It offers very few concerts with its albums. In 2009 he offered one of those few performances at the Lugaritz culture house of Donostia-San Sebastián. We interviewed him right there, it was a embarrassment on a summer morning.

9 Piece of camera I put a record and I see myself in a movie theater, in front of a movie of the time.

Instrumental music is usually not heard. And then it's when you tend to connect that musical style to the movies immediately. On the other hand, it is true that I see many films. The best music is made today in the movies.

Scenes from a movie, interviews... I can guess who you look at. Is it possible to set the soundtrack?

I tended to see it in its entirety. When the film isn't very good, you're told to start looking at the photo and other stuff. When the film is good, don't look at specific aspects. Of course, I looked at the soundtrack as a musician and a professional. But normally in literature, in film -- I try to take the role of a reader or a viewer.

Film can be an interesting line of work for you.

Yes, of course.

However, the starting point for working would be very different.

That is true. When it comes to making a record of mine, I get into the trance without a specific starting point at home. When a commission or proposal is received, a number of requirements must be met. In these cases, the starting point is clear, so when it comes to working it is very different.

Can the new 9-piece camera drive become a reflection of your emotions?

Behind every piece is the author, that's inevitable. The singer Rafa Berrio described it perfectly. In my own words, this album is largely an autobiographical fiction.

You make disks that are very different from each other.

I start thinking about my work, my discography, and I think there's a line from the first record to the last record. It is true that the first album and the last one are very different, but in all of them some characteristics are repeated: the protagonist of the melody has always been there, for example.

On the other hand, on each album you can find different changes in rhythm and harmony between the songs. I don't like homogeneous discs.

You've made eight records, but you're better known as an interpreter. The new album on the back cover says “Joserra Senperena”. It needs to be made clear that the arrangements of all the musicians on this album have been made by yourself.

On the first records, the starting point I put on myself, and every musician put their bit of sand through improvisation. In the last two albums, they've given music scores to musicians, and that's what they've played. It's common in classical music.

You created the work of all the musicians and passed it to the sheet music. From head to paper, to piano?

So far, on all the records and all the orders I've received, I've always had the piano nearby. On this album I have tried to set aside my pianist condition. I settled in another corner of the house, in front of the paper, and I tried to make trance melodies. Once the melody was created, I started developing the piece: harmonization, instrumentation...

In the presentation of the album, I referred to what Paul McCartney counted in the anthology of the Beatles. One day he woke up with Yesterday's melody on his head. The harmony he added to them and the adaptation of the string quartet made by the producer Georges Martin came later.

Because of this innovation in creating melodies, will it be a favorite album in your discography?

As usual, this last album is best for me. I identify myself more with this album. I may have the feeling that I've been brave, but every time I've made a record I've had a similar feeling. The previous time I thought it was the most daring.

In the musical series Treme there is an interesting colloquium between an experienced musician and a young man with ambition. The older man says that to succeed he has to sing and create. It answers how difficult it is to create young people. The old man replied instantly: “That’s why the world is full of interpreters.”

When I just saw the documentary film Amy, based on the song Amy Winehouse, I want to mention a statement from her: she said she started creating because she couldn't find elsewhere what she had in her head.

I, when I was 20, thought that the music I could make could be really bad. When I was 35, something like what Winehouse says happened to me in my head. And so I started creating. The trade of the musician who works for other artists or groups is nice, I will continue to do so. But without creation, I would feel like a lame.

Fito & Fitipaldis listeners will be surprised to learn that the group pianist creates chamber pieces.

I understand that. My mother tongue is pop music, I have often resorted to pop music and I will do so in the future. It's the style that's most easily done to me. But today I have contemporary or classical music in mind, and I also have the opportunity to record that music.

Let's go to the beginning, to the first question we have to ask. When did you start creating 9 camera pieces?

10 I was satisfied with the result I obtained with the previous album for Trio Piano, Biolin and Accordion. First of all, I needed time for a new job. When I took them three or four months in a row, I started creating nine pieces of camera. I wanted to write something for a great orchestra, and I left. But for different reasons, and given the difficulty of performing an orchestral work, I started working on the composition for a smaller group.

As the industry is, what value does it have for you to make a disk?

Like most of my generation, I have to look at my work in a physical format. Today there will be ways to spread and publicize that music, but I'm still one of those who I have to see my work on a record. I know these records don't sell much, but Elkar has made a bet and in that respect I am a lucky one.

You offer a few direct ones. What Kim Gordon says in his Sonic Youth biography is very useful for his album: he says that the stage is a space that must be filled with what cannot be found elsewhere or that cannot be expressed elsewhere.

The direct one is another of the important aspects that must be highlighted in music. Discs are the result of the work of creation. This is the time when the direct will not be repeated again. It's very difficult to do a good straight away. There are usually a lot of technical problems, and it's possible that on that day the musician will come up onstage with a headache.

It doesn't happen in most cases, but when everything is in favor, feeling that collective energy that is generated directly can become magical.

The stage can be filled with your music.

I hope so. We intended to offer direct as soon as we leave the album, but we have left it for the fall. We present 9 camera pieces in the Victoria Eugenia of San Sebastian and in the Topic of Tolosa, on November 20 and December 18 respectively.

We started talking about film and this year at the San Sebastian Film Festival we will be able to listen to your music.

That is true. In addition, the program will deal with Zion Sor Leku, by Josu Martinez, looking for Zion Toki. This is a documentary on the first feature film made in Basque.