Q&A with Nino de Gleria

Nino de Gleria, soundcheck at Cerkno, May 2003 (photo: Bogo Pečnikar)


How long have you and Aleš known each other?

I’ve known Aleš from birth. We were living in the same house. We were neighbors. We were together all the time as kids. We had a puppet-show together. Then after Aleš moved, he began to learn violin in music school. My first wish was to play cello. I asked my father to enter me in music school. But something had happened a few days before my request. At that time I was very young, six or seven years old. I went with one of my friends from home and we got lost. We were walking at the river Gradascica, very far away from home. Our parents went completely crazy, worrying about where we were. At last they found us in another quarter of Ljubljana. Then when I asked my father about going to music school and playing the cello, he said, “If you are independent like this” - he was thinking about my vagabonding – “you can go and enter yourself in music school alone.” This was a kind of pedagogical step. Of course I didn't go to school alone.

When did you start to play bass?

I began to play bass at 14 years old. First I was playing double-bass. At 17 years old, I was playing with Begnagrad.

How did it happen that you went to study jazz in Graz (Austria)?

When I was a kid I was in primary music school, but only two years. Then I made examinations for secondary music school. I had a very sleepy teacher there. I was studying bass. At the same time I was in college. Igor Leonardi was studying in Graz, so I decided to go there too. I was thinking this is the right school for me. I went to Graz and made the entrance examination successfully. I didn’t tell this to my parents. Later I left the college. My parents were out of their minds. I told them I made the entrance exams, and I'll go to Graz to study jazz. And they don't need to worry because I have enough money for the beginning - I had money for half of the year. I was thinking they would give me some money when they saw I was in earnest.

What was it like in Graz?

At that time this school was a little more "open" than the others. Doesn't matter, it was still called a “conservatory”. I was studying there for two years. I had to play Paul Chambers’ solos all the time -again and again...It was boring. I argued with my teacher. Once I came into the room where we were practicing, and I saw a paper on the table. It was a score of Paul C. again! I turned on my heel and left the room - and the Graz conservatory. But a few things were good there. Aleš came to Graz after he finished college.

Is school education important?

It depends on the individual person. If you are interested in learning, it is good. What’s important is that you can have a choice and you can decide what you like. In college I had a teacher for Slovenian language. He went to see porno-films very often. Once my friend and I met him at that cinema. We were asking him, why he is he watching these porno-movies? And he answered: "You have to see good and bad things. Then you are free to decide what is good for you."

At that time you were playing with Begnagrad.

Yes, I was, with Aleš, Igor... I was playing with Igor at the beginning in different underground groups. Igor brought an African influence to Begnagrad before he was in Africa for real.

What did you listen to when you were a teenager?

Everything from free jazz to hard rock.

What music has influenced you most?

Art Ensemble of Chicago, Weather Report, original ethno music, Mahler... Ales likes him too... Deep Purple, Emerson Lake & Palmer, Jimi Hendrix... Prince…

What is important in music?

Everything. This moment is important.... and the personality that someone has. Even if someone has a virtuoso technique and doesn't know what he wants - or what is his role is in the music - it doesn't help. What’s important is the power of his, or her, music expression.

I think you enjoy music.

Yes, I do. I like to play music. I like to compose too.

Tell me about composing music.

When I compose the music I'm thinking about a performer. It depends for whom I’m writing the music. I know how somebody plays the instrument. I like to leave enough space so the performer can add something that he or she likes to the music.

When did you start to compose?

When I was a child I was singing melodies before I slept in my bed. Sometimes I recorded it on tape.

Did you ever hear any music in your dreams?

The only thing that happened in my dreams was that I was playing with somebody but I couldn't get a single tone from the instrument. It is like a musician’s nightmare.

Tell me about your favorite instruments.

My first bass guitar was from Italy. I bought it for 100DM. It was cheap but it was fretless. It was a great one.

You were playing this guitar in Begnagrad. I remember this.

Yes, the sound was great.

What happened to this guitar?

I lent it to Tozibabe [a female punk-rock band] and they smashed it during a concert.

Are you attached to one instrument?

No. But if the instrument responds to me, I like it more. I have a guitar from 1987. I wanted to sell it. But I can't. Somehow this guitar inspired me. She embraced me all the time... It is a she.

What about the cello?

I bought a cello, so my old dream becomes true. Now I play cello in a band where some other guy is playing bass. So, I have a possibility to see what bass means in music. Bass gives rhythm and builds a harmony - so, the other instruments can play on this. Bass and drums are fundamental to music. Like the foundation of the house. So, we are people from the cellar! [laughter]

Can you tell me something about solos?

You can play solo if you have a good background. I can't play drunk or stoned. I think the energy is important - the energy you transform from inside to outside. The improvisation comes from the idea in your head through the instrument to the outside. The instrument is a tool, a transmitter between the idea and the audience. And imitation of somebody is always like a big lie. You can feel it.

Why do you like to play with Aleš?

Because he is the one of the very rare drummers who is not a drummer but a musician. We have played a lot together in many bands - Begnagrad, Quatebriga, Bratko Bibič and the Madleys, Fake...everywhere that they need a good drummer and bass. [laughter] I like Aleš so it is never a problem for me to play with him. We can play together any time without practice. We just look at each other and everything is clear - accent, breaks, dynamics...

Are you and Aleš similar people?

We have very different lives. Aleš has a more conventional life - family, school, job... I like to create my life alone. I don't like others to create my life. But this doesn't bother us in our music.

What do you wish?

I like to have a good band. I like to have concerts all the time. Recording CDs is not so interesting - this is connected with business. I like to create new things all the time. When I finish one, I like to begin another. I would like to live on the road and have concerts all the time. I don't need a lot of comfort. I like to travel and play all the time.

If you had your dream-band, would you like Aleš in the band?

Yes, of course. If Aleš would be prepared to live like this. [laughter] Aleš always thinks before he does something or goes somewhere. I just go, let me see what will happen.

Would you like to go and live somewhere out of the city?

I am a kind of a city rat. I don't know what I can do in the country. OK, I can do something. I'm the kind of person who must do something all the time. I’m not a workaholic, but I have to do something every day. Then I have reason to celebrate. (laughter) I celebrate all the time! [laughter]

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