, grazie a mia mamma, nata nel vostro Paese. In casa mia si sentivano le melodie di Mina, Adriano Celentano, Peppino Di Capri e Nico Fidenco. Ascoltavamo musica proveniente dai diversi angoli del pianeta, ma i motivi italiani sono quelli che più hanno dato un'impronta ai suoni che amo comporre, molto melodici. Poi naturalmente il mio gusto va oltre questi schemi e, come dimostra il mio ultimo album, mi piace entrare anche nei territori sonori etnici."