Here below is music I have recorded as part of ensembles and as a soloist. For my solo works, on the third music player: contained there are also some of my early music (1982/1984). For more information about each of these tracks see the notes below, furthermore clicking on the buy button of the player, you will open the page concerning the album, which is also for buying. There are many hours of music.


Direct link (SoundCloud)

Direct link (SoundCloud)

Notes and personnel

As I wrote in the page concerning my projects, have many musical groups doesn’t mean work like a juke-box, it means focus into different situations and directions, but always close to what is the personal research and development. Each of these collaborations has allowed a sort of continuum and progression of my musical ideas and views together, they are a sort of large puzzle, where each anchor adds new elements, thanks to the specificity of the group. Also, it is very difficult to keep alive such projects that are uncompromised and, as a consequence, rather out from the music biz establishment, but I think as you, that the duty of every artist should be to pursue with determination and devotion his vocation.
First player
Track 1. Transition: Nils Gerold (flute) Nicola Guazzaloca (piano) me on drums, percussion. Free improvisation.
Track 2. Gamra: Patrizia Oliva (vocals and electronics) Paed Conca (clarinet) Eugenio Sanna (amplified guitar and objects) me on drums, percussion. Free improvisation, second album.
Track 3. Magimc: Thollem McDonas (piano) Edoardo Marraffa (tenor and sopranino sax) me on drums, percussion. From the album “Polishing the Mirror” (Amirani Records AMRN031, 2012). Free improvisation.
Track 4. Being Together – Hanoi New Music Festival Ensemble: Lotte Anker (soprano and alto sax) Jakob Riis (electronics) Nguyen Thanh Thuy (dàn tranh) Ngo Trà My (dàn bau) Pham Thi Hue (ty bà, dàn dày, phàch, vocal) Sonx (percussion) Kim Ngoc (vocal) Terje Thiwång (flute) Henrik Frisk (electronics) Stefan Östersjö (dàn tỳ bà, mandolin) Patrizia Oliva (electronics, vocal) Burkhard Beins (percussion) me on percussion.
Track 5. One Lip 5: Guido Mazzon (trumpet) Alberto Mandarini (trumpet) Nicola Cattaneo (electric and acoustic guitars) Franco Cortellessa (baritone guitar and 7 strings classic guitar) Giorgio Muresu (double bass) me on drums, percussion.
Track 6. Transition: Nils Gerold (flute) Nicola Guazzaloca (piano) me on drums, percussion. Free improvisation, second album.
Track 7. Crash Trio: Edoardo Marraffa (tenor and sopranino sax) Chris Iemulo (acoustic guitar) me on drums, percussion. Free improvisation.
Track 8. Tobias Delius (tenor sax and clarinet) Mikaele Pellegrino (electric guitar) Clayton Thomas (double bass) me on drums, percussion. Free improvisation.
Track 9. Magimc: Thollem McDonas (piano) Edoardo Marraffa (tenor and sopranino sax) me on drums, percussion. Free improvisation, second album.
Track 10. Ipersensity: Daniele Pagliero (laptop, analogic and electronic instruments) me on electronic percussion pads, laptop editing. The way we work to organizing sounds and rythms is the follows: Pagliero sends live sounds – via midi connection – to eight electronic pads, which are played in real-time by me, with drumsticks. In this way, the choices of each musician are directly reflected on the other musician’s work. We both don’t know where the music will go, cause it goes to its way, regardless from their possible intentions. In practice, the sound produced by each pad (its heights, its timbre, its volume and its attack) could change in any moment, offering a shifting base for a percussive work as much free. This method seems to meet the typical sensitivity/needs of a free improvisation duo. Sound development and rythmic movement, two elements that usually depend by a single musician who controls them on his instrument, instead here are the inextricable result of the two distinct players. Pagliero is therefore responsible for the sound choice, while my role is to playing and composing/organizing in real time, based on constantly changing material. The album was dedicated to the memory and the work of Derek Bailey, who died in the same time of these recordings.
Track 11. The Five Roosters: Mario Arcari (curved soprano sax) Massimo Falascone (alto sax, baritone sax, iPad) Martin Mayes (french horn) Roberto Del Piano (electric bass guitar) me on drums, percussion. Free improvisation.
Track 12. Camusi: Patrizia Oliva (voice and electronics) me on drums, percussion. Free improvisation.
Track 13. Aghe Clope Ensemble: Giorgio Pacorig (piano, synth) Nicola Guazzaloca (piano, synth) Andrea Gulli (laptop, electronics) Paolo Pascolo (flute, alto sax) Gianluca Varone (tenor sax, games) Chris Iemulo (semi-acoustic guitar) me on drums, percussion. Free improvisation.
Track 14. Rediffusion: Andrej Bako (laptop, electronics) Karen O’Brien (laptop, electronics) Gareth Mitchell (prepared electric guitar, objects) me on electronic percussion pads. Free improvisation.
Track 15. Gianni Gebbia (alto sax) me on drums, percussion. Free improvisation.
Track 16. Gbur: Dominik Gawara (electric fretless bass guitar) Paolo Caleo (caleophon) Maurizio Suppo (electric guitar) Ivan Pilat (baritone sax) Daniele Pagliero (sampler, electronics) me on drums, electronic percussion pads. Free improvisation.
Track 17. Margine: Alessandro Cartolari (alto and sopranino sax, microphone) Luca Cartolari (electric fretless bass guitar) Paolo De Piaggi (laptop, electronics, mixer) me on drums, percussion, tapes, electronics, direction. The entire work of Esplendor Lunare 1+2, (here’s an extract) is divided into two long tracks and have been built in three phases: A) multi track recording of some short free improvisation by the instrumental trio; B) sampling, manipulation and handling via computer of the recordings and definition of the effects to use; C) final mix, one for each track, totally improvised on the basis of these organized elements.
Track 18. Orbitale Trio: Paolo De Piaggi (electric guitar, electronics) Ivan Pilat (bariton sax, flute) me on drums, percussion / guests Roy Paci (trumpet, flute, piano, violin, armonica) Fred Casadei (double bass, electronics, piano). Free improvisation.
Second player
Track 1. Luciano Caruso (curved soprano sax) Ivan Pilat (bariton sax) Fred Casadei (double bass) me on drums, percussion. Free improvisation.
Track 2. Nervidi: Michele Anelli (double bass, electric bass guitar, electronics) Dominik Gawara (electric bass guitar, electric guitar, electronics) me on drums, percussion. Free improvisation.
Track 3. Aghe Clope: Paolo Pascolo (flutes and alto sax) Andrea Gulli (laptop, tapes and analog synthesizer) Giorgio Pacorig (Fender Rhodes, Kork MS20, devices) me on drums, percussion. Free improvisation.
Track 4. Roberto Del Piano (electric bass guitar) Marco Colonna (clarinets) me on drums, percussion. From the double album by Roberto Del Piano entitled “La Main qui Cherche la Lumière” (Improvising Beings IB49, 2016). Free improvisation.
Track 5. Guido Mazzon (trumpet, little instruments, toys, chimes) Marta Sacchi (A clarinet, Bb clarinet, flutes and toys) me on percussion, selected cymbals, vietnamase gongs, temple blocks and bow. Written score and direction in music by Guido Mazzon.

Solo works

Direct link (SoundCloud)

Notes and instrumentation

Mostly musicians write their scores on paper or through computer and occasionally they discuss with colleagues, by drawing lines and making signs, as mathematicians or physicists. I like it, but for me it’s never been like that. The music is there, through an instrument and then another, I have to capture the music with playing and making choices with the help of my cultural and experiential background. I’m not interested in writing music, or fix procedures, I like to express my musical ideas simply playing them. As an improviser, in my solo albums, except the acousmatics, I’m involved on this way of making/composing, if the other is to write the music. I think music of today should no longer be written in all aspects, it’s old stuff, because sound requires improvisation, as life, the process will be alive, true and credible. At last, this is the reason why, among other urgencies, composers from twentieth century have opened their music to procedures of indeterminacy and have started to work on aleatoric strategies and then, to improvisation, although under tight control. And jazz music starts its adventure and metamorphoses in the same century! (To say nothing about Baroque music, approximately 1600 to 1750, already plunged in improvisation or again, about improvisation in ethnic music). Definitely, the complexity of modern world needed a new statement of intent in the fields of music and visual arts. Well, it’s a long story, you know. However, the fact remains that we have an enormous corpus of ideas and achievements behind us: when you make sounds with stones on the beach, you are playing the piece entitled Stones (from Prose Collection) composed by Christian Wolff in 1969. In music nothing was neglected, but what is truly unique and peculiar is ourselves: this is where the musician of today (and in general, the person) must go, with the knowledge and the experiences of the past: ourselves is the new direction. Concerning my solo albums, the beginning is always been the same: decide which musical instruments are to use and then, leave it to intuition, proceeding brick by brick, I make connections. What I have in mind about the music is important, but it’s related to instrumentation, and that’s why it’s the most stimulating and characterizing phase of the process. (We skip Nattiez). This is the main reason whereby each of my solo albums has a different equipment and focus. Maybe, a point of interest in my solo recordings is the choice to work with poor equipment, I don’t care about the latest crafty thing, it’s quite a political choice. Anyway, a little bit different is my relationship with drums and cymbals.
Tracks 1. / 2. / 3. Electronic percussion pads. The whole album Musiche delle Circostanze was played, composed, improvised and recorded in autumn 1995. All the music was played with drumsticks on electronic percussion pads, without overdubs.
Track 4. Electronic percussion pads, laptop. Composed in 2007, MKUltra comes as a suite of minimal techno with twenty-eight distinct parts, all with different combinations of rhythms and sounds – using a few tens of sampled sound sources -. The original samples have been previously edited by Londoners Andrej Bako and Karen O’Brien and here there were used through electronic pads with drumsticks and no overdubs. The composition is a radical reconstruction of a free improvisation, played and recorded in a solo concert, as part of a festival held in Reggio Calabria in 2004.
Track 5. Percussions, prepared electric bass guitar, two voices. As the album’s title suggests (Pezzi Circolari, circular pieces) all the tracks – including the followings n.6, n.7 and n.8 – investigate some small repetitive rhythmic aspects and simple instrumental relationships. Experimental devotion and extended techniques are the bases of this music, as always in my procedures. The whole work was recorded between 1998 and 1999.
Track 6. Clarinet, electronic percussion pads, prepared electric guitar, electric bass guitar. (See note on ‘Track 5′).
Track 7. Two electric guitars. (See note on ‘Track 5′).
Track 8. Four acoustic guitars. (See note on ‘Track 5′).
Tracks 9. / 10. / 11. SPD8 Roland electronic percussion pads with drumsticks, Yamaha DX7 synth, Roland Digital Effects Processor DEP-3, Alesis QuadraVerb GT (a stereo effects unit that combines analog and digital electronics), Soundcraft mixer. Analog electronic music composed between 2000 and 2001. Each track of the album Linked was played ​​entirely in real time (all the parts were overdubbed with a multitrack recorder). Sequencer, samplings and computer weren’t used and make the difference. The music, in some way, is close to the aesthetics of New York’s minimalism but you hear minimal techno, even acid house if you like the words and categories but anyway, it’s electronic with human touch.
Track 12. Stereo-set (including two tape recorders, amplifier, turntable, radio), vinyls, tapes. The album Margini di Riciclo contains thirty four tracks of tape music, divided into two long pieces (here an extract); the composition of the tape’s collage has been assembled both vertical and horizontal. This work was composed from 1990 to mid 1993 and it was produced by means of a creative use of a common stereo-set with a great peculiarity: exerting the same pressure simultaneously on two or more of the selection keys of the amplifier, these channels would have been activated, with the result that you could listen, through the loud speakers, both turntable and radio, for make an example; and the whole thing would have been recorded on tape from one of the two recorders connected to the system. Another curiosity was offered by cassettes with chrome or metal tapes: if re-recorded again, for a second or third time, without selecting the frets ‘chrome’ or ‘metal’ on the recorder, the new recording wouldn’t have erased the first, but only overdubbed. The ‘discovery’ of these tricks have been the basis of Margini di Riciclo, the rest is a painstaking work of cut-up technique, manipulations of contemporary and popular music, more or less altered vinyls and radio broadcasters, which enter into the music in aleatory way for most of the time. Musical instruments and computers weren’t used. At that time as a background, I was inspired by Cage’s Imaginary Landscape and WIlliams Mix (known only on books and not heard, the same for the early works by Schaeffer); some years after I have known the work of composer John Oswald and his idea of ‘plunderphonics’. Concerning the texts used through the various voices – mostly were taken from several spoken word albums of William S. Burroughs, Jello Biafra and Timothy Leary – have been chosen with great care but some times were recorded in aleatory way, directly from radio stations; the words show a precise outline, a sort of complaint to the contemporary world. I guess this work has touched – musically – some things that have been written on the book Mille Plateaux, by Deleuze and Guattari. A similar album was recorded by me in 1989 with the name Urban Hard Beat Energy, published on Old Europa Cafe.
Track 13. Prepared electric guitars, live electronics, feedback, analogue synthesizers (Kork SM20 and Eko Ekosynth P15), block flute, tv-set, radio, objects, tapes, cut-ups. Opera was my first musical project and at that time, big influences were the ideas and the music of John Cage and the most radical side of post punk culture. Here’s a selection from three tapes published by Old Europa Cafe in the Eighties.
Last note. I add in these notes on soloist discs, a brief description of double album “Ripercuotere”, that can be heard on the second YouTube player below. Instrumentation: drums, electronic percussion pads, prepared guitar, oscillator (VCO), keyboard and objects. All music was taken from ten hours of free improvisations, recorded in the heart of several nights in the autumn of 1994, without overdubs. Intention of these ‘heretical’ improvisations, was to try different directions with diverse musical flavors (idioms).

YouTube channel

There is many other music uploaded on YouTube, taken from albums – also some full albums – and lots of footage from gigs and festivals. Of course musicians have to pay bills like everyone and sell their own records is already something but also, it’s a fact that my albums aren’t everywhere, as well as others are out of print, so I’ve taken the choice to put some of my music on the world’s most popular web platform. Good listening.

Ensembles (running time circa 10 hours)

Solo works (running time circa 5 hours)






















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