To comprehend fully Nicola Conte's music originality and sensibility we should refer, together with his productions, to the unavoidable Fez's activity, a cultural movement founded by Conte himself in Bari in the early nineties. A real melting pot of several creative musicians, who first of all are friends and grew up together with the same intellectual, music and political similarities. Cultural trouble-makers, emotional dreamers, Jazz enthusiasts of the fifties and sixties, deep nouvelle vague connoisseurs, compulsive vinyl collectors, design and graphic experts, people crazy for cultural beat and books written by revolutionaries like Jean Paul Sartre and Boris Vian.
The atmosphere at Fez seemed to be the same detectable at Tabou, the legendary caveau in Saint Germain de Pres, described by Vian himself. It is place where it was possible to listen to records, watch cult movies of those two decades ('50s and '60s) and look for solutions to the intellectual uncomfortableness.
Today, some years later, one of the strongest expressions highlighted at Fez is still that of the music.
In that period Fez became the reference point for the artists involved in the acid Jazz scene, really fashionable in London; Nicola Conte is considered the irreplaceable link with our country: he brings artists already famous abroad but still unknown in the Italian clubs. Sociologically in the past we would have defined Fez a perfect example of cultural decentralization ante litteram, far from the neuralgic centre of the country.