Portfolio

Transatlantico EP
Recorded during the trio's first four concerts at Cave de l'AMR in Geneva, and released on all web platforms with an edition of 200 audio cassettes in February 2026. The music is totally improvised, yet the five tracks sound composed. The trio freely and organically explores multiple sonic universes, with highly eclectic influences ranging from Massive Attack to Schoenberg via Charlie Haden. Floating layers, subtly intricate grooves, crossing chords. Smiles, furrowed brows, intense gazes, deep breaths. BSP's music carries the audience into a kind of contemplative trance, both intense and soothing.

Paraty 2025

BBC Proms, Royal Albert Hall, 9 September (Photo Credit Sisi Burn). This concert was part of the band's 2025 tour in Germany, UK, Switzerland, Slovakia, Poland and Romania .

Aparte 2024. Stephan MacLeod conductor, Marina Viotti voice.

Année Zéro/Odessa Production 2024. Benoît Martin screenwriter and director. Original improvised soundtrack by Massimo Pinca.

Dodicilune 2022. Featuring Nicolas Masson on saxophone, Gregor Fticar on Fender Rhodes, Paolo Orlandi on drums, Massimo Pinca on acoustic and electric bass + The Geneva Brass (Baptiste Berlaud, Lionel Walter, Christophe Sturzenegger, Eric Rey, David Rey). All compositions by Massimo Pinca.

NBB Records 2022. This album consist of a series of improvised short compositions for solo double bass, recorded during an one-day meditation retreat. Artwork by Filippo Motole.

Deutsche Grammophon 2021. Arthur Schoondewoerd, conductor. 

Massimo Pinca's composition "Umat" is featured in trombonist Francesco D'Urso's 2021 album "Paradise Bone". Performed by Francesco D'Urso (trombone), Massimo Pinca (double bass), Gregor Fticar (Fender Rhodes), Paolo Orlandi (drums) and the Terpsicordes string quartet (Girolamo Bottiglieri, Raya Raytcheva, Caroline Cohen-Adad, Florestan Darbellay).

NBB Records 2020. Performed and broadcasted live by the Radio Suisse Romande in 2018, Canoni e Ricercari is a solo electric bass album exploring the use of loop pedals to create both sonic textures and two, three or four parts canons. Artwork by Filippo Motole. 

Bocian Records 2020. Christophe Berthet, soprano sax. Massimo Pinca, double bass. Cover artwork by Philippe Reymondin. 

In September 2019 the RTS broadcast "Nomade" sketched a portrait of Massimo Pinca after his first ten years in Geneva. 

Featured on Justin Clark's EP "Moonlit" (2018), this piece by Massimo Pinca was premiered by Justin Clark (bass trombone) and Massimo Pinca (five strings double bass) at the second edition of the Gaia music festival in Geneva in 2017.

Fanfareduloup, October 2017. Featuring Capucine Keller on vocals and Pierre-Isaïe Duc as the narrator. Text by Romain Rolland, music by Massimo Pinca.

Massimo Pinca has collaborated with virtuoso violinist Gwendolyn Masin, performing at the GAIA Music Festival in 2016 and 2017. These appearances featured Pinca alongside Masin and other prominent artists such as Finghin Collins, István Várdai, Alexander Lonquich, and members of Masin’s ORIGIN Ensemble, with festival highlights later released on Orchid Classics.

Massimo Pinca studied double bass with Alberto Bocini at the Scuola di Musica di Fiesole, then at the Haute école de musique de Genève, where he obtained a Master’s degree in performance and another in pedagogy. 

Dasé Soundlab 2017. Featuring Capucine Keller on vocals, Nicola Orioli on clarinet, Bor Zuljan on guitar and Massimo Pinca on double bass. All compositions by Massimo Pinca on poems by Wilfred Owen. This music program has been premiered at the Cross-Opéra Festival in Lyon in October 2015. Artwork by Filippo Motole.

Vanni Editore 2016. A Journey with a Small Red Car (2016) documents the long‑standing collaboration with Sicilian pianist and composer Antonio Figura (featuring Michele Salgarello on drums). Conceived as an inner “journey” rather than a simple studio session, the album reflects Figura’s reflective temperament and crystalline phrasing, constantly balancing compositional rigour and intuitive exploration. Each piece is linked to a strong extra‑musical idea – from Nietzsche’s dialectic of chaos and order to memories of real and imaginary travels (Stockholm, an ideal “Free Land”) and the childhood game with his son that inspired the title track. The program closes with a solo tribute to Bill Evans (Time Remembered), placing the trio’s work within a broader lineage of lyrical, thoughtful jazz.

This article, written by Massimo Pinca during his engagement as Assistant Researcher at the Haute école de musique de Genève (2011–2013), reconstructs the career and artistic profile of August Müller, principal double bassist of the Darmstadt court orchestra and one of the leading virtuosi of his instrument in the mid‑19th century. It offers the first systematic study of his eight-part series “Ueber den Contrabass und dessen Behandlung, mit Hinblick auf die Symphonien von Beethoven,” published in the Neue Zeitschrift für Musik (1848–1849). Drawing on contemporary press reports, archival documents, and Müller’s own writings, it traces his European tours, his position within the orchestral culture of his time, and the reception of his playing by figures such as Berlioz.The core of the article analyses Müller’s technical and aesthetic approach to orchestral double bass playing: his views on instrument setup, bowing, fingering, practice routines, octave transposition, and the historically widespread practice of simplifying double bass parts in Beethoven’s symphonies. By situating these prescriptions within broader 19th‑century performance conditions—amateur and professional orchestral forces, seating plans, national schools, and changing ideas of fidelity to the score—the study highlights Müller’s writings as a crucial and hitherto largely neglected source for historically informed performance of the early Romantic orchestral repertoire. In scope, depth and documentary grounding, it stands among the most substantial contributions to the historiography of the double bass in the 21st century.  It was published on Ad Parnassum. Journal of eighteenth– and nineteenth century instrumental music - April 2014.

Aum Fidelity 2013. "CD six expands the quartet even further at the AMR Jazz Festival in Geneva, Switzerland. Parker's Creation Ensemble is now a 12-piece band. With three days of rehearsal, he can realize a more orchestrated sound. The ensemble covers "Wood Flute Song" (also heard here in quartet and septet) with lyrics penned by the bassist. Unlike his Little Huey Creative Music Orchestra which tends towards unruliness (in a favorable Sun Ra way), the music here is tight and as Parker explains in the liner notes, "ninety percent written out." (jazztimes.com)

Deutsche Harmonia Mundi 2011. Corrado Rovaris, conductor. 

During his years in Florence (2003–2009), Massimo Pinca collaborated with singer, composer, and multi-instrumentalist Claudia Bombardella, touring throughout Italy and Europe. Their work together resulted in two albums—Paesaggi lontani (2004) and Un mondo tra le mani (2008)—as well as the original soundtrack for the film Coscienza di sole.

Soares trio, then quartet, has been one of the most formative collaborations for Massimo Pinca in his youth. The group toured Southern Italy from 2001 to 2006 and released the EP Ultimo giorno a Baixa for Radici Music in 2003. Fellow musicians and friends Fausto Alimeni (drums), Antonio Loderini (accordion) and Vincenzo Presta (saxophone) were to be met again in Geneva in 2015 for the project Frères de voyage.

Between 2000 and 2009, Massimo Pinca was a member of Gruppo Ghetonia, contributing both in live performances and studio work across Italy and abroad. His role focused on blending the depth and versatility of the double bass with the group’s traditional Salento and Mediterranean sound, supporting and enriching the ensemble’s rhythmic and harmonic structures. In those years, he took part in numerous concerts in Italy, the USA (invited by the World Music Institute), Greece (a primary destination for the group), Germany, UK, Spain, and Portugal, as well as in various recording and research projects dedicated to the linguistic and musical heritage of Grecìa Salentina. During this period, Pinca is featured on the Ghetonia albums “Krifi” and “Terra e sale”, helping to shape a distinctive meeting point between folk traditions, jazz language, and contemporary improvisation within the group’s activities of that decade.