Threegonos has been forging a bold new voice in jazz for close to twenty years in the richly vibrant center of Rome and history and creativity have been in constant contact there. This Italian group headed by bassist and composer Toni Armetta has entered the world as a fearless source of tradition and innovation by making music that travels across cultures, genres and feelings. Their new album, Questioni Di Pensiero (Questions of thought), which was published on July 31st, 2025, is not a collection of songs but it is a trip.
The album brings the listeners a world tour with its combination of flamenco, tango, African and Middle Eastern beats and sophisticated world of modern jazz. Each song is a dialogue, blending voices of various musical worlds, and remaining very much grounded in melody and narrative. This sophomore album follows their 2023 follow-up Return to 80th Street and serves as a reminder that Threegonos is one of the most promising jazz groups in Italy.
With a star cast of musicians, including Giuseppe Russo (sax), Edoardo Edo Petretti (synth and accordion), Ludovico Ludo Piccinini (guitars), Umberto Maracatumbi Vitiello (voice and percussion), and Danilo Ombres (drums and tabla), in addition to special guests Paolo Innarella and Gabriella Aiello, Questioni Di Pensiero is both innovative and approachable, a classic proclamation of contemporary jazz solidarity.
Listen to Questioni Di Pensiero below
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The title “Questioni Di Pensiero” translates to “Matters of Thought” — what does that phrase mean to you, and how does it tie into the album’s themes?
“Questioni di pensiero” represents what, in my (our) view, is the true essence of jazz today. Many people — casual listeners, enthusiasts, and often even musicians themselves — still believe that jazz means playing songs built on harmonic, melodic, and rhythmic structures with certain stylistic traits, serving almost as a “backdrop” for musicians’ improvisations.
The logic of the standard, sometimes oppressive and rigid, often defines the structure of these songs, making the themes and harmonies little more than a canvas devoid of real creative spark — merely a framework for showcasing improvisational skill.
Of course, all of this is important, something to be studied and understood (just think of the marvelous solos of C. Parker, D. Gillespie, or other musicians of the bebop era), because it represents the foundations of the language. But then, starting with figures like M. Davis, J. Coltrane, C. Mingus, and many who followed, more complex and multifaceted compositional and structural approaches began to emerge — blending the freedom of jazz with concepts drawn from ethnic, folk, rock, and rap music, which also reshaped the very mood and spirit of improvisation.
What sparked the creative journey for this record, and how did it evolve from your initial concept to the finished album?
During my studies, I’ve always been drawn—not only to the endless exploration of my instrument—but also to everything related to the harmonic and compositional world. I studied harmony, counterpoint, and arranging, and every bit of knowledge I acquired inspired me to write or arrange songs for the groups I played with, for orchestral works, or for soundtracks. Writing is a habit: the more you practice it, the more it stimulates you.
Composing music for Threegonos puts me in a state of complete freedom because I know I can do whatever I want and whatever I enjoy, without worrying about “styles” or “genres,” supported by the certainty that the musicians I’m honored to work with can bring any idea to life. Each song tells a different story, which is why the album includes both instrumental and vocal pieces, sometimes built on Latin, funk, or hip-hop grooves—but always consistent with the main path carved out by jazz.
Did you approach songwriting differently for “Questioni Di Pensiero” compared to your previous work?
“In some tracks, such as Minimal Impact and Une Ballade, I explored the use of sparser structures and harmonies, with patterns perhaps more akin to a ‘loop,’ while always paying close attention to the singability of the themes and the breathing space of the harmonies, never tiring the listener with lengthy, self-serving solos. As for the rest, I followed my usual approach (write only what inspires and moves you), even though each project inevitably adds something different to the previous one.”
The album feels layered and introspective — were there particular life experiences, philosophies, or artistic influences that shaped its sound?
Every human being—every musician, performer, composer, concert artist, and so on—naturally incorporates into their own creative and educational journey those elements that shape personal, practical, and moral growth. In my case, I have studied music from a very young age and, despite many personal and family difficulties—certainly common to many people—I have still managed to pursue my passions and satisfy much of my curiosity.
I have loved (and still love) Palestrina, Monteverdi, Bach, Beethoven, Ravel, Puccini, ethnic music, as well as Davis, P. Sanders, C. Corea, Weather Report, Yellowjackets, M. Brecker, and many others. Thanks to my work, I’ve had the chance to encounter all kinds of situations and people, to travel, to move house at least 15 times (ahahah), and to gather both wonderful and challenging experiences.
The same holds true for the other members of the group: each of us has our own story and background, our own expectations and curiosities. It is therefore inevitable that the overall sound of a band is influenced not only by individual musical skills, but also by the human qualities of its members.
Can you talk about the recording process? Were there any standout moments in the studio that defined the direction of the album?
I have the habit of jotting down various rhythmic and/or harmonic-melodic ideas by recording the initial elements of a piece with my voice on my phone. Later, using dedicated software, I complete the composition and arrangements, writing out all the parts on my computer. These are then “performed” by virtual instruments I program to achieve an effect as close as possible to the final result.
The audio demo, together with the written parts, is then given to the other musicians, who will refine and bring to life what I’ve written. Once we enter the recording studio, there’s very little uncertainty about what to do because everything is already clear and structured. Occasionally, some slight changes may occur (especially in the rhythms), but fundamentally the focus must be on interplay and dynamics, as well as on delivering a satisfying performance of each individual part.
How important was lyrical storytelling in this project, and what messages or emotions do you hope listeners take away?
I consider the voice an evocative, alluring, almost tribal element, and incorporating vocal parts into the arrangements—as if they were instruments—makes certain pieces more introspective, intriguing, and nostalgic. These are the emotions we hope listeners will perceive. It’s wonderful when a piece of music prompts reflection as you listen: it means that, somewhere, it’s stirring emotions.
Were there any tracks that changed dramatically during production, or even surprised you with where they ended up?
As already mentioned, Threegonos’ music is highly structured and carefully crafted: the arrangements, the connections between different sections, and the transitions from one solo to another are never left to chance. Surprised by the final result? Absolutely—especially considering that the parts are often not easy to play. Even if it takes some effort, when we manage to “get things moving” and everything becomes fluid, dynamic, and locked into the right groove, the sense of energy and interplay is powerful and deeply rewarding.
The album blends different textures and moods — how did you decide on the sonic palette for “Questioni Di Pensiero”?
The sonic fabric of this CD, like its predecessor, follows the core concepts of modern music production. Artists such as R. Glasper, B. Mehldau, M. Miller, Thundercat, Kamasi Washington, Tigran Hamasyan, R. Bona, and many others blend the atmospheres of hip-hop, funk, afro, and soul with the improvisational concepts of jazz, while paying close attention to a soundscape aligned with contemporary thinking about tone and instrumental mixing: drums that are present and clearly articulated across different timbres, deep and compressed bass lines, the use of loops and electronics, and so on—all delivered with clarity, precision, and detail.
Do you see this album as a continuation of your past work, a departure, or perhaps a new chapter altogether?
It is absolutely the continuation and evolution of a journey that began many years ago.
The wealth of musical offerings, now so easily accessible thanks to the power of the internet, will undoubtedly continue to inspire and fuel the desire to evolve and explore ever-changing sonic and compositional landscapes. Yet the fundamental principles will always remain the same: freedom of form, organized improvisation, formal precision in the musical moments, significant melodies, unusual harmonies, and intricate rhythms.
Looking ahead, how do you envision performing “Questioni Di Pensiero” live, and will the stage interpretation differ from the studio version?
We have already performed most of the tracks from this album live, as well as all those from the previous one. The live renditions are not at all different from the recordings (except for the occasional small loop or sound effect) because, as I’ve said before, the pieces are fully structured and conceived around the strengths of each band member. Therefore, in concert, the sonic and performance impact is every bit as strong—if not even more powerful—than what you hear on the CDs.
