Bandini, a journey through Italian music: "But there's never a point of arrival."

A four-a-side lineup for a special evening of music, an event not to be missed. Tomorrow at 6:00 p.m., Potenza Picena will host an extraordinary ensemble featuring Ellade Bandini, one of Italy's greatest drummers, singer Emilia Zamuner, bassist Massimo Moriconi, and pianist Ettore Carucci, who will take the audience on an emotional journey through Italian song. The evening will be further enhanced by the appearance of cartoonist Mauro Cicarè, who will offer a visual and narrative perspective on the musical universe. The full program of the tenth edition of the Mugellini Festival will be presented during the event.

Bandini, what was the inspiration for this live show?

"We listened to the television show Milleluci, where the 'greats' Mina and Raffaella Carrà performed seemingly simple songs. Take Tuca Tuca, which has an extraordinary swing, and then Parole Parole or Rumore, which we'll perform in our own way, but are very recognizable."

From Guccini to De André to Paolo Conte to Mina: but how far did he go before reaching the pinnacle represented by these artists?

"The summit is still far away, because there's never a finish line. I've had the pleasure of collaborating with great artists, but I've also said no to many because I like to travel, have a certain freedom, and not be too tied to a single project. I also love to cultivate what I love."

Who was the most demanding?

"De André, he was very calm in the recording studio, but live it was a different story because he felt he couldn't disappoint the audience. Guccini trusted him, Mina said to play properly because your name is on the record, Paolo Conte was tied to tradition. You have to recognize the musicians' references, and in my case, I've always tried to adopt multiple styles."

What was the live performance that stayed with you?

"I'm thinking of Guccini's Fra la via Emilia e il West, which we're now bringing to the stage with I Musici, a theatrical project inspired by a live performance 41 years ago. Then there were those from 1998 with De André, and Conte's, where mistakes are not tolerated, but everything must be perfect because those who pay for the ticket have the right to listen to a flawless concert. In the recording studio, things are different; you experiment, you change until you come up with something that's as close as possible to what the artist wants."

What was the training ground that allowed you to play at such high levels?

"I'm essentially self-taught, though I've had some training. Ballroom was my true training ground, because I believe method is a prison. Many musicians teach themselves to play according to their preferences, while the important thing is to explore different genres, listen to them, and play them in your own way. When you play, you have to do it your own way, have a recognizable sound, otherwise everyone is the same."