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Jazz Articles » Catching Up With » Emi Vernizzi’s Human Touch in Electronic Jazz
Courtesy Roberto Cifarelli
There’s no real difference playing for big crowds or ten people if both audiences are engaged. The problem
comes when music becomes wallpaper – that can be frustrating.
Emi Vernizzi
”
data-original-title=”” title=””>Emiliano Vernizzi plays saxophone in Berlin jazz clubs one week and fills stadiums with rock star Ligabue the next. His work with
Pericopes
band / ensemble / orchestra
”
data-original-title=”” title=””>Pericopes+1 has helped establish the group as one of Europe’s notable contemporary jazz voices, with masters
Dave Liebman
saxophone
b.1946
”
data-original-title=”” title=””>Dave Liebman and
”
data-original-title=”” title=””>Enrico Rava championing their music.
Their album Good Morning World! (Losen Records, 2014) examines human connection in an age of algorithmic control, blending acoustic instruments with vintage electronics to create textured soundscapes.
“The transition from duo to trio was spontaneous; we needed a more powerful, rockish sound,” Vernizzi explains. “Having a third element allowed us to compose in three dimensions.”
His custom pedal board creates electronic textures while preserving the saxophone’s natural voice. “The circuitry puts the electronic process alongside the acoustic sound rather than altering it,” he notes. “A saxophonist spends years shaping their timbre. I didn’t want to tamper with that.”
Both Liebman and Rava recognized the group’s innovative spirit early on. “They connect tradition with the avant-garde,” Vernizzi says. “They showed how jazz could transform toward modernity while respecting its roots.” He later studied with Liebman and recently collaborated with Rava on a
Lester Bowie
trumpet
1941 – 1999
”
data-original-title=”” title=””>Lester Bowie project.
The new album reflects on technology’s impact on human interaction, particularly during recent social upheavals. “There’s an alarm at triumphant social indifference, trust in others replaced by trust in technologies,” Vernizzi observes. “The songs explore various settings: augmented reality, artificial emotions, algorithmic control.” For the recording, Pericopes+1 broke their usual no-guests policy, bringing in violinist Anaïs Drago and bassist
Rosa Brunello
bass, acoustic
”
data-original-title=”” title=””>Rosa Brunello. “Having two female guests added energy that was missing,” Vernizzi says. “Rosa was perfect for [the track] ‘Assange’ given her political activism, while Anaïs brought exactly what we needed for the impetuous character of ‘Cosmic Nirvana.'”
When teaching masterclasses at institutions like the Royal Conservatoire of Scotland, Vernizzi emphasizes personal vision over theory. “A good masterclass offers new perspectives rather than just technical information,” he explains. “Teaching aesthetic development matters because even non-musicians can appreciate that element.”
Despite moving between massive stadium shows and intimate jazz venues, Vernizzi maintains a consistent artistic approach. “There’s no real difference playing for big crowds or ten people if both audiences are engaged,” he says. “The problem comes when music becomes wallpaper -that can be frustrating.”
Pericopes+1 balances composition and improvisation, electronic textures and acoustic timbres, creating music that examines modern life without losing its human core.
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