Italian saxophonist Max Ionata returns with Tivoli, a new album that introduces an international quartet uniting Italian lyricism with the spacious elegance of Scandinavian jazz. Recorded in Copenhagen and released on 12 December 2025 via Mingus Records, the project brings together Ionata with pianist Martin Sjöstedt, bassist Jesper Bodilsen, and drummer Martin Maretti Andersen, capturing the sound of a band forged through shared concerts rather than studio construction.
In the interview, Ionata reflects on how this ensemble grew organically over time, the influence of Copenhagen’s atmosphere on the music, and the dialogue between Italian melodic instinct and Nordic restraint. He speaks about tribute pieces dedicated to Gegè Telesforo, Kenny Wheeler, and Sergio Rubén Aranda, the importance of trust and spontaneity in the recording process, and lessons drawn from a lifetime of collaboration with figures such as Steve Grossman and Enrico Pieranunzi. Tivoli emerges as both a continuation and a fresh beginning—an expression of shared direction, openness, and the joy of making music as a working band.
1. Tivoli introduces a new international quartet. How did this line-up come together?
This line-up has a long story behind it. Years ago I started playing with Jesper Bodilsen and Martin Maretti Andersen, and that collaboration led to our album Like. From the very beginning I felt something special in the way we interacted — an honest, natural musical dialogue. When pianist Martin Sjöstedt joined us more recently, the chemistry became even stronger. So Tivoli is not a random meeting of musicians; it’s the evolution of a relationship that has grown over time, both humanly and musically.
2. You recorded the album in Copenhagen. How did the atmosphere of that city — and the Scandinavian players around you — influence the sound or feel of the music?
Copenhagen has a calm, luminous energy that somehow enters the music. The Scandinavian musicians bring a refined sense of space and lyricism, and playing in that environment pushed me to explore a more introspective side of my sound while keeping the warmth of my Italian roots.
3. Do you see any common stylistic differences between Italian and Nordic jazz musicians? If so, what?
In general terms, Italian jazz often carries a strong melodic and emotional emphasis, while Nordic musicians tend to work more with atmosphere, space, and subtle dynamics. When these two approaches meet, something truly special can happen — and I think you can hear that on the album.
4. After more than 100 recordings, including 17 as a leader, what does Tivoli represent for you personally — a continuation, or a new beginning?
It feels like both. It continues my artistic path, but at the same time it represents a new chapter — a fresh sound, a new energy, and a renewed sense of curiosity. Working with this quartet opened new perspectives for me.
5. “Mr. G.T.” is dedicated to your friend and collaborator Gegè Telesforo. What influence has he had on your musical outlook?
Gegè has always encouraged me to trust my instincts and to search for sincerity in every note. His enthusiasm, groove, and generosity left a deep mark on me. He reminded me that music is first of all about sharing
6. Jesper Bodilsen’s composition “Det lysner” sits beautifully within the set. How do you interpret someone else’s writing while keeping your own voice present?
I try to respect the composer’s intention, but I filter everything through my own sound and phrasing. Jesper’s tune has a delicate inner brightness, and my goal was simply to let that shine while speaking with my own voice.
7. You pay tribute to Kenny Wheeler and Sergio Rubén Aranda. What drew you to those particular composers for this project?
Wheeler’s music has always inspired me with its lyrical depth and harmonic poetry. Aranda’s writing brings a different color — emotional, warm, and rooted in his Argentine background. Their pieces offered the perfect balance for the album’s overall narrative.
8.You’ve said the album captures the feeling of a working band rather than a studio experiment. How did you achieve that sense of live energy in the recording?
We recorded fast, with minimal takes, keeping the communication open and spontaneous. We approached the session exactly as if we were on stage: listening deeply, responding instinctively, and never overthinking.
9. You’ve performed with so many greats — Enrico Pieranunzi, Steve Grossman, Alvin Queen. What’s one lesson or moment from those experiences that still shapes how you play today?
From each of them I learned something essential: intensity from Grossman, elegance from Pieranunzi, fire from Alvin Queen. The common lesson is to be fully present — to play every note as if it were the most important one.
10. Are there any particular moments on the album — a solo, a melody, a rhythm section interaction — that you think best captures the heart of the project?
There’s a moment in the title track, “Tivoli,” where the rhythm section creates a subtle, breathing pulse and I felt completely free to float above it. That interplay captures exactly what this project is about: trust, space, and shared direction.
11. Finally, where do you see this international collaboration heading next? Could Tivoli be the start of an ongoing band rather than a one-off project?
I truly hope it continues. The chemistry between us is too strong to end with just one project. We already have more concerts planned across Northern Europe, Spain and Italy, and there’s even talk of opening a new chapter in the studio. Tivoli could very well be the beginning of a long and beautiful musical journey.
