How did the idea for this project come about?
Canta Autori was born thanks to the audience. I had always sung international music, but after my experience on Domenica In in 2018—where I performed love songs for twelve episodes—I decided to test the waters during my live shows. I took on the challenge and began exploring this musically wonderful yet previously unfamiliar world. The audience always responded with great enthusiasm to my Italian versions of the songs I performed live. That enthusiasm eventually led to Karima Canta Autori.
I imagine it wasn’t easy to select the songs. What criteria did you use?
No, not at all—it was quite difficult. We began with about 20–25 songs and, after much refining, narrowed them down to 12–13. It was hard work. The selection was based not only on the meaning of the lyrics or how the songs related to my life and experiences, but also on their melody, their stories, and how Piero Frassi arranged them. Playing them together gave us the final answer.
What about the arrangement phase?
Piero Frassi handled all the arrangements, except for the string parts, which were created by Marcello Sirignano and the ICO Suoni del Sud Orchestra.
Which song best represents you?
Without a doubt, “Il nostro concerto.”
Would you like to tell us about the musicians who accompany you?
Of course. Long before they became my partners in the studio and on major stages, they were close friends—truly like family. Let me introduce them: first, Piero Frassi on piano. He has supported and endured me for twenty-one years, and he crafts arrangements that perfectly suit my voice, which he knows inside out. Then there is Gabriele Evangelista, who guarantees a remarkable groove and a gorgeous sound. Even if you watched him play with your ears closed, you would still hear the music. Finally, Bernardo Guerra, whose unmistakable touch brings the perfect color to every piece.
There are also two guests: Fabio Concato and Nino Buonocore.
I am honored to have the “blessing” of these two immense poets, whom I have always admired. They are people of noble spirit and great humility. Mutual respect and affection have blossomed into beautiful friendships with both of them. In an era when meeting in person is often deemed unnecessary, I want to emphasize that these duets were recorded face to face, looking into each other’s eyes and singing together—just like in the old days. It was a precious experience.
Karima, at a time of widespread musical xenophilia, you offer a tribute to Italian music. Do you feel like you’re going against the trend? How important is Italian music to your artistic career?
I’m certainly not in step with the times. I sing without autotune. I dress modestly, and I only have a couple of tattoos—no piercings! For me, it is a mission to honor and revive the melodies that made us famous worldwide, though always with a touch of black music, jazz, and soul.
Most of these songs were written before your generation. How did you discover them? Who introduced you to them?
I often tell my mother that she gave birth to me in the wrong era—I should have been born decades earlier. I discovered these songs because I’ve always listened to music from other times, and I asked friends which songs they thought would suit me. For example, De Gregori’s Sempre e per sempre was suggested by Bernardo Guerra, and Buona notte a te was chosen by Piero Frassi.
How has your vision of music changed since you began your artistic career?
In terms of style and taste, I’ve remained true to what I have always loved. But I deeply believe that life thrives on contamination. I’ve always embraced this by collaborating with many artists and sharing sounds.
You’ve gone from Amici to the Sanremo Festival, to jazz, and to Burt Bacharach. What are your connections with jazz?
I started with gospel when I was young. I discovered jazz at fourteen and fell madly in love with it. An artist’s journey should take them beyond their comfort zone, to better know themselves and to find where they truly feel at home.
What aspects of being a musician do you dislike?
Going to bed too late!
What is your cultural and artistic background?
George Benson, Stevie Wonder, Whitney Houston, Ella Fitzgerald, Louis Armstrong, Rachelle Ferrell—and yes, also the Spice Girls and Take That.
What is your motto?
What happens is what has to happen, and beauty will save the world.
What are your goals as an artist, and how have they changed over time?
I began studying voice at twenty-two, and I still take lessons today. I want to love and care for my instrument so that I can continue sharing my music with the world.
Who would you like to collaborate with?
Stevie Wonder—for the rest of my life!
What is written in Karima’s diary?
Here and now. Love yourself. Breathe. Discipline.
