From 2015 to 2018

We met many times after finishing recording the first album, both in Milan, Dorbirn, and Vienna. In the meantime, some of us had become, and some were about to become, dad .... In these meetings, we developed the ideas and arrangements for our second album.
We tried very hard to organize concerts like the Jazz Club in Lindau and the Poolbar Festival in Feldkirch, or the Mingus in Carnate, or the Na da Mas in Monza, precisely so we could play our songs from the old and new albums before recording them.
Meanwhile, Konzi had told me about the concept of rhythmic layers, so we developed the idea of ​​Raat Ta Asmaan, in which three different layers of 3/8 and 7/8 move over a cycle of 21/8, and a polymeter composed of groups of 5/8 and 6/8. Then we had the opportunity to play at Jazz Alguer in Alghero, Sardinia. There, in one of our usual philosophical (or almost!) conversations, we were talking about improvisation as something that could only be the result of a need for communication between people who were improvising together. So we created an analogy with a rule written in creation that is often ignored: everything that is created must necessarily disappear, it is a condition of coming to light. Thus, music and improvisation appear and consequently disappear; thus, the quantity and quality of notes, the rhythm, are the consequence of what people play together. And this is precisely what somehow makes music sacred without being sacrilegious. At least we hope that through our music, it solicits the questions that each of us sooner or later asks ourselves. Thus, the name "The Necessity of Falling" came about: the fall of things that exist, but which can fall precisely because they exist.

 The Recording Days...

In 2018 we met again in Bluescore and recorded the 8 songs that later become "The necessity of Falling"

At that time, I was becoming interested in Japanese drawings made with natural inks on vegetable paper. So, as always, Andrea Camboni began studying how to draw in the same way. The idea was to paint a samurai who conveyed the idea of ​​tranquility. The samurai was intent on observing the unfolding of the world around him, trying to grasp the essence of the cycle of creation and destruction, grasping its profound meaning, without feeling uneasy but rather finding the calm that comes from knowing and understanding its profound meaning. We then chose to quote Boethius directly in Latin on the album, which stated:
"No way of teaching, in fact, reaches the soul more easily than that which passes through the ears. Therefore, when, through them, rhythms and melodies have penetrated to the depths of the soul, there is no doubt that they influence and shape it in accordance with their nature.("Nulla enim magis ad animum disciplinis via, quam auribus patet. Cum ergo per eas rhythmi modique ad animum usque descenderint, dubitari non potest, quin aequo modo mentem atque ipsa sunt afficiant atque conforment.")