From Zimbabwe to Florence, musician and audio engineer Leo Bescotti is building a collaborative intercultural project that blends jazz, songwriting and performance design. We spoke to him about the city’s music scene and the philosophy behind his collective.
What does Florence offer you as a cultural space and what are its limitations?
It’s important to acknowledge that life for musicians in Florence is becoming increasingly challenging, partly due to growing restrictions on creative spaces. At the same time, there is a collaborative administration and there are places doing high-level work in terms of curation, like the Murate Art District, Tempo Reale or Maggio Musicale Fiorentino. That said, the closure of venues like Jazz Club Firenze is a loss. It was a place where a strong musical community was cultivated.
Do you feel part of a local music scene?
Absolutely. Participating in the local musical ecosystem is central to my work. I attend jam sessions, rehearse with different groups and collaborate across scenes: funk, blues, jazz. They overlap, and it’s important for me to show up, play with others and keep learning.
How did your musical journey begin?
It started with a love for the guitar and early inspirations in blues music. That became a language I carried with me as I travelled and studied. Over time, I incorporated songwriting and original compositions, and more recently I’ve been refining that language through jazz.
You work across instruments and styles. How do you define yourself musically?
I’m functional in different roles, but they all serve my main focus, which is live performance. I have explored electronic music as well, including South African amapiano, rooted in groove and atmosphere, and those influences still inform what I do today. What matters most in my current project (the Leo Bescotti Collective) is creating a listening environment based on shared connection and dialogue. Genres can overlap. What’s important is meaningful interaction between musicians and with the audience.
You havealso worked extensively in theatre. How has that shaped your approach?
Theatre is a wonderful space because it values silence and the use of space. That creates an immediate connection to a deeper layer of art. Working as an audio and video technician, I was able to observe how productions are structured: how a show is directed and how scenes are built. That has had a strong influence on how I design performances with my collective.
What does that look like in practice?
We take care of all aspects of the performance: set design, lighting, wardrobe, sequencing, transitions. In theatre, these elements are curated by a director. We bring that same level of attention into our concerts. It’s something that perhaps differentiates us from more traditional jam-based projects. The goal is to create a cohesive experience, not just a sequence of songs.
You studied at Berklee College of Music. How does technical knowledge influence your creativity?
For a long time, I thought of it as an either-or situation, but in reality the two reinforce each other. As an engineer, having musical sensibility is an advantage. You understand what goes into performance. As a musician, understanding acoustics, space, reverb and sound design allows you to shape your tone and your environment more consciously.
You contributed to a John Legend project. What did that experience mean to you?
It was a very important experience that gave me a lot of insight. I didn’t collaborate with him directly, I recorded a piano part in New York that was later used on his record. It was unexpected and we were all pleasantly surprised. What I take from that is a sense of professionalism and attention to detail that I try to bring into everything I do.
Tell me about the Leo Bescotti Collective.
It’s a dynamic, evolving group rather than a fixed band. The lineup changes depending on availability and artistic direction. What defines it is its intercultural nature, both in the musicians involved and in the repertoire. I select collaborators based on the resonance I feel when playing with them. The aim is to create an intimate listening environment where there’s a strong connection with the audience.
How do you see the Italian music landscape compared to elsewhere?
Many Italians are quite cynical about the state of the arts here, especially compared to countries like France, where there is more institutional support. But I think resilience can lead to creativity. Spaces for musicians do exist and there is a strong spirit of innovation. That’s what matters to me.
What do people often misunderstand about the role of a sound engineer?
It’s a support role, so it often goes unnoticed. But the audience is constantly experiencing its effects, even if they’re not aware of it. We’re working with vibration moving through space. It’s a big responsibility, but also a big opportunity to create something meaningful.
What kind of conversation do you hope your music starts?
In a time that feels increasingly chaotic and unsettled, I think art has an important role in bringing people together: to create a shared space for emotion, connection and vulnerability.
Don’t miss Leo Bescotti Collective’s next performance at Antisalotto Culturale on April 16.
