Fusing the ceremonial grandeur, monumental architectural intelligence, and melancholic spirit of the Mediterranean from the Ancient Roman Empire with the free forms of ancient fusion jazz, Pompeii Session is a majestic studio manifesto built with sounds. The group does not perform their music for crowded forums or bloody arenas, but rather to transform both the tragic and mighty soul of the empire into a musical memory under aqueducts and within the dim corridors of marble palaces. The core philosophy of the project is to re-blend the rational order of ancient Rome with the modal freedom of Ancient fusion jazz. The angular and powerful harmonic foundation of the music is formed by Marcus’s fretted solos and rhythmic progressions, which map the discipline of the battlefields onto the guitar fretboard. This unshakeable structure is accompanied by the deep bass lines Decimus coaxes from the double bass, reminiscent of amphitheater acoustics, establishing a powerful framework like the massive columns of Roman architecture. The sharp, metallic cymbal and drum strikes managed by Lucius—drawing from his experience as a former military bandleader—combine the swinging structure of jazz with a hypnotic cycle that divides time flawlessly. Upon this rhythmic and dense foundation, the fluid woodwind passages rising from Flavia’s flute and saxophone create a structured yet free melodic flow, much like the water engineering of Roman fountains. Aurelia, with her melancholic transitions brought to life on the wooden blocks of the xylophone and piano keys, softens the density created by the hard brass and drum timbres, adding an aesthetic soul to the harmony like the milimetric planning of a mosaic master. Rather than a transient stage performance, Pompeii Session is a flawless studio recording manifesto of a fictional ancient Roman era captured with today's technology. It offers an Ancient Fusion Jazz experience that is as unshakeable as Rome’s marble structures, yet as fluid as Mediterranean winds.
He was a former soldier who channeled the struggles of Roman legions on the frontiers and the cultural interactions of conquests into his strings. He combines the discipline of the battlefields with the chord structures of jazz. The fretted solos and rhythmic progressions rising from his guitar create a rational, powerful, and angular harmonic foundation reminiscent of Rome's military order.
She was an upper-class intellectual who studied Rome’s water-powered engineering marvels and monumental aqueducts. She controls her flute and saxophone tones just like the dynamic balance of water flowing from Roman fountains. The fluid yet structured woodwind passages she creates in the background blend ancient fusion jazz improvisation techniques with the misty melodies of the ancient Mediterranean.
He was an urban observer who, since childhood, watched the clamor, footsteps, and combat rhythms echoing in the gladyatör arenas of the Colosseum. While shaping the rhythm with those inevitable and harsh strikes from the arenas, he integrates it with the swinging structure of jazz. With his drum and percussion beats, he balances the group's hypnotic time loop that flawlessly divides time.
He was a former military bandleader who used to dictate the rhythm of rowers in Roman galleys and direct military parades. With the deep and striking bass lines he coaxes from the double bass, he grants the music an amphitheater-like acoustic. Establishing an unshakeable bass framework like the massive columns of Roman architecture, he manages the lowest frequency of the band.
She descended from an artist who designed marble mosaics in imperial palaces and mapped the color harmony of stones. Her touches on the wooden blocks of the xylophone and piano keys carry the milimetric planning of a mosaic master. She softens the density created by the harsh rhythm and bass timbres with melancholic and lirik transitions on the piano, transforming Rome's both grand and sorrowful history into harmony.