Contemporary, Indian and Japanese music: these are the Percussion Voyager, a duo born in 1998. In spite of the name, the two musicians are Italian: Matteo Scaioli was born in Ravenna, while Maurizio Rizzuto is from Rome. We meet Maurizio at the end of his lesson at the IED (European Institute of Design), where he holds a course of sound design.
How did you start with the Percussion Voyager?
It is the result of a successful collaboration. In October 1998 Matteo asked me to take part to a project he had. The partnership worked very well and we decided to keep on working together, by turning such occasional collaboration into a long-lasting one.
What’s your show like?
Our show is characterized by percussions and electronic sounds of great emotional impact. It is a performance where every detail is carefully studied and where, at the same time, there is room for magic improvisations. On the stage there are only percussion instruments, which are mounted on particular structures made ad-hoc.
What about your artistic journey?
I would define it a journey with milestones, each was incredibly important and educational. A lot of music, conservatory and a lot of jazz up to electronic music. I started, as usually, by playing the drums in the clubs of Rome. I graduated in percussion instruments at the conservatory in L’Aquila. After my degree, I worked both as drummer and percussionist, I founded first the group Bemiànos and later the GADA ensemble, with which I took part to many International Contemporary Music Festivals. It was a lucky period for the Roman jazz. In these years I made, indeed, several tours with many jazz players known worldwide, such as Steve Turré, George Garzone, Harvie Swartz, Gary Bartz.
That was a very important experience, which, however, didn’t prevent you from starting partnerships even in other artistic sectors.
It’s true, my interests range from a sector to another. Over the years I took part to many cinema projects and established a successful collaboration with Sabina Guzzanti, for whom Riccardo Giagni and me curated the music of the theatre show “Reperto Raiot”, of the movie “W Zapatero!”, then I participated in the Venice International Film Festival and in the “Sundance Film Festival”. In 2007 I wrote the music for the movie “Sympathy for the Lobster” and for the broadcast “Tv Raiot”. Between 2009 and 2010 we worked on the theatre show “Vilipendio” and the movie “Draquila” shown at the “Festival de Cannes”. I was also engaged in the production of the show “Playing with the world” by Pier Francesco Loche and worked with Matteo Garrone for the movie “Reality”, for which I wrote part of the soundtrack.
Cinema and then what?
As well as Percussion Voyager, my present is represented by Ordinary Dreams, a duo composed by me and the singer Paola Canestrelli. Now it is to be released on the first disc, with the first single, "Do not Let Me Go", already on air and in the soundtrack of the movie "Smetto quando voglio". In this project I am both artist and producer. A role that I feel more confortable with because it allows me to choose people I work with. For example,one of the artists participating in the album is Davide Rossi, collaborator of Coldplay.
Electronic music is linked to technological innovation. Do you think it changed the music market? Then you think that new media require a different way of making and proposing music?
Surely, it would be foolish not to admit it. The challenge is to follow it and adapt to change. For example I think about the crowdfunding campaigns we have promoted to support our business, or to self-promotion through social networks. All these changes lead to a wider artist's independence and, consequently, to a greater responsibility towards what you do. Changes to which, however, we can not oppose.