An interview by Martina Knecht
Stefano di Battista Quartet lineup (from left): Daniele Sorrentino (double bass), Stefano di Battista (alto and soprano sax), Fred Nardin (piano), André Ceccarelli (drums)
When he learned I came from the outskirts of Rome, San Basilio, he began to open up. But the real turning point came when I mentioned my mother was a cook—at that, he became truly animated, bombarding me with questions about bucatini all'amatriciana.
In this exclusive interview, I sit down with Roman saxophonist Stefano Di Battista, who paid a heartfelt tribute to Ennio Morricone at JazzAscona 2023. Alongside discussing his musical homage, Di Battista shares a lighthearted connection to Italian culinary tradition, with a nod to the beloved dish, bucatini all’amatriciana.
Ennio Morricone’s legacy is etched in over 500 soundtracks, including iconic films like Love Circle, Once Upon a Time in the West, and The Good, the Bad and the Ugly. These masterpieces have been brilliantly and tastefully reinterpreted, with Stefano Di Battista adding his unique voice to Morricone’s music. In addition to the well-known tunes, Di Battista has also brought his artistry to lesser-known gems such as Veruschka, What Have You Done to Solange?, and Flora, a new composition gifted to him by the Maestro himself.
A native of Rome, Di Battista grew up immersed in the sounds of Art Pepper and Cannonball Adderley. In the 90s, he moved to Paris, where, under the mentorship of pianist Jean-Pierre Como, he quickly made a name for himself, collaborating with jazz luminaries such as drummer Aldo Romano, orchestra leader Laurent Cugny, trombonist Flavio Boltro, and pianist Michel Petrucciani, among others.
On June 27th 2023, Stefano Di Battista paid a heartfelt tribute to Ennio Morricone at JazzAscona, performing with his talented band—Daniele Sorrentino on double-bass, André Ceccarelli on drums, and pianist Fred Nardin, who co-wrote the arrangements and contributed to the artistic direction of this unforgettable project.
Stefano Di Battista, how did the idea for the album Morricone Stories come about?
In 2007, I was lucky enough to meet the Maestro at a party organised by a mutual friend to celebrate Morricone’s Lifetime Achievement Oscar. We were chatting and joking, and I said to him, “Maestro, I’d love to record an album with your music.” He responded, “Oh no, don’t bother, Stefano, who would even help you with that?” I’m not sure if he was worried about the outcome of such a project, but from that moment on, it became a bit of a game. I kept saying, “But I really want to do this,” and he would reply, “Forget it.” Eventually, however, he gave me his blessing, though he made it clear that I’d have to approach the music with the utmost respect and care. So, together with Fred, André, and Daniele, we began working on it.
What are the challenges in adapting Morricone’s music for a jazz quartet?
It’s a fascinating challenge because Morricone’s compositions were originally written for orchestras, often with 90-100 musicians. The concern was whether we could capture the full emotional impact of the music with just four instruments. But as we began to explore the essence of our setup—piano, double bass, drums, and saxophone—we focused on sound and dynamics, striving to find the right balance. In the end, we were convinced that the music still works and can evoke deep emotion, even without a large ensemble. And that can only mean one thing: it was composed with divine brilliance.
So, you’ve managed to capture the essence of your instruments and his music...
I’d say it’s the music itself that has brought out something beautiful in us, if that’s even possible. Tracks like What Have You Done to Solange? (Cosa avete fatto a Solange?) or Antonio in Love (La cosa buffa), which I wasn’t very familiar with, have stirred emotions in me that rival legendary pieces like Coltrane’s My Favorite Things. We’ve been playing this repertoire for a year and a half now, and it feels like this beauty is with us every day—we never grow tired of it. There’s a special kind of magic. Each time, it feels like a new passion is awakened.
He turned to me and said, “Alright, now we’re going to play it—me on the piano, you on the sax.” “Okay, Maestro,” I replied, feeling like I was about to have a heart attack.
Had the album been completed while the Maestro was still alive?
No, it had just been finished, but I was too nervous to let him hear it. After some time, I played it for Andrea, his son, who eventually gave us his blessing. The album was released two years ago, and we’ve since presented it with great success around the world. We’ve discovered that, from Turkey to China, people everywhere know and love the Maestro’s music.
Can you share an anecdote or special memory with Morricone?
There are so many! It all started at that 2007 party, where Morricone was surrounded by some much more important mutual friends, like Giorgio Rosciglione, who had clearly been singing my praises to the Maestro—perhaps exaggerating a bit. When I arrived, Morricone greeted me with, “Ah, you’re Stefano Di Battista!” and raised his hands as if to say, “They’ve been talking my ear off about you,” with a bit of irony, but also a warm smile. Then we had a private moment, and he asked about my parents. When he learned I came from the outskirts of Rome, San Basilio, he began to open up. But the real turning point came when I mentioned my mother was a cook—at that, he became truly animated, bombarding me with questions about bucatini all'amatriciana. From there, a fun exchange started, and suddenly, doors were opening that would not have otherwise. At one point, he asked, “Did you bring your sax?” I said yes, and he said, “Well, take it out, I’ll write you a piece.” That’s when things took an unexpected turn. The party came to a standstill—he had never done anything like this before. He sat down at the piano and started composing a piece, which I later dedicated to my daughter Flora and included on the album. He grabbed a sheet of paper and began writing.
That’s when more stories unfolded. I was terrified to perform the piece in front of everyone, especially since I could see him writing higher and higher notes, all the way up to a natural F and beyond. I thought, “I’m definitely going to mess this up.” Then he turned to me and said, “Alright, now we’re going to play it—me on the piano, you on the sax.” “Okay, Maestro,” I replied, feeling like I was about to have a heart attack. When I began to play, I thought, “I’ll play it an octave lower,” thinking no one would notice. But of course, the Maestro immediately stopped me. Later, he confessed he had deliberately written those high notes to test if I could follow him. That moment sparked a lasting friendship that continued over the years.
A plate of bucatini all'amatriciana, a Roman specialty featuring thick, hollow pasta in a rich tomato sauce, crispy guanciale (pork cheek), and a generous sprinkle of pecorino romano, a firm, aged sheep's cheese similar to parmesan. This simple, yet delicious dish famously opened the heart of Ennio Morricone during a memorable conversation with Stefano di Battista. Photo © Giallo Zafferano
How would you describe your relationship with the saxophone?
It’s a close one, though at times I feel a bit distanced from it, and I’m not sure why. In recent years, I’ve focused less on the technical aspects and more on other qualities of the instrument—almost as if the saxophone were a separate entity that gave me extra strength, helping me express myself. Recently, however, I’ve returned to a more technical approach and have started practicing more regularly.
You’ve lived in Paris for a long time...
Actually, I’ve moved back to Rome recently because of Flora, who’s now 15. So, I’m much more involved in fatherhood than in my saxophone career at the moment...
So, do you identify more with being Parisian or Roman?
I’d say I’m in the midst of an identity crisis! I’m not entirely sure anymore. All I know is that I’m 54 now, and I live with one foot in both Rome and Paris. I feel lucky to have absorbed the influences of both cultures, especially their musical traditions.
Martina Knecht's interview with Stefano di Battista, transcribed and edited by Luca Martinelli, was published on June 23 2023 in the Ticino press.
In this exclusive interview for JazzAscona, Stefano di Battista shares his musical journeys, inspirations, and unique contributions to the jazz scene.
Conducted by Martina Knecht and produced by CISA Film Academy Locarno, this short video captures Di Battista's personal insights on Morricone's influence and the art of jazz. It's a captivating glimpse into the mind of a musician dedicated to blending tradition and innovation.
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