Italian musician Albert Hera interview on circle singing, epic jazz, and more

Albert Hera’s presence is meditative. When I meet him on a sultry evening at Shoonya Centre for Art and Somatic Practices at Lalbagh, Bengaluru, he speaks Italian in a measured, thoughtful manner. Our conversation begins not with notes or technique, but with something more visceral, more human.

During his commute in Bengaluru after visiting the Consulate General of Italy, he saw a procession carrying a dead person, with  music, flowers, even fireworks. “It was shocking. And yet, it was beautiful,” says the experimental jazz musician, who is a protégé of the legendary Bobby McFerrin. 

This is Albert’s first time in India. He finds it overwhelming — not in the way of chaos, but in the sheer intensity of experience. He finds so much life here, even in death.

For Albert, music has never been just about sound. It is something deeper, something that transcends language. 

“In September 2002, I attended a Bobby McFerrin concert,” he begins a story. At the time, Albert had given up singing. He was working in another profession. But that evening changed everything.

“Bobby McFerrin invited people on stage for an improvisation. I was the last person to join him. He hugged the other people. But he greeted me with a namaste. It was almost like an invitation.”

The next day, Albert resigned from his job. It was an invitation he could not ignore. He walked away from his career and returned to music.

Then, in February 2004, he dreamt of Italian mystic Francis of Assisi. “He told me to visit him on August 2nd that year. He said something unexpected would happen on the 3rd.” So, Albert went to Assisi, to the place of St. Francis. On August 3, before returning home, he entered a church to offer a prayer of thanks.

“I was on my knees,” he says, voice dropping to a hush. “And then I looked to my right. Bobby McFerrin was kneeling next to me.” 

“From that moment, my journey led me to India, to Bengaluru.”

Albert Hera
| Photo Credit:
Special Arrangement

Circle of sound

Albert’s work is as much about human connection as it is about music. At the heart of his workshops at Shoonya and Indian Music Experience in Bengaluru was Circle Singing, a practice that embodies both spontaneity and community. “Circle singing is something I received from Bobby McFerrin as both an inspiration and a mission to share with more people,” he explains.

The concept is deceptively simple: a group of singers stand in a circle, with a facilitator — often Albert himself — leading them through improvisational musical phrases. These motifs are layered and built upon, drawing inspiration from jazz, folk, African, and Latin traditions. But it is more than a technique; it is an experience. “You can’t reproduce the same thing again,” Albert says. “Even the mistakes contribute to the creativity.”

The circle itself holds deep significance. Albert traces it back to the earliest human communities, when our ancestors formed circles on the ground as a way to ensure safety. “The moment they decided to live together on the ground (after being arboreal), they formed circles,” he says, “This circular formation allowed them to maintain visual contact with each other and communicate effectively. It was one of the first social structures that provided safety and security.”

Today, in his workshops, the circle continues to serve as a space of trust, collaboration, and shared experience. Unlike traditional music education, where hierarchy and structured progression dictate learning, Circle Singing allows for a more inclusive, organic approach. “We are all learners on this earth and cannot be divided into different levels of competence,” he says. “The teacher should meet the student where they are and rise together.” His philosophy aligns closely with the African concept of Ubuntu: “I am because we are.”

Albert Hera
| Photo Credit:
Special Arrangement

Storytelling with jazz

Albert’s deep exploration of vocal traditions led him to develop Epic Jazz, a genre that defies categorisation. “Epic Jazz is about narration and visualisation. It is improvisation and creation in the moment,” he explains, “Unlike traditional jazz, where you might have a favourite number performed repeatedly, my performances are about using everything within me at that moment to create a different experience each time.”

While his collaboration with Bobby McFerrin was a turning point, Albert’s journey is now his own. “When we finished our tour in Germany, Bobby told me, ‘Now you will be able to do it alone, on your own. Your journey is now your own.’” The essence of what he learned from McFerrin remains, but Albert is not looking to start a movement or a new school of music. Instead, he carries forward the “humanity, trust, and sense of connection” he experienced.

Albert’s work is not without its challenges. “The discipline that has become a habit can sometimes control your spirit instead of freeing it,” he admits. His goal is to keep pushing his boundaries, to ensure that freedom remains at the core of his music.

Perhaps the most profound affirmation of his journey came from his father. “Just before he passed away, he told me that the most beautiful thing he had seen in me was my happiness when I sing,” Albert recalls, tearing up, “That is the greatest joy I have felt as a musician.”