This Thursday, February 20, The Jazz Gallery welcomes saxophonist Nicola Caminiti to our stage for his Gallery debut. A native of Sicily, Caminiti came to New York to study at the Manhattan School of Music and graduated last spring. Inspired by Jazz Gallery favorites like Walter Smith and Will Vinson, Caminiti sports a style that’s rhythmically-dextrous and harmonically-lush. We caught up with Caminiti to talk about growing up with jazz in Sicily and finding himself in the New York jazz community.
The Jazz Gallery: What were you doing in Italy before you came to New York?
Nicola Caminiti: I was born and raised in Sicily, so I spent most of my life there growing up, playing, and listening to music. I started playing saxophone when I was 8. I’ve been listening to jazz forever though. It’s funny—I was exposed only to jazz until I was about 4 or 5 years old, so I thought that was what everyone listens to until I got to elementary school where I realized no one even knew what jazz was.
TJG: Are your parents musicians?
NC: My father used to play guitar, but he’s moreso just a really big fan of jazz. I tell people that he knows more about jazz than I do even though I’ve been playing it for a while now. He got hip to all of the modern stuff before I did. Around 2008 through 2010 I was in my early Kenny Garrett stage and he was already showing me recordings of Jonathan Kreisberg, Will Vinson, Gary Versace, Mark Ferber. He found them all on Youtube, which has really opened up a lot of music to the world.
When I first heard it, I wasn’t sure if I liked it, but 2 or 3 years later that was my favorite stuff to listen to. My dad always seemed to be a step ahead of me.
TJG: Would you say that there is an Italian musical tradition to grasp onto? How did you become a jazz musician specifically?
NC: Well, classical Italian music is opera, and there are also regional traditional musics that sometimes incorporate pop elements. In Sicily, there is the Tarantella and Neapolitan music, which I love. There are also Neapolitan musicians who have crossed over with jazz musicians—for example, one of my favorite singers is Pino Daniele, who is a guitar player and singer. He even played with Chick Corea, Wayne Shorter, Santana…it was kind of pop music, but not consumerist pop: meaningful pop.
Italian traditional music isn’t really that prevalent in every day life though. I feel like this type of tradition is stronger in countries like Cuba, for example. I have a lot of Cuban friends and friends from Latin America in general, and they tell me that music is being played on the street. It’s there. You can feel it. Even in Washington Heights where I live, you can feel it to some degree. It may be far from the Afro-Latin heritage, but you can still kind of get that feel. In Sicily, you don’t get that. You get pop, and usually it’s American.
But really, the reason jazz has always felt natural to me is because I was listening to it day and night with my dad.
TJG: And you starting touring around Italy before you came to Manhattan School of Music, correct?
NC: Yes, I started going outside of Sicily around 2013 when I was 18, and I need to thank a good friend of mine—a killing guitar player from Vicenza, Italy, Joe Clemente, who took me outside of my comfort zone. He brought me north, playing with musicians from the area, and that was the first time I toured and played some gigs outside Sicily
TJG: What was your jazz education like up to that point?
NC: My academic education was mostly in classical music—that’s what I studied when I was 12. But regarding jazz, I was always around the Sicilian jazz scene, and between 2008 and 2014 I felt like the scene was really strong. There was a good 25 or 30 of us who would get together during the summer for workshops and work on material together.