Alessandro Zolo is a double bassist and electric bassist based in Sassari, Sardinia. His professional home for over two decades has been the Orchestra Jazz della Sardegna (OJS) - per its own account one of the rare Italian orchestras to have operated continuously since its founding in 1989 (originally as the Blue Note Orchestra, renamed in 1996), and the only jazz orchestra in Italy formally recognized by the Ministry of Culture. His own Discogs artist entry (ID 2458668, the sole "Alessandro Zolo" in that database, so there is no name-collision risk) lists him only as a member of Orchestra Jazz Della Sardegna, with no further biographical text; no source checked gives a birth year or birthplace for him. Some secondary web summaries place his training at the Conservatorio "G. Rossini" in Pesaro, a detail that could not be independently corroborated against a primary source.

His earliest independently confirmed recording credit dates to 1999: bass on Sardinian composer Paolo Zicconi's Andiras, a Roma Sinfonietta-backed reworking of traditional and previously unpublished Sardinian songs. Within OJS, his most substantial and best-documented studio work came under conductor and composer Giorgio Gaslini, on two separate Discogs-verified releases that also credit trumpeter Paolo Fresu and vocalist Maria Pia De Vito: Sacred Concert / Jazz Te Deum (2002, Soul Note), recorded live in June 2000 at the Chiesa di Santa Maria in Betlem in Sassari with the Associazione Polifonica S. Cecilia, with Fresu as trumpet soloist and De Vito among five credited voices; and Il Brutto Anatroccolo (2005, released in association with il manifesto), a big-band jazz retelling of Hans Christian Andersen's "The Ugly Duckling" originally staged for the 1997 Time in Jazz festival in Berchidda, on which Fresu again appears as featured soloist and De Vito sings lead vocal. Both releases list Zolo on double bass under Gaslini's direction, composition and arrangement.

More recently, Zolo was the bassist for Bruno Tommaso's Jazz Requiem Mass, a piece Tommaso composed specifically for OJS and premiered on a three-city Sardinian tour (Cagliari, Nuoro and Sassari) around November 20-22, 2021, marking his own 75th birthday; it was then recorded for CD release at Teatro Verdi in Sassari in February 2022. Per OJS's own account, "a bond of great friendship" between Tommaso and the orchestra "that has linked them for more than thirty years." The full credited ensemble also included guitarist Antonio Pitzoi, also profiled on this site. The performance was issued as an OJS album on the orchestra's own JazzOp label in 2022; it has not yet been catalogued under Zolo's Discogs artist entry.

Beyond OJS, Zolo's recording credits include the Sassari sextet Nasodoble - a singer-songwriter/rock band blending pop, rock and electronic textures with Sardinian roots, on which he plays fretless bass and double bass alongside vocalist Alessandro Carta, electric violinist Peppino Anfossi, keyboardist Simone Sassu, guitarist Andrea Fanciulli and drummer Carlo Sezzi (heard on their 2010 album Perigolosi, Elicriso Music) - and two more straightforwardly jazz-adjacent sideman dates on the Sardinian label Improvvisatore Involontario: pianist Simone Sassu's solo debut Emoticons (2013), reviewed in Musica Jazz, and drummer Francesco Nurra's Diario di un Pazzo (2014). He is also a member of Heliogabalus, a Sardinian free-improvisation quartet with Sassu, Roberto Schirru and Riccardo Pittau, documented performing in Porto Torres in 2015. A further 2016 credit places him on Sardinian turntablist and composer Andrea Cabras's Experimental Scratch Jazz Experience, an electronic turntablism-plus-live-instrumentation project.

Zolo remains an active member of OJS's core ensemble as of the orchestra's own published 2025 roster, and appeared across all three of its major productions - the Giuliana Soscia Small Orchestra Project, a Gerry Mulligan tribute, and a Soho/faded-paint-themed big-band program - at the 2023 "(to) be in jazz" festival season.

Zolo's main working context, OJS, situates him inside big-band jazz repertoire spanning commissioned new works (the orchestra's own "Scrivere in Jazz" international composition competition, running since 1991), songbooks and tributes, and large-scale collaborations with visiting soloists and conductors - the orchestra's own history names guests including Carla Bley, Bob Mintzer, Andy Sheppard, Steve Swallow, Tom Harrell, Richard Galliano and Enrico Rava across its decades of programming, though no specific recording or dated performance independently places Zolo personally alongside the latter three; his own directly documented same-release credits are with Giorgio Gaslini (twice) and Bruno Tommaso, both leading OJS. The Gaslini-directed Sacred Concert / Jazz Te Deum, combining a jazz orchestra with a liturgical choir in a working cathedral, is the clearest example of genuine jazz-and-sacred-music synthesis in his discography. Two further real threads run outside OJS and pull in different directions from the orchestra's big-band core: Heliogabalus's free improvisation, and Andrea Cabras's turntablism-inflected "scratch jazz."