Recent projects

Have many musical projects doesn’t mean nourish the distraction, it means focusing into different situations and directions, always close to what is the personal research and development. Each of these collaborations – and how I’ve learn by all these musicians! – 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 peculiar synergy between the musicians involved, as well as the group planning. Of course it is very difficult to keep projects that are uncompromising and, therefore, out of the establishment’s music biz, a consequence of the culture today, manipulated and annihilated by the new contemporary totalitarianism called neoliberalism. But I think the duty of every artist should be to pursue with determination and devotion his/her vocation, doesn’t matter if it’s popular or unpopular. Anyway, most of these projects are available for festivals and concerts.

Setoladimaiale Unit

Marco Colonna Bb, C, alto and bass clarinets
Martin Mayes horn and alphorn
Patrizia Oliva voice and electronics
Alberto Novello analog electronics
Giorgio Pacorig piano
Michele Anelli double bass
Stefano Giust drums and percussion

special guest:
Evan Parker soprano and tenor saxophones

“The Unit presented a particularly intriguing formation. Since it is usual practice of this type of improvisation, the path, a continuous flow without stops, has alternated thickening and thinning. The moments of rarefaction and dismemberment of the group have allowed congenial subgroups to emerge and real solitary spaces. On several occasions the entire collective has expressed a dense, tingling, sonic, saturated concreteness, even though it allows to distinguish the individual contributions. Evan Parker certainly has no sin of protagonism, indeed there are those who say that he has not been granted the space due: in truth, as his colleagues, the English saxophonist has inserted targeted interventions that are always in dialogue with the context.” (on the concert with Parker at Angelica Festival, May 2018) Libero Farnè, Il Giornale Della Musica

“Naturally, at Angelica can not miss improvisation and creative music… if with Anthony Braxton it is difficult to be mistaken, the same we can say of another sacred master as Evan Parker, present with Setoladimaiale Unit, curated by Stefano Giust. Evan Parker is not alone to fly high with his tenor and soprano saxophones, but also excellent colleagues like Martin Mayes with the impressive alphorn, Patrizia Oliva on vocals and electronics, Marco Colonna on clarinets, the same Giust on drums, Michele Anelli on double bass, Giorgio Pacorig on piano and Alberto Novello on analog electronics.” (on the concert with Parker at Angelica Festival, May 2018) Gino Dal Soler, Blow Up

“A true compendium of sound solutions, an example essay illustrating the successful improvisation of a multiform ensemble.” (on the concert with Parker at Jazz Is Dead Festival, May 2019) Andrea Maria Simoniello, The New Noise

“One of the best concerts of the last five years!!!” (on the concert with Parker at ImprovviJazziamo, October 2019) Maurizio Zorzi

“Recorded by a large group of featured jazz masters. Invention, creativity, imagination, shocking and stunning sound experiments, wild, frash and original ideas and innovative instrumental section – these are the keys of each musician’s playing. The compositions are always based on free improvisation, experimental and avant-garde jazz basics, experimental music, electronics, as well as modern contemporary intonations. Musicians have new and modern conception and original sound – their music is a mix of impulsive, spontaneous, emotional, bright and surprising playing. They never don’t hesitate to try out something new, explore unknown fields and zones of sound by expanding the traditional sound comfort zone. Simply fantastic improvisations. The sound is impressive and dynamic – silent, sophisticated, solemn, deep, heavy, rough. Here’s a huge range of expressions, playing techniques, experiments and tunes who are combined together to create an original and bright sound. Drums and percussion section is wide and dynamic – afroamerican, Western African, American folk, Western Europe academical music rhythms, as well as the typical figures of modern, contemporary, traditional jazz styles are connected to breaking, driving and perturbating sessions and thrilling improvisations. All these elements are gently combined together. The music of this album has fresh, inspiring, effective and original sound.” Rodrigue Bosard, Avant Scena

“Let’s consider the similarities of this large group improvisation to the High Renaissance frescoes. Artists like Michelangelo and Raphael were required to create these masterworks in a rapid manner. The same can be said of the free improvising artists that make up the seven-person Setoladimaiale Unit. The artists—mainstays of this remarkable record label—are joined by composer Philip Corner, Phoebe Neville and master musician Evan Parker. Like a Renaissance fresco there is much detail here. The music could easily be mistaken for a Butch Morris conduction because of the orderliness of the improvised sounds. Amazingly enough, even with this many musicians, there is no conductor. The concert is like an Italian fresco, but one that is not static. Imagine lying on the floor of the Sistine Chapel looking up, and the paintings come to life, then you have some idea what this performance was all about.” Mark Corroto, All About Jazz USA

“This concert serves as a reminder that it is still possible to enjoy decent free music in Italy when the right conditions exist. Bringing together several talented musicians on the Angelica Festival stage and having them escorted by the reeds of wisdom of tutelary deity Evan Parker, label boss Stefano Giust – also featured as a drummer here – provided only a few basic instructions before launching the collective into the 71 minutes that enclose this excellent improvisation. This is a commendable performance by all the participants. The interaction is characterized by often impressive dynamic diversifications and atmospheres changing at the flick of a switch. Most of all, this music never tires the ears, and has a definite reason to survive beyond the celebratory event.” Massimo Ricci, Touching Extremes

“A maximum master of the soprano sax is certainly the Englishman Evan Parker, who in 2018 during the Angelica Festival in Bologna, was the guest of a Setola di Maiale Unit aimed at celebrating the 25th anniversary of the worthy Italian label, particularly focused to the avant-garde. One octet is at work, with strong names such as Marco Colonna, Martin Mayes, Giorgio Pacorig and above all Stefano Giust, in the specific percussionist, who is the authentic deus ex-machina of the label, an octet dedicated to free improvisation, with rather solid results. Excellent choral and individual moments.” Alberto Bazzurro, L’Isola Della Musica Italiana

“Album on Perfect Sound Forever 2019: Top Ten Writers’ Poll” by Daniel Barbiero

“Setoladimaiale Unit & Evan Parker, in addition to being a splendid celebration, is also an ideological link to the frame of artistic independence and political conviction that Parker has lavished on his life; there is an anti-liberal thought that is being discussed in economy, developed to make social and income inequalities more and more important: the splendid ensemble’s musicians almost wear it, in the vibrations of their instruments, each of them has the advantage of avoiding those ‘clinical’ situations of improvisation that often afflict the performances: here the dosages of the dynamics are perfect, there are no abuses in power and the balances slide in absolute freedom and in full communion of intent, a Cd conceived in its basic settings, but absolutely left to the creativity and spontaneity of the individual musicians.
There is a thought of Giust that accesses the matter of conducting; today there is a lot of talk about the legacies of Butch Morris and the need to follow the organic in a certain way, but an emotional impact can also be found in collective forms free from methods: “for me this is an essential point: although not having nothing against conducting – every musical strategy finds my favors – it is possible to have a music that is self-structured, because it is already in its nature. At the most it is necessary a general indication to facilitate this possibility, to emphasize it, because it is my conviction that, when you have a group of artists, improvisers, aware of the responsibility that each one has in the performance of music, it hardly happens that you lose control, the music itself gives indications, constantly, you just have to listen and feel part of all, even if this sometimes means not playing.”
Then, it is obligatory to look at the internal notes written by Giust, which speaks of “some vague and poetical indications” suggested to the ensemble, a string of words that intrigued me and prompted me to ask Stefano their revelation: these musical indications are a way to track music and these are phrases that lead to subliminal behavior to be kept during the performance; among these, I have focused on the reflection that proclaims “we play a ‘modern’, visionary, intimate and unheard music.” I return the feelings I felt in listening, in the division of the 6 parts of the improvisation… Given these effects of listening, can I not admit that this is a ‘modern’, visionary, intimate and unheard of music?” Ettore Garzia, Percorsi Musicali

“Recommended!” The New York City Jazz Record

“The sound flow is homogeneous and obviously dialogues and conversations alternate, between the various components of the group, now abstract, now more concrete and thick. There is no claim to impose subversions, to generate formulas and styles – expression of hierarchies -, to satisfy selfishness, but only a listening request, which is to share a vital experience. Some modules proceed according to quite usual cadences, such as research of density alternating with lyricism and rarefactions, creating spaces soon filled with color backgrounds. Music breathes, finding a reason for complexity, which knows how to transcend.” Sandro Cerini, Musica Jazz

“With a lightness that one would not think of, the effect of a force that draws and lifts, this hour and more, fly away. The drummer has gathered musicians who have published for the bet-label (now winning) in the twenty-fifth birthday, to try again the way of free improvisation. What is generated is a biotope sound, an organic complex where the writing of the scene gives space to choral moments of dramatic passion. The landscapes vary, they are harsh of fragmented interplays yet connected. The music runs and jumps from unevenness to clearings, where ‘themes’ are take us back from falls in informal foam. Music as the physiology of existence. (8)” Dionisio Capuano, Blow Up

“Crafting a musically cohesive, uncongested free improvisation with a small group is hard enough. It become much more difficult the larger the ensemble. Some large groups have been able to manage this nicely. Add to their number the Setoladimaiale Unit, an ensemble headed by percussionist Stefano Giust. The hour-long improvisation is tracked into five sections prefaced by Corner and Neville’s introduction. Each section highlights some aspect of the group’s work, usually on the basis of the many subgroupings that emerge over the course of the set. What’s remarkable is that there was no conducting or direction; the changes in dynamics and density and the frequent interludes for solos, duos, and trios were arrived at spontaneously. Each player has some time as a leading voice if not a soloist; there are beautiful soliloquies for piano and drums, and instances of impromptu polyphony breaking out among the horns. It’s exactly the kind of playing one would expect from some of Europe’s most sensitive improvisers, and a happy anniversary indeed.” Daniel Barbiero, Avant Music News

“Of special interest!” Cadence

“Album on Cadence Top Ten Recordings 2019: Top Ten Critic’s Pick” by Zim Tarro

“The Setoladimaiale Unit was assembled by drummer Stefano Giust, who runs the Setola di Maiale label. It’s a sextet with vocals, gongs and electronics, working in the very productive area between free jazz and free improv.” Julian Cowley, The Wire

“For the 25th anniversary of his utopian label, Setola di Maiale, percussionist Stefano Giust has collected the best Italian improvisers and invited Evan Parker to join a concert in Bologna at the AngelicA 2018 festival. Question: how is it possible, in the group of organizers / freelancers / critics / affiliates of free music, to still neglect a drummer and an activist such as Stefano Giust, head of the Setola di Maiale label who is here on the 388th album in the catalog? A true figure who mainly plays with the high level musicians, Stefano makes all the cover artworks and deals with the production of an exceptional diversity of artists, in fact all that in Italy counts with sound performances, alternative electronic composers, ingenious guitarists, libertarian jazz poets, free improvisers and utopian orchestras: an attitude of solidarity with the cause rather than an artistic direction “specialized” elitist. Without doubt, one of the most generous, passionate and altruistic people on the international scene, and also an excellent drummer / percussionist. In SDM I heard remarkable attempts by artists who have come a long way since then. In the SDM Unit, we have to talk about singer Patrizia Oliva who deals with the sound of her voice with electronics, the Roman clarinetist Marco Colonna, probably one of the most important “blowers” of the peninsula, pianist Giorgio Pacorig, noticed and revealed by the excellence of his piano work in this recording, horn player Martin Mayes, a native York who has lived in Turin for decades and who was part of the Instabile Italian Orchestra, the Turin double-bass player Michele Anelli, an activist in the city for excellence, Alberto Novello with analogue electronics. The composer Philip Corner and the choreographer Phoebe Neville begin the concert with the Gongs for the Intro. Although this exhibition has been ‘not prepared’, except for some indications by Stefano Giust and that Evan Parker prefers not to pose as a leader, leaving the music to do respecting everyone’s freedom, we can distinguish sequences, successive parts that spontaneously connect with a certain logic, individual voices are affirmed in the foreground and significantly supported by others (Giust in the first place). A true cooperative partnership that brings together improvisers of common accord and shared energy. The common denominator: faith in human, social, cultural values remarkably highlighted in the music of Live at Angelica.” Jean-Michel Van Schouwburg, Orynx-improvandsounds

“Very beautiful.” Nicola Negri, Centro d’Arte di Padova

“Absolutely free music, even with the few indications offered by Stefano Giust, soul of the label and coordinator of the ensemble, which is documented on this Cd. As often happens in cases of instant creation, it is not easy to give an idea of ​​the development of music, which changes continuously and unpredictably. Limiting oneself to general indications, the slow and almost meditative atmosphere of the work, which only occasionally finds some dynamically and rhythmically moments more intense – for example, in the fourth part with a crescendo guided by the tenor of Parker, by the double bass of Michele Anelli and from Giust’s drums, or at the end of the album, with the only moment of magmatic chaos, still guided by the tenor of the British – and his collective character, although marked by the alternation of the intervention of the individuals, without however anyone ever rise as starring if not in short fragments. Substantially consistent work, with moments of strong suggestion.” Neri Pollastri, All About Jazz

“This live is delicate, responsive and thunderous in the result. Free and dazzling music, which clears up and confuses electronic inputs and acoustic gusts, traceable forms and abstraction, a lot of magic, short solos, disruptions and courageous real-time reassembly. Dilations, contractions and new expansion. Tradition and contemporaneity. Best wishes to Setola, the gift to us.” Marco Carcasi, Kathodik

“Describing this recording in all details is impossible, because everything is so meticulously put together and one reaction follows accurately and especially organically, the other. A continuous maelstrom of small shifts that always lead to new ideas. This recording is a powerful and convincing statement about the vision of the label. Respect for Stefano Giust and his group to maintain such standards in these times of commercial populism and to put creative idealism first.” Georges Tonla Briquet, Jazz’halo

“Big bangs, seismic swarms, apparitions, disappearances, revelations, floods, crystal clear truths, perfect lies, flashes, haiku, satori, the same urgency and cosmic threat that animates for example certain treasures of the Actuel catalog: the art of improvisation caught in the moment of a very high inspiration, for a music that is impossible to say with words but that must be listened to and purchased, supporting those who have been ‘damaging their soul’ since 1993 to remind us that another jazz is possible. A piece of plastic that contains universes, enclosed in 71 minutes of uncatchable music. A psychoactive matryoshka that open, you can discover that an afternoon can last a century, and vice versa.” Nazim Comunale, The New Noise

Setola di Maiale celebrated its 25th anniversary at Angelica Festival 2018 with this ensemble (still available for concerts). On that occasion – it was a sold out concert and subsequently released on Cd – we played together with a very special guest musician, the British saxophonist Evan Parker, a crucial researcher in the field of improvised music. In that evening there was also an unexpected off-program, an introduction on gongs by American composer Philip Corner (among the fathers of Fluxus) and his wife, choreographer, dancer and musician Phoebe Neville. With slightly different line-ups (with Daniele Pagliero and Massimo De Mattia), the ensemble played two more concerts together with Parker in 2019: on May 26th, at the Turin Jazz Is Dead Festival (broadcast in full by Battiti Radio Rai Tre on December 15th of the same year) and at ImprovviJazziamo in Pordenone, on October 13rd. Setoladimaiale Unit is formed by musicians who play free improvisation without protections, there are just some vague and poetical indications by me. Curiosity, the name Setoladimaiale Unit was used before only in 1999, when we played with two different line-ups at the 48th Venice Biennale (at Chiostro Tolentini and at the Italian Pavilion).

De Mattia / Pacorig / Maier / Giust

Massimo De Mattia flutes
Giorgio Pacorig piano
Giovanni Maier double bass
Stefano Giust drums and percussion

“Quietly yet decisively, a new generation of Italian improvisers has made its presence felt internationally during the past decade and a half, definitely including the four who created the suite that makes up this memorable disc.” Ken Waxman, Jazz Word

(Album of the month for Musica Jazz, n. 810) “Free music, born from mutual listening and instantaneous relationship, always inspired by an elegiac and pure lyricism, which allows it to hover, almost indifferent to matter. The alea, which here is never an indistinct randomness, given the harmony of the quartet, takes shape in colors, sensations, breath, sound, ‘life’, composing, at last, a beautiful ‘suite’, to be contemplated.” Sandro Cerini, Musica Jazz

“The habit of being comforted, confirmed in our laughable certainties. The stale taste of so much jazz that is nothing but calligraphy, postcard. Setola di Maiale, the improvisation label of the drummer Stefano Giust, has been moving for 25 years against this attitude. “Desidero Vedere, Sento” is a declaration of intent. I close my eyes and I see the inside: a steep, extended, non-Euclidean world, full of beautiful traps, oblique and perfect mechanisms, everything shines in the geometric spider burrs of the case, the die is cast, the Rubicon is crossed as well as the comfort zone, the quartet is in a pure state of grace. The Cd frolls you in the head like a portable and silent psychoanalyst: just put the magic disk in the stereo, turn up the volume, and let the images flow. Set sail towards the unspeakable, in the ocean of open sound, rediscover the wonder. An important Cd, illuminated by a difficult and dark grace, lyrical and surly at the same time, as if all over the improvisation hovered a sense of threat, of unfavorable wind (that is the wind of the news?). A navigation off course that for fifty minutes it gives us four musicians capable of discovering new territories once again.” Nazim Comunale, Il Giornale Della Musica

“Around free improvisation still lingering ghosts hard to die. To see musicians go on stage not only without scores, but not even with a shred of preventive agreement on how to move is experienced by many with annoyance, like an intellectual attitude. Too bad because, and this recording shows it amply, the provision for collective improvisation is one of the most beautiful challenges for those who play. Also for those who listen. Actually De Mattia, Pacorig, Maier and Giust took to the stage of the Teatro San Leonardo of Bologna – in the context of Angelica Festival – with a vast repertoire: their stories, their memory, their talent, curiosity, experiences, researches and availability to risk. All unique materials to be managed in the collective dialogue, with listening and complicity. Not easy. Yet the four show an extraordinary instantaneous compositional ability that translates into a continuous sound stream full of shared ideas, rips, silences, inaudible sounds, visions and poetry. A Cd that should be programmed in some gray rooms of music education, to turn on lights.” Paolo Carradori, Alafabeta2

“The quartet often changing compositional algorithms: from slow additions of sounds, which then become linear melodies, to sudden destructions made by subtraction, sudden and fast. Construction and destruction, accelerations and unexpected stops, express an alive, multiform and spectacularly extreme sound ensemble.” Roberto Paviglianiti, Strategie Oblique

“Beautiful Italian team live at Angelica by flute expert Massimo De Mattia, enlighted pianist Giorgio Pacorig ubiquitous peninsula bassist Giovanni Maier and Setola di Maiale hyperactive producer and clever drummer Stefano Giust.” “Desidero Vedere, Sento is an excellent moment in the life of these four artists, full of musicality, intense listening and spontaneous sharing, a serene lyricism that guides us to secret moments, elegiac weightlessness, unspeakable fragrances and deconstructed images. A great success based on a thorough relationship on total improvisation and a democratic conception for each instrument / personality in the sound space.” Jean-Michel Van Schouwburg, Improjazz/Orynx-improvandsounds

“A combo of extraordinary improvisers. The four musicians move within a free dimension, free of any conditioning but, for this reason, very dangerous because the risk of falling into mannerism, in the obvious is around the corner: just a fall in tension, an input not good received and the omelette is made, you don’t go back. Well, none of this is perceived by listening to the music: vice versa, the passion, the dedication, the spontaneity, the intellectual honesty of these four artists, who are considered – not by chance – among the best improvisers not only of our country.” Gerlando Gatto

“Really beautiful.” Marcello Piras

“This music is the result of the mastery of these four musicians. From the first listen it is immediately clear the skills of De Mattia, Pacorig, Maier and Giust: not only for the qualities of the individual musician, but also for the harmony and the comparison that they express by improvising together, emphasizing individuality but playing like an only one thing at the same time. The five tracks of the album are a mixture of jazz and contemporary music but not academic, lively and sparkling music: from the continuous leaks to the moments of suspension, all in the complexity maintains a strong sense of narrative, almost visual. Making this music not only “beautiful” but also “pleasant” is an important point in favor. There remains only the regret of not having been in the room that evening.” “A truly exceptional album!” Emiliano Grigis, Sodapop

“Improvising quartet spreading some musical love…” Tom Sekowski, All About Jazz USA

“A high symbolic value can be attributed to this meeting: it demonstrates that even Italian improvisation has its physiognomy and presents here some of its best representatives. The concert is a point of arrival, informs us on how much has been done in improvisation, it’s a flow of technical and emotional summary, which comes from an experience decidedly internalized by musicians, who over time have created their own standard. Desidero Vedere, Sento is free fuel, it’s full of dynamics and flies high in the imagination induced by music; it is the sum of the parts and their styles: the pindaric and atonal flights of De Mattia, the three-dimensional pianism of Pacorig, the ups and downs in the punctuation of Maier and the detailed nervous sound applied by Giust. If someone believes that the memory of music may come out of rules, meters or combinations well studied and especially focusing on certain points of reference, with Desidero Vedere, Sento, he will necessarily have to change his mind, because this is the ideal place to start thinking definitively to a different construction of the musical sensation, its articulations and its effects.” Ettore Garzia, Percorsi Musicali

“One of the top albums of 2018, according to Percorsi Musicali.” Ettore Garzia

“The quartet that signs Desidero Vedere, Sento is varied and vital, there is a climate that is now more intense and nervous, now more volatile, always clear and legible.” Alberto Bazzurro

“Four protagonists of the Italian improvisation scene devise here new live materials. Influences of all kinds and the displacement of various support surfaces belong to their box of tricks. They knead structures like plasticine, filling the time and space assigned to them in an optimal way. Appeared on the label of Italian improvisation for excellence.” Georges Tonla Briquet, Jazz’halo

“A remarkable synthesis of musical languages and an aesthetic sense of great enjoyable. The path that starts from free jazz and passes countless experiences of contamination is truly effective and intelligent.” Gianpaolo Salbego

“I have to thank the four musicians who played this music. I thank them for the indomitable spirit, for the purity and honesty of the gesture. I thank them for having given to the press a music that vibrates in the World so crazy to be wonderful. A music so high that only contemplating it compels me to applaud. It forces me for honesty and duty to express the merit of this wonderful experience, without it, much would be more difficult.” Marco Colonna

“A classic example of improvisation, in which the inventions of musicians are bound thanks to the listening and instantaneous responses that their remarkable agreement favors. And the singles are not avaricious neither of inventions, nor of brilliant sounds. And it is the pursuit of these voices, the interweaving of the sounds, their very free accelerate and decelerate, pry off and subside, to compose the fabric of a music to follow, internalize and meditate. A music that surprises with every listening and that, as always the ‘successful improvisations’, risks making all the other listeners appear ‘boring’.” Neri Pollastri, All About Jazz

This quartet is born for a concert held for the Concert Season 2016/2017 of Angelica, at Teatro San Leonardo in Bologna. It is available the Cd entitled “Desidero Vedere, Sento”, published by Setola di Maiale, with Ken Waxman’s liner notes (there is a small excerpt above).

Mahakaruna Quartet

Giorgio Pacorig piano
Cene Resnik tenor sax
Gabriele Cancelli cornet and trumpet
Stefano Giust drums and percussion

“This group is a true force of nature. Great dialogues between the sax of Resnik and the cornet of Cancelli, rich and never predictable Pacorig’s piano, free and anti-rhetoric Giust on drums. Free music and the beauty of what is not predictable and indefinable are a political choice, a long, fertile flow of inventions. A very nice album to which to return in time, played and composed by musicians to follow, without reservations.” Nazim Comunale, The New Noise

“Critiquing the world of necessary, but often spirit-deadening work with an almost 70-minute improvisation, pianist Giorgio Pacorig’s arrangements for the Mahakaruna Quartet’s emphasize musical freedom at the expense of agit-prop. The happy result is that the music can be appreciated for the manner in which this Italian-Slovenian quartet sophistically handles the genre-bending material, no matter your politics. Satisfaction with the sonic program unequivocally masks any political message. A polyphonic roller coaster trip, with all the thrills intact, Inventum should be celebrated for what it achieves musically, not the political and economic ideas it doesn’t simplistically define.” Ken Waxman, Jazz Word

“The improvised element is raging, sometimes even turbulent, vociferous, but intermittently more disposed towards that folk song, that is typical of the songs arranged for the occasion by Pacorig. Another great way to “sing” the work.” Bazzurro, Musica Jazz

“The original folk songs, originally melodic, have here an ‘industrial’ or ‘mechanical’ densities and thus divert the aesthetics of these popular pieces, merging them together in one process. Exceptional examples are Addio Lugano, Le 8 Ore and Canto Dei Battipali. The merging of the two worlds is best reflected in the Cantigas Do Maio, where the epic and, at the same time, melodic and experimental music, is looking for a wider sound space. In this way, the listener receives a significant message for the times we live: work equipment is no longer exclusive tools, we have people who become dehumanized; machines are no longer just robots.” Nina Novak, Sigic

“The quartet presented a rather complex concert. It was possible, in the sound, to understand the elements of a narration, characterized by a fluctuation between noise, colors and harmonic expansions, echoes full of old songs, blurred cities and romanticism. Meanwhile the whole included a series of subtlety, from the winds of Resnik and Cancelli or Pacorig on Rhodes. With all this, Giust was able to perceive the percussion, navigate in a wide variety of water and exhibit a fair mastery. It was an appearance for a patient and attentive ear. Mahakaruna doesn’t occupy the classic of free improvisation, which make effects only on the dark side of sound, noise, but also on a narration made of meta levels, where the combination creates a complex semantic mix. It was necessary to be extremely careful, follow every step of the Quartet and, at the same time, don’t lose the entirety – a sort of exercise of Gestalt reading images. We welcome you.” Muanis Sinanović, Radio Študent

“Improvisation – which remains the sum of music – comes from work songs and intentionally rotates around them. The results are nothing short of exciting: lively and pulsating music, which crosses a large part of the jazz tradition – the free, the New Thing, the Sixties-Seventies protest – but it does so in the name of free improvisation. Spectaculars all the protagonists. Very remarkable record, on the ridge between tradition and radical improvisation.” Neri Pollastri, All About Jazz

The group was set up by the pianist Giorgio Pacorig; the music moves into a free jazz of our days. “Maha karuna” means great compassion from Pali and Sanskrit, the old indian language. “Maha” is great or big and “karuna” is compassion for every living being, since we all suffer from many different causes in this world. Cene is Slovenian, lives in Ljubljana and is definitely one of the most interesting saxophonists of the Mitteleuropa. Their album “Inventum” is published by Nuovo Corso, on April 2017. They played at the Defonija festival at the Klub Gromka in Ljubljana and the Jazz Club Ferrara.


Ombak Trio

Cene Resnik tenor and soprano saxophones
Giovanni Maier cello
Stefano Giust drums and percussion

“Giust is a refined, imaginative and original drummer improviser, and in this new trio he is accompanied by two other important exponents of European free music, the Slovenian saxophonist Cene Resnik and the double bass player (here dealing with the cello) Giovanni Maier. The music of the trio moves along typical trajectories of improvised music, with the musicians creating a dense dialogue that thickens the sound material until it explodes into powerful impulses, to then lower the temperature in wide meditative glimpses. Timbre and rhythmic exploration always remain in the foreground, and the long experience of the musicians involved keeps tension high. The end result sounds like a masterclass on historical improvised language, and at the same time a tangible demonstration of how this music can still reserve many surprises.” Nicola Negri, Centro d’Arte di Padova

“Through Eons To Now is a trio session for tenor and soprano saxophone (Cene Resnik, from Ljubljana) and cello (Giovanni Maier of Trieste) as well as Giust’s drums. The music here is energetic and forward—still attentive to the formative role of space, but at the same time willing to fill that space with compacted sound.” Daniel Barbiero, Avant Music News

Trio involved in free improvisation, a rich and distinctive timbre mixture, a deep and constantly moving music. The Cd “Through Eons To Now” is available on Setola di Maiale.


Henry Marić bass clarinet, clarinet, prepared electric guitar
Boris Janje double bass
Stefano Giust drums and percussion

“On Jars, Giust is joined by Slovenian double bassist Boris Janje and Croatian clarinetist/bass clarinetist Henry Marić. Jars is an improvised session in which space plays a highly audible role. Giust provides a flexible framework of color and even moves into defined, yet elastic, rhythms on a couple of the tracks. Although containing mostly expressive, melodic music, the album does have moments of pure, unpitched timbre as Marić, a forcefully lyrical voice on reeds, when doubling on prepared electric guitar creates scraping, spiky sounds. Janje, who tends to favor staccato, economical bass lines, during the more abstract passages is able to open up his sound with extended pizzicato and arco techniques” Daniel Barbiero, Avant Music News

Free improvised music – an Italian Croatian Slovenian trio – with much poetry, unpredictability, details and timbres and despite being difficult music it is enjoyable to listen to. Available on Setola di Maiale the Cd recorded on March 2019 in Pontiera (Istria, Croazia) and mixed by Nadan Rojnić.

The Objective Chance

Alípio Carvalho Neto alto and tenor sax
Andrea Massaria electric guitar and electronics
Giorgio Pacorig piano
Stefano Giust drums and percussion

Quartet gathered in January 2019 around Alípio Carvalho Neto, Brazilian and resident in Italy from many years, musician and musicologist (read his brilliant analysis of the work of Giancarlo Schiaffini, contained in Schiaffini’s book “Immaginare la Musica” published on Auditorium).


Nils Gerold flute
Nicola Guazzaloca piano
Stefano Giust drums and percussion

“I’m generally steering clear of free improv dates these days, as I feel that there are relatively few musicians who can sustain interest in that format. This one, however, is an exception. They are a very close-knit unit that can turn on a dime from intense rumbling passages to sparse meditation has me wondering if maybe there are composed elements to this, or some kind of pre-arranged structure. At any rate, I like that there’s an underlying sense of purpose behind the music, it’s not just meandering about.” (on the first album) Craig Premo, Improvised

“This is another great release from them, following their self-titled record. The trio generates plenty of heat, with the interaction between Guazzaloca and Giust recalling the epic battles of Cecil Taylor and Tony Oxley. Nils Gerold is pushing the boundaries of the flute as an improvising instrument, and he deserves to be mentioned alongside Nicole Mitchell as one of the top flautists in today’s music. The group exhibits great range, “transitioning” if you will from terse exchanges to very dense passages. Definitely one to seek out if you’re a fan of free improv or the flute in new music.” (on the second album) Craig Premo, Improvised

“Transition is inserted, for creativity and energy, in the best productions of European free improvisation.” (on the first album) Ettore Garzia, Percorsi Musicali

“Another convincing performance in three parts, three musicians chained to their instruments, projected towards a free improvisation where everyone seems to run independently, putting greater emphasis on the stylistic characteristics of each of them.” (on the second album) Ettore Garzia, Percorsi Musicali

“The trio faces an improvisation with absolute motivation, with great attention to dynamic values​​, to tonal variation, to the varied interplay plots. Guazzaloca produces bubbling sound masses, Giust’s percussion gives a structure as a rhythmic context and magmatic twitching, trembling, with crackling effects on metallophones in the most calm moments. Gerold is bent to the origin of classical flute, with an emission that is nervous, fragmented, wriggling into mystical content. The music they create has a material substance, an unavoidable concreteness, an expressive synthesis based on an undoubted honesty of great cultural and methodological rigor.” Libero Farnè, All About Jazz

“The internal dynamics are meticulously analyzed” Boddi, Musica Jazz

“An European feel, the trio achieves a very fine level of telepathy.” François Couture, Monsieur Delire

“A crucial trait in this general vibrancy of Transition, lies in the perpetual conversion of the sonic flux; from massive blocks of commutual inflammation, the trio pulls out passages where an instrument might linger unhidden amidst quieter perspectives. Not even in the latter zones one receives signals of half-heartedness: propulsive forces are there to be regained when the blood’s pressure goes up again. Don’t lose involvement as you listen, and the rewards will come.” Massimo Ricci, Touching Extreme

“Gerold, Giust and Guazzaloca make tremendous rhythmic cycles here with infinitely variables, with an impact strenght of G3 (‘au cube!’). For a first meeting “Transition” is an undeniable success. Stefano and Nicola are also two important leaders of the Italian improvisation scene, well beyond the Italian Instabile Orchestra, which is usually seen as the culmination of the creativity of the Italian avant-garde jazz.” (on the first album) Jean-Michel Van Schouwburg, Improjazz/Orynx-improvandsounds

“The music on this concert at MiBnight Jazz Festival in Bremen, is beautifully advanced in the creation of different perspectives and points of waterfall, in the manner of an happily different interplay. The trio has a nice combination with independence and empathy, I mean that they play at 100%, avoiding mimicry. Musically, behind there are Germany and England, but by now these are saturated. Transition at MIBnight illustrates this perfectly. All this smacks of European improvised music. Music, musicians, group cohesion, invention, etc. is perfect. Fascinating!” (on the second album) Jean-Michel Van Schouwburg, Improjazz/Orynx-improvandsounds

“Wild improvisational prowess” Tom Sekowski, All About Jazz USA

“Another fine free improvised music trio from Bella Italia. Now, bear in mind flute is not the main instrument on the Cd, the three improvisations are played very democratically. As it can’t compete with the piano and drums in terms of volume, it fills the empty spaces, with grace and impeccable agility. Guazzaloca’s piano playing covers a wide dynamic territory, bringing some powerful impetus to the music, driven by Giust’s very original way of playing – filled with pulse yet asymmetric. The music flows gracefully with some turns and twists, ebbs coming and going, with a lot of surprises on the way. The has plenty of adventurousness and rides the musical tides with ease. There’s a plenty to enjoy on the Cd.” (Free) Jazz Alchemist

They met for the first time in summer 2011 in Bologna. After playing a very successful concert, they founded the trio. Inspite of their wide both musical and geographical backgrounds – from contemporary new music to traditional japanese music and from middle Italy to north Germany – their improvisations seem to come from the same mind. Their music is deeply rooted in the free jazz tradition. They have published two albums in 2012 and 2014 on Setola di Maiale.



Edoardo Marraffa tenor and sopranino saxophones
Thollem McDonas piano
Stefano Giust drums and percussion

“Here, we have the wonderful improvising pianist Thollem McDonas, accompanied by Edoardo Marraffa and Stefano Giust – two of Italy’s finest young improvising musicians -. Marraffa is an exceptionally gifted player. Giust is no slouch either. Endlessly resourceful, he uses every surface of his conventional drum kit to generate sounds that are somehow unexpected while being completely in concert with the prevailing mood of the moment. The amazing thing is that Magimc is the sense of connection between these disparate musicians that is deep and palpable. It’s something that can take years to develop, but in this case it’s seemingly developed instantly.” Dave Wayne, All About Jazz USA

“There’s so much happening that it’s pointless to try keep track of it. Free, direct, explosive and adventurous. Thollem McDonas, Stefano Giust and Edoardo Marraffa create some real sparks here, with tones and sounds flying free and wild, there are moments they seem to be everywhere. Most definitely recommended.” (Free) Jazz Alchemist

“Outstanding performers, high concentration, remarkable interplay! Awesome trio.” Downtown Music Gallery

“Each musician has a strong personality, and the contrast of styles and instrumental voices constitute one of the most interesting aspects of this album, a sonic snapshot of both a working group and a spontaneous musical meeting, showing all the subtleties, difficulties and brilliant solutions to that most difficult task — listening and talking to each other, in spite of the differences.” (on the second album) Nicola Negri, Free Jazz Blog

“Perfect example of contemporary free improvisation from three musicians with full control of their instruments. An iconoclastic music with a starting point.” Jazz&Tzaz

“Magimc build and deconstruct the balance on the tightrope. Spontaneity doesn’t exclude reflection and it’s this paradoxical approach that excites senses. Having carved in stone, they rub the facets… Astonishing!!” (on the first album) Jean-Michel Van Schouwburg, Improjazz/Orynx-improvandsounds

“The life of this powerful and intense trio continues its course: energy requirements, powerful expression. Often superhuman energy, radical free jazz, sometimes “demolition” of the piano, abandonment of the compositions or themes for a total improvisation. It’s a trio that persists and marks. An exceptional pianist, a tenor saxophonist with a true singularity, a powerful drummer with original ideas, cohesion and sense of improvisation. Their music has gained a wider range compared to their excellent album on Amirani and bluntly convinces. This combination of instruments enables muscle exchanges and variety and impresses the audience when musicians have energy to spare and the talent of these three individualities. It feels reborn through a willingness to improvise, escaping the routine, changing trajectories, alternating the power of spontaneous expression and the reflection on the moment while playing, telling real stories… There are passages in which the listening is deep and palpable … It’s a kind of experience, a real adventure.” (on the second album) Jean-Michel Van Schouwburg, Improjazz/Orynx-improvandsounds

“A remarkable agreement between three musicians at unison, engaged in a meaningful context that eschew clichés and conventions, constantly looking for extreme solutions to generate the hypnotic flow of notes and energy that emanate from their instruments. A complex work, a maze of suggestions that attracts to its center and then refer to the margins, without ever revealing the exit.” Blow Up

“An unconventional if accepted configuration at least since the Swing Era and most dazzlingly used by Cecil Taylor in the 1960s, the saxophone-piano-drums trio provides the proper balance of melody, rhythm and enrichment for a fulfilling recital. Magimc’s Cd offers high-quality variations on the saxophone-piano-drums methodology.” Ken Waxman, Jazz Word

“An exceptional trio.” Sounds Behind The Corner

“The panorama of improvised music in Europe is always very lively and in our own country we have many excellent improvisers. In Emilia, drummer Stefano Giust has encamped his label Setola di Maiale, today an indispensable reference point of the free music, for our nation and beyond. In “Area Sismica” we find him exchanging sparks sounds with the reeds of Marraffa and the piano of Thollem. Six tracks of ferocity, really. The Cd is entirely improvised but everyone can enjoy, though it’s a distressed form, uncanny, sleepless energy. Listen with open ears.” Flavio Massarutto, Alias/Il Manifesto

“The second recording of the trio confirms the trembling that affects the listener in front of a set like this; it makes visible the creative potential that is inherent in the dna of the best musicians. Again, a set of highest level.” (on the second album) Ettore Garzia, Percorsi Musicali

“When two well-known personalities in the world of free and experimental Italian music as Edoardo Marraffa and Stefano Giust met another improviser, an American as Thollem McDonas, it happens that sound is fragmented into many small parts that show chaos as a very precise sound dimension.” Gianmaria Aprile, Sodapop

“A freely improvised live set, very lively, powerful, with quick interactions, and sustained creativity.” François Couture, Monsieur Delire

“MaGiMc sees Marraffa – whose approach condenses stimuli taken from Ayler and Sanders as from Brötzmann and Evan Parker – and Giust – with a jagged drumming reminiscent both Sunny Murray and Milford Graves as well as Paul Lytton and Tony Oxley – join the American pianist Thollem McDonas. The latter plays the role of the balance between the tensions created by colleagues, mainly thanks to the experiences in the avant-garde jazz (with William Parker, Vinny Golia and Nels Cline) as well as in the academic, for example with Pauline Oliveros and Stefano Scodanibbio.” Boddi, Musica Jazz

“Well-known musicians, Marraffa with his macerated notes and painful, and the pianist with the precise accents, while drummer introduces elements of surprise with its unlikely rhythms, music is enriched with unpredictability. The Italian avant-garde has found a surprising trio.” Vittorio Lo Conte, Music Zoom

The background of Magimc, an Italian-American trio, is rich and varied, yet it is difficult to define their music as eclectic, because the factors that come into play in the relationship of composition, the different materials that make up the music, is developed in depth and time, in an original language. Change and transformation are under investigation, in this group: the harmonic relations, the melodic and rhythmic counterpoint always goes in different paths, sometimes evolving slowly, at times subjected to sudden acceleration, while maintaining a certain independence and complexity that allows a multi-dimensional musical journey, the trio of musicians prefer a unity of purpose and cohesion that leads them to an intense and expressive communication. Their first album Polishing the Mirror is published on Amirani Records in 2012, the second is a concert recorded at Area Sismica (Forlì) with the same title, on Setola di Maiale (2015). In 2019 they have done two concerts and one of them will be out as the third album soon.



Patrizia Oliva vocals and electronics
Stefano Giust drums and percussion

“Camusi’s work is an infinite beauty. They may have created a gap between the time and then. Exciting. Camusi possesses a precious gift: the vision.” Sands-zine

“Italian duo Camusi totally burnt the house down and melt the faces and minds of all present at their concert as part of the Hanoi New Music Festival 2013.” Hung Tran, The Onion Cellar

“This duo is the most exciting surprise of 2007. Oliva is in continuous countermelody while Giust’s rhythmic carpet is extraordinary. A thin thread of madness, a music that envelops distant worlds, a modern siren that charms the unsuspecting sailors.” Stefano Pifferi, SentireAscoltare

“The live show is brilliant: the fragmented rhythms of Giust change with the naturalness of a beating wings, it’s free jazz, it’s radical improv, it’s even trip-hop, each piece bears his indelible imprint. No less important is the Madame par excellence, her voice exudes passion and vehemence at every step, it’s a scratch, a caress, a slap and a scream at the same time. All this drags the sound of Camusi into the abyss of the soul, and then up to the sky. A form of improvisation that can appear as a miracle, nothing here is botched or happened by chance. Don’t miss them if sighted in concert.” Succo Acido

“Camusi is an experimental idea of great value.” Ettore Garzia, Percorsi Musicali

“A project among the most challenging of that epiphany of living creature that is Stefano Giust, Camusi is a duo of atypically jazz improvisation. Their music comes from research on noise electronics and voice by Patrizia Oliva and the huge percussion of Giust. The voice is refracted, is eating itself alive. The ability to adapt to an increasingly diverse environment of Giust, shows a completeness, now almost perfect, in being able to draw personal soundscapes. From the depths of the two protagonists, climb back memories of an ancestral beauty, manifested in the ever-changing musical forms.” SentireAscoltare

“One of the most interesting Roman festivals reopens under the sign of genius. That is drummer Stefano Giust, incredibly talented percussionist with a damn negroid groove. Paired with Patrizia Oliva he forms Camusi: a duo with a devastating shot, something that smells like new thing, but wet in the murky waters of European free improvisation. Extended techniques and effects with rigor, they bend all the time and at the verge of break, it hits you in the face. No chance. It’s a triumph of muscles and uvula, an esoteric ping pong, a test of strength, a gym for the mind. The ductility of the duo is a discourse of telepathy, of readiness to carry stimuli from the brain to the arts. A performance of great magnetism and impact.” Luca Collepiccolo, Blow Up

Camusi is based on free improvisation: the esthetic approach of the two musicians interact with each other touching different areas, such as contemporary music, avant-garde jazz, electro-acoustic and other. Voice, electronics and drums have the same role and dialogue following a sort of instrumental democracy. In their duets, at the same time, they develop different architectural layers and perspectives. Camusi has produced one album published by Setola di Maiale in 2007, which received great critical acclaim. However, the duo has decided to not produce albums in addition, thinking to Camusi as a project totally identified with the performative act of the concert and no longer with recording stuff. Camusi has played in Italy, United Kingdom, The Netherlands, France, Spain, Portugal, Belgium, Austria, Croatia and Vietnam.



Paolo Pascolo flute, bass flute, tenor sax and electronics
Stefano Giust drums and percussion

“Haiku is a deceptively simple art form. Consisting of a handful of syllables, three lines and plainly direct language, these poems when successful imply an entire macrocosm in the microcosmic observation of detail. By the same token the improvising duo Haiku—Stefano Giust and Paolo Pascolo—take the smallest ensemble format and leverage it to improvise a rich world of sound color, texture, and line. Giust is credited with drums and cymbals, but in practice he is a multi-instrumentalist in the way he approaches the various components of his set. Each individual drum is treated as a distinct instrument in its own right, with its own unique voice to be sounded alone or in chorus with the other voices. Giust plays for timbre and space rather than for pulse and leaves a good deal of open room for each element of his to resound to its fullest. The recording puts the listener right in the middle of these sounds where he or she can actually feel the vibrations—especially of the bass drum. Pascolo complements Giust’s sound with flute, bass flute, tenor saxophone and electronics. Whether on flute or saxophone Pascolo plays with a liquid fluency. His lines cohere around thematic runs—downward cascades of notes shifted over different implicit keys, elongated tones slowly floating upward—that aggregate over the course of an improvisation into songlike arcs. On bass flute Pascolo unfolds a line with the gravitas appropriate to the instrument; his two contributions on electronics serve as abstract interludes in between acoustic flights.” Daniel Barbiero, Avant Music News

“Pascolo is also appreciable here on the tenor sax, as well as on the flutes (his primary instruments), while Giust is tireless chiseller of percussive polyphonies, which at times are capable of developing fantastic similarities (at a certain point you listen to a sort of mechanic that seems to refer to the repairs of a shoe shop). There is an incredible malleability in this music, a quality that the two musicians manage to communicate by listening thanks to the providence of free improvisation, based on agility, vaulting, on the surprise of the moment.” Ettore Garzia, Percorsi Musicali

Haiku is an electroacoustic duo focused on free improvised music and free jazz, that takes its name from the beloved dog of Paolo Pascolo, a name that just partially characterizes the music of the duo. Their music is well suited as soundtrack for films and especially action painting, as already happen with the artist Arianna Ellero, for the project Pieno e Vuoto (Voll und Leer). They have recorded a Cd in 2019, published on Setola di Maiale.


Michele Anelli double bass, electric bass guitar and electronics
Dominik Gawara electric bass guitar and electronics
Stefano Giust drums and percussion

special guest:
Steve Buchanan alto sax and electronics

“Here, the creative process is purposefully schizophrenic. Anelli and Gavara do a tour de force on the strings, traveling on them in the most egregious ways, either through extension techniques and the use of some live electronics. Giust, however, gives a true demonstration of his talent: I have rarely heard a drummer at the speed of light as he does, and in this project has the opportunity to do; and should not even surprise the creating vivid anguish surreptitious, quality which I discovered in his solo on Ossigeno, in Turin. Under this profile, Stefano is truly unique. Classified is free improvisation which knows no pauses, deliberately atonal and aggressive, but certainly with content: the risk of failure that can occur when you try impassable ways with experimentation, in Classified is totally canceled.” Ettore Garzia, Percorsi Musicali

“Raw meat pulled on the walls and floor. Dense tangle and complex, atonality. An improv trio who lands on a dislocation limit. Dislocated jaws of wonder. Stuff isn’t quiet, that expands when it becomes more treacherous. Heavy urbanization, bruises and broken bones. If you are not afraid of a punch in the nose, this is a good gnashing.” Marco Carcasi, Kathodik

Nervidi is a trio devoted to free improvisation, born in Turin after two concerts in February 2016. Their first album titled Classified is available on Setola di Maiale. In December 2017, in quartet with Steve Buchanan, they have played an incredible concert at Industrie 9 in Lucerne.


Neu Musik Projekt

Guido Mazzon trumpet, fluegelhorn, piano, synthesizer, harmonica, toys, chimes, crackle box and voice
Marta Sacchi Bb clarinet, A clarinet, melodica, chimes, voice, alto baroque flute, toys, piano, laptop and hand bells
Stefano Giust drums and percussion

“At TAI fest [Milan 2016], another nice trio: the Neu Musik Projekt with the authoritative Guido Mazzon, the versatile Marta Sacchi and the sparkling Stefano Giust whose drumming will remain as one of the remarkable things of creative music of these years.” Michele Coralli

“Mazzon on trumpet has a confident voice and an agile phrasing, searching for new sounds and moods with an expert use of mutes. Sacchi’s clarinet perfectly complements him with a beautifully controlled tone and elegant melodic inventions, while Giust is constantly experimenting with new sounds, suggesting rhythm more than stating it, or negating it altogether. The album explores different musical styles and brilliantly blends them into a cohesive whole, from the peculiar mix of contemporary composition, spoken word interludes and melodic inventions. The range of styles and moods explored in this record is surprising, going well beyond the jazz or improv labels, revealing a complex, sometimes puzzling but always fascinating musical world, explored with humor and passion.” Nicola Negri, Free Jazz Blog

“Here is an important Cd that marks the return to the disc of trumpeter Guido Mazzon, historic leader of the musical innovators who has lost none of its enamel, rather he has added a lot. The companions are Marta Sacchi and Stefano Giust. The consent of educated listeners will not fail.” Franco Fayenz

“Neu Musik Projekt relates the attempt to reach a metaphysical dimension, through a chiming sound within emulations, a preparatory action to the understanding of “other ways” of listening: the matter of the hearing, the complexity of silence, the “relationship” between improvisers, the visual grandeur of the score are all elements that hold hostage a thick amount of relationships, with resonance, free jazz, melodic sophistication, the literary reading, the abstruse technique.” Ettore Garzia, Percorsi Musicali

Formed in 2015, this project is focused on some aspects of contemporary music and free improvisation, with words and written music scores by Guido Mazzon, historical exponent of the first Italian avant-garde, founder of the Gruppo Contemporaneo (1969) and Italian Instabile Orchestra. He has played among others with the gotha of the avant-garde jazz as Anthony Braxton, Cecil Taylor, Andrew Cyrille, Lester Bowie, Andrea Centazzo and Alexander von Schlippenbach’s Globe Unity. Marta Sacchi is first clarinet at the G. Nicolini Conservatorio Orchestra (2003-2005), first clarinet at the Soncino Orchestra (2000-2003) and first clarinet at the Orchestra Camerata de Bardi (2002-2003). She has also a master in chamber music and in music composition as well as a degree in music therapy. She lives in Pavia and London. In December 2015 they have published a studio recordings album on Setola di Maiale.


Daniele Pagliero sampler, machines and electronics
Stefano Giust electronic percussion pads

“Radical electronic, cold and dyslexic, obsessive, a sputter of signals and evolving fragments. The game tends to avoid easy fascinations. A digitally slipping, inexorably, towards the primitive human abyss. Autism and twisted on itself, yet lively and stimulating. A sound that demonstrates a past and leaves a mark at the instant of the present. Then it becomes foreboding future.” Marco Carcasi, Sands-zine

“Mind blowing, Ipersensity live set by my mate Daniele Pagliero and Stefano Giust last night (April 7th, 2019) at Sublime Grove #8, Unione Culturale Franco Antonicelli in Turin: conceptually, musically and visually stunning. I was truly impressed. Kudos to them.” Fabrizio Modonese Palumbo

Ipersensity is a duo which plays electronic improvised music, greatly influenced by minimal techno aesthetics and aleatory music, since 2001. The work on their albums and performances is organized as follows: Daniele sends sounds — via midi connection — to eight or more electronic pads, which are played in real-time by me, with drum sticks (or also with pedals). In this way, the choices of each musician is directly reflected on the other musician’s work. Neither know where the music will go, because it goes its own way, regardless of the performers 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 an improvised percussive work. Sound development and rhythmic movement, two elements usually taken care of by a single musician, are the inextricable result of the two musicians. Daniele is therefore responsible for the sound choice, while my role is to play and compose the music in real time, based on constantly changing material. There are two studio albums, both on Setola di Maiale and the third will be out during 2019.


TAI No-Orchestra

Roberto Masotti visual, live video and improWYSIWYG
Gianluca Lo Presti visual, live video and improWYSIWYG
Pat Moonchy voice, persephone, zengarten, taimachine, waterphone and mobius
Patrizia Oliva voice, electronics, objects, tapes
Giancarlo Locatelli Bb clarinet, bass clarinet, alto clarinet, bells and objects
Mario Arcari oboe, soprano sax, clarinet and shanaij
Massimo Falascone alto, baritone and sopranino saxophones, crackle box, tugombuto, iPad and live electronics
Claudio Lugo curved soprano sax, prepared alto sax and objects
Riccardo Luppi flute, soprano and tenor saxophones
Edoardo Ricci alto, soprano and sopranino saxophones, bass clarinet, circuit bending, objects and live electronics
Stefano Bartolini tenor and baritone saxophones, objects and live electronics
Guido Mazzon trumpet, cornet and pocket trumpet
Luca Calabrese trumpet and live electronics
Alberto Mandarini trumpet and flugelhorn
Matteo Pennese cornet, pocket trumpet and live electronics
Martin Mayes french horn, alphorn and conch
Angelo Contini trombone, didgeridoo and objects
Alberto Braida piano
Alberto Tacchini piano and live electronics
Claudio Lodati guitar and live electronics
Alessandra Novaga guitars and objects
Eugenio Sanna amplified guitar and objects
Paolo Botti viola, stroh violin, banjo, bowed psaltery, er-hu, cornet and dobro
Walter Prati cello
Roberto Del Piano electric bass guitar
Silvia Bolognesi double bass
Filippo Monico drums and percussion
Stefano Giust drums and percussion

special guests:
Alessandro Bosetti voice and electronics
Carlo Prevosti documentary filmmaker (Insolito Cinema)
Fabio Volpi visual, live video / AU+ and synthesizer
Rosarita Crisafi visual, live video / AU+ and saxophones
Antonello Cassinotti voice
Fabio Mina flutes
Eloisa Manera violin
Roberto Zorzi electric guitar
Annalisa Pascai Saiu voice and objects
Michele Anelli double bass and electric bass guitar
Andrea Grossi double bass
Bob Marsh violin, cello, voice, electronics and sonic suits
Matthias Boss violin
Lino Liguori drums
Marcello Magliocchi drums and percussion
Ferdinando Faraò drums and percussions
Cristiano Calcagnile drums and percussions
Andrea Centazzo drums and percussion

“Fantastic final evening of the extraordinary improv festival called TAI Fest # 2. It begins with the trio of bassist Roberto Del Piano with guitarist Claudio Lodati and hornist Martin Mayes. A hole of sounds invigorated by the effects of Lodati, the acrobatic adventures of Roberto and the harmonic games of Mayes. After a short break it’s the turn of a quartet led by the excellent drummer Stefano Giust, one of the best around, with the great trombonist Angelo Contini, the young double bass player Andrea Grossi and the great Mario Arcari on sax and oboe: it seems a weird magical music ball that bounces between these four extraordinary improvisers, with lame rhythms, advanced trombone’s sounds, precise solos on double bass with bow and some sort of classical melodies from oboe. After a quick stage change, duo Patrizia Oliva (voice and electronics) and Alessandra Novaga (prepared guitar) is ready for a mystical and cathartic moment of great suggestion. The final is creepy: the saxophones of Massimo Falascone and the voice of Pat Moonchy start a mantra with no time limits nor space, accompanied by videos of the collective AU and improWYSIWIG, conducted by Gianluca Lo Presti and historic photographer of ECM, Roberto Masotti. When the music dies, after a short bis, the audience burst into a thunderous applause and I realize that the entire room is paralyzed by so much magic and so much charm…” Fabrizio Testa, Blow Up

Terra Australis Incognita. The orchestra is founded on an idea by Massimo Falascone, Roberto Del Piano and Roberto Masotti. Not really an orchestra, but an aggregate of musicians available under this brand for concerts and festivals, in various combinations from time to time and which also finds its strength in the diversity of this extraordinary crossroads of people and talents. On first line up was also Roberto Gatti aka Robin Neko (crackle box, texts) sadly passed away in March 2017. TAI is multiplicity of thought and poetry, dispersion of visuality, creativity and commitment, with a strong visual work, via projections, lights and moves. The music is mainly on the ground of improvisation, although the writing may be part of the path.


A solo play

Stefano Giust drums, cymbals, percussion

“Auspiciously, Giust demonstrates that a stimulating drum feature can exist within the parameters of wholly improvised music. Combining single rim pings, drum top reverb and ratcheting cymbal strokes, the clatters and pops could burnish any contemporary jazz session.” Ken Waxman, Jazz Word, Music Works

“Giust is in practice a multi-instrumentalist in the way he approaches the various components of his set. Each individual drum is treated as a distinct instrument in its own right, with its own unique voice to be sounded alone or in chorus with the other voices. Giust plays for timbre and space rather than for pulse and leaves a good deal of open room for each element of his to resound to its fullest.” Daniel Barbiero, Avant Music News

Solo performance is a very interesting musical practice for a musician, in particular for an improviser. There aren’t plurality and ‘friction’ of the ensemble and it can be a strong sonic and visual experience for the spectator. My first interest towards this practice, was began around the early 90s and in ’94, a double album of mine has an exhaustive title: “Ripercuotere”. Later, for many years, my involvement on solo performance has proved secondary to my interest in ensemble music, from duo upward, nevertheless I never stopped to play solo live. As Derek Bailey said, there aren’t surprises and alchemies in solo improvisation as it happens between multiple players, it is true, because to emerge is the mere personal musical aesthetics, without interference and additions, the resulting music has a higher degree of control. In the solo performance of a drummer improviser, fundamental are the experiences in the field of percussion music in the Western classical music of the 20th century – on all Varèse, Scelsi, Stockhausen, Xenakis, Cage, Feldman and Bartók. And so are, of course, the experiences in the more adventurous jazz, with drummers like, in no particular order, Sunny Murray, Andrew Cyrille, Ed Blackwell, Charles Moffett, Barry Altschul, Jerome Cooper, Milford Graves, Max Roach, Jo Jones, Rashied Ali, J.C. Moses, Dennis Charles, Elvin Jones, Dannie Richmond, Tony Williams, Marco Cristofolini, Tony Rusconi, Toshi Tsuchitori, Shoji Hano and, more experimental, Paul Lovens, Roger Turner, David Moss, Han Bennink, Paul Lytton, Max Neuhaus, Vladimir Tarasov, Tony Oxley, Sven-Åke Johansson, Günter Sommer, Eddie Prévost, John Stevens, Fritz Hauser, Pierre Favre, Sabu Toyozumi, Gerry Hemingway, Andrea Centazzo, Marcello Magliocchi, Filippo Monico. Several of these musicians were the first, also for biodata reasons, to have internalized, personalized and even expanded, the radical exploration of percussion, already pursued in many of the twentieth century scores (the first piece for solo percussion is Ionisation by Edgard Varèse, written between 1929 and 1931). The research of the composers gradually becomes more and more complex, even divergent and it obviously concerns all aspects: timbre, rhythmic possibilities, gestures and the development of extended techniques. The drum kit can be musically expanded, it can be prepared (extemporaneously or even permanent), as well as John Cage has taught us with his prepared piano, an idea obviously adaptable to any musical instrument. The drums change their characteristics when cymbals or objects are on the skin and not less, the sound of these cymbals becames different, for the fact that they are leaning against the drum. The first composer who has written on the score to strike a cymbal leaning against a drum was Giacinto Scelsi, who has greatly expanded the playing techniques and the timbre combinations of percussions and cymbals; also Karlheinz Stockhausen in particular for Mikrophonie 1, where a large tamtam is urged with a great variety of implements of glass, cardboard, metal, wood, rubber and plastic, plus two microphones. The composers – and here we must add Thelonious Monk, Charles Mingus, Ornette Coleman, Cecil Taylor and Anthony Braxton – have opened new ways, new conceptions of what can be done with the percussion and rhythm, and these ideas have positively enriched the contemporary drumming which is expressed, in my context, with the practice of improvisation. The instrument has been freed from being an accompanying instrument, relegated to pure rhythmic section. Time has been freed and as Paul Bley said, as well as the heart rate is not constant, even in the music, time must be able to do the same, free to follow the flow wherever it goes and free to express it; as Cecil Taylor insisted “the idea of drums-metronome is dead and buried.” The drum kit – with its drums and cymbals and the personal selection of sticks and mallets, small metal instruments and other percussive objects, that make a sort of prepared drum kit – is first a source of sound, vibration, it is itself an orchestra; timbres and intensities are combined together and they produce noises, rhythms, polyrhythms, sound, with different dynamics, volumes and masses: the musician’s responsibility lies in being able to manage all this and with these materials telling a coherent musical story. These are the coordinates on which I am projected and in which I move. I also want to add that any influence enriches as experience, so also youthful lusts into music serve to outline some nuances that then, for a musician, will prove to be ‘useful’ in years to come. In my case, when I was a child, I was impressed by John Bonham and Ian Paice, Kraftwerk’s drum machines, then drummers of post punk, hard-core, and then Chris Cutler, Charles Hayward, the rhythms of Autechre, Aphex Twin, etc. Another interesting world is the non-Western music, although I can’t call myself an expert. I love African music (in particularly I like Apala music of Nigeria), Gamelan, the Gondang Sabangunan of North Sumatra, from north to south the music of India (how not to mention Zakir Hussain), the Vietnamese Ca Tru. Percussion music seems to be an infinite matter, and really it is, it belongs and accompanies our long history of human beings, it moves something inside us, while skins and metallophones vibrate, we are vibrating with them. It’s physics and metaphysics. At last, music depends on the circumstances of life in that moment, on the acoustics of the place, on the energies that are there, and it fits because the dynamic can be very very loud (fff) or very very soft (ppp) and move through the shades of intensity. It is the path, the search, the feeling and the instinct to move the heart of every sound.

Recent collaborations

Pieno e Vuoto (Voll und Leer)

Arianna Ellero action painting

Paolo Pascolo flute, bass flute, tenor sax and electronics
Stefano Giust drums and percussion

The use of natural pigments and raw colors is combined with a musical research process that includes the natural sound of wind instruments, percussion and electronics. On this occasion, focus of the work is the transition from ancient elements such as pure color, the breath of the reeds and the sound of skins and cymbals, for a transformation and actualization of the material during real time performance. The proposal is a live performance in which the corresponding expressive languages – music and action painting – are brought together in a creative fusion between the arts, without due form and without constraint of reason. As John Cage recalled, the various expressive forms of each art have their own life, not seen as reciprocal subordination but rather as independent manifestations which, thanks to aleatory processes, can be related to each other directly by the public in a stimulating and creative communion.

Spiritual Unity

Fred Casadei double bass

Marco Colonna bass clarinet
Stefano Giust drums and percussion

“As the title suggests [Spiritual Unity], the essence of intimate communion is not declared as only expressive, but as artistic sensitivity among those who participate. The individuality is transformed into collectivity, in sharp contrast with the egocentrism and the protagonism that dominate in many works today. The recording confirms an immediate agreement, the improvisation unfolds in a fluid and evocative interplay.” Monica Carretta, Musica Jazz

This is an open project led by Fred Casadei, active since 2016. We did the first tour as a trio with Riccardo Marogna (bass clarinet, tenor sax) and as a quartet with Paolo Pascolo (flute, alto sax) and Gabriele Cancelli (trumpet). The second tour involved Marco Colonna, again as a trio. Furthermore, there are other musicians that Fred involves, mainly in the Roman area. The ensemble plays original compositions that have ample possibilities for collective and soloist improvisation. In 2017 there are three coordinated albums, published on Setola di Maiale, with the same compositions played with three different ensembles: Love (trio with Marco Colonna and me), Sky (duo with Francesco Manfrè on cello) and Sun (duo with Luca Venitucci on accordeon). The concert of the trio with Colonna and me, recorded in January 2018 at Area Sismica (Forlì), was broadcast in full by Rai Radio Tre / Radio3 Suite.


Alessandra Laganà voice
Tommaso Marletta electric guitar and synth
Dominik Gawara electric bass guitar
Gianni Gebbia soprano sax
Kei Yoshida trumpet
Fabrizio Modonese Palumbo electric guitar and viola
Paul Beauchamp musical saw
Patrizia Oliva vocals, electronics and chinese flute
Igor Jovanovic synthchoir
Boris Blace trombone
Gabrio Bevilacqua double bass
Stefano Giorgi visual art
Andrés Arce Maldonado film director
Stefano Giust drums and percussion

Noma is a project led by Alessandra Laganà and Tommaso Marletta. It borns from a biographical story of Alessandra and tells of her battle against cancer, aided by art and music. That has produced a Cd, a forthcoming book and an autobiographical documentary film, directed by Andrés Arce Maldonado. The movie is the winner of the recognition award for the humanitarian value of the work at the Accolade Global Film Competition 2017 (California, USA). The music of the album are songs born, musically, from experimental processes, characterised by the singing of Alessandra.


blucinQue Company ‘Il Volo/La Vertigine di Giulietta’

Caterina Mochi Sismondi direction, choreography
Francesca Netto, Caterina Mochi Sismondi dramaturgical adaptation
Jonnathan Angel Rodriguez, Elisa Mutto, Rio Ballerani, Andrea Paola Martínez, Lukas Vaca Medina, Federico Ceragioli, Camilo Jimenez acrobats, dancers
Francesca Netto, Marta Rizzi actors
Patrizia Oliva, Stefano Giust music
Max Vesco, with the supervision of Lucio Diana lights
Monica Oliviero audio
blucinQue / Fondazione Cirko Vertigo production

“Vertigine di Giulietta, the performance between theater and circus is a success. Open scene applause for the blucinQue company at the Teatro Comunale in Adria. For many a discovery, an impact with something new. Maybe it took a few moments to get into an unusual atmosphere, both bodily and ethereal, physical and dreamlike, but then the applause began in open scene (as the Italians say), underlining the final applause of a successful show.” Cristiano Draghi, Rovigo in Diretta

Shakespeare’s Romeo and Juliet is the occasion in this show to investigate the relationship and the loss of senses, bringing the work into a dream dimension. Vertigine is understood here as a loving one: through the circus techniques, and with continuous research on the issues of the dispersion, the disequilibrium and also of conflict and attraction, the setting is based on original dramaturgy. In March 2016, this study was restart – a work already undertaken by the company with La Vertigine di Giulietta/Il Balcone for the In Situ’s network in 2014 – renewing the attention on musical elements in relation to the body and the circus tools: the sound remains an integral part of the research work, also featuring the latest creations of the company, such as VertigoSuite# (NeXt 2015 prize, debut at the Piccolo Teatro di Milano) and We273 (work dedicated to John Cage – for which I did as a tutor about Cage’s life and work for the company, at Cascade in Bourg St Andéol, France – selected for the AvignonOff Festival and which debuted at Civitanova Danza), as well as the mix of theater and circus. Il Volo di Giulietta presents, for the first time, the relationship between the parties and the characters through a journey into dream: the use of sound elements and circus techniques are an integral part of choreography, the electronic music by Patrizia Oliva, the adaptations from the famous ballet of 1935 composed by Sergej Prokof’ev and text as a sound score, blend with Stefano Giust’s drums and percussion instruments, featuring voices and performers’ movement, bringing in technical scenes with tools like circle, fabrics, acrobatics and dance.

Pierpaolo Capovilla ‘Obtorto Collo Tour’

Pierpaolo Capovilla voice and electric bass guitar
Guglielmo Pagnozzi alto sax, clarinet and keyboard
Kole Laca keyboards and electronics
Alberto N. A. Turra electric guitar
Francesco Lobina electric bass guitar
Stefano Giust drums and percussion

“Obtorto Collo… The contribution of producer Taketo Gohara and twenty wonderful musicians who came to play these songs was crucial. Without them, this record would never have seen the light. It is certainly my first solo work, but it was done and designed by a group of musicians, from a “collective brain”. And I would say the same thing on the band with whom I play on stage this repertoire. Weeks of rehearsals to re-arrange the songs, without betraying the spirit. A tiring chore, but compelling. Alberto Turra brought his guitar talent, developing it with an elegance from another era, Stefano Giust, which is from the avant-garde, plays the drums like a ghost, he touches, caresses and slaps as no one in Italy. Kole Laca and Checco Lobina, respectively keyboards and bass, are musicians of great experience and considerable thickness. Finally Guglielmo Pagnozzi on alto sax… What arranger! And what a talent! Forgive me this hagiography… I am beginning to let me kidnap from enthusiasm too!” Pierpaolo Capovilla interviewed on Urban Week

“Complexity and elegance at Villa Ada (Rome). Pierpaolo Capovilla surprises his audience hooked by music and words, shaken by a great band. All musicians play a key role in the reconstruction of the impromptu and difficult atmospheres of “Obtorto Collo”, it’s thank to them that improvisation is without uncertainty. Capovilla satisfies the audience, invested with an emotional charge that is hard to forget.”

“This live act is the result of one of the most sincere and intriguing songwriters of the Italian music scene. Turn off the spotlight, on stage (of Villa Ada) begins to take shape a sextet of musicians who would soon give birth to Obtorto Collo. Fifteen interpretations, the artist is generous and makes notes that touch the heart and leave a lasting impression. Intimate, sweet and painful. The musical show is valuable and the stage presence of Capovilla captures the audience. For him, every song becomes a literary device. Capovilla puts in music each of us present in the parterre. In the final, a masterful execution of Lilicka.” Qube Music

“Great evening last night, at Circolo Magnolia Segrate. The sharp and intense lyrics such as the music played by an excellent band, make the audience completely engrossed and captivated by the live show and the interpretation that Capovilla made with the words of his songs. Throughout the live, he talk about sensitive issues, such as violence against women, dead by State’s hands in “82 hours”, which is the story of Francesco Mastrogiovanni, who died after 82 hours of mistreatment (TSO) at a psychiatric clinic.” Dafen Project

“With a truly exceptional band, the concert immediately materializes into an intimate space and sometimes suffocating such as the album, with hallucinated atmospheres enriched by precise timbres and finish. The band has the task of shaping the songs, to build lightning solos and pull the thread on which Capovilla can move, without fall, free to give vent to all his inspiration and initiative.” Outsiders

“The artists on stage embody a complex disharmony, in the physicality of their bodies, in the expert gestural movements from which the sounds borns, strong and precise, lash the air, filling it with an impassibile tension.” OnDetour

“An hour and a half of music and words that has gathered around him an audience that is rapt and attentive to the interpretation of the artist, in an intense atmosphere made so well thanks to the great musicians beside him. A show engaging and touching, that truly deserves to be lived.” Musica Rock

“Pierpaolo Capovilla won. Once again. I witnessed to two dates of the tour Obtorto Collo. There is an elegance that surprises. Capovilla is a born actor: he’s good, he knows how to move, with that piercing gaze and his voice a bit husky. And if you like the concert, it’s not only about Pierpaolo, but also because behind him there are a great professionals that make everything wonderful. The audience responds at the best, very involved.” Le Ringhiere

“Go to the next concert and enjoy it all. Yes, because the energy that comes from the stage is impressive; Pierpaolo sings, recites, he says, he is passionate. And the audience with him. It raises an ovation, of course also directed to the musicians who accompany him, a true force.” Outune

Pierpaolo Capovilla is well known as founder and singer of Il Teatro Degli Orrori and One Dimensional Man. He is also active on musical readings (Pier Paolo Pasolini, Vladimir Majakovskij and others). In 2012 he was named ‘Man of the Year’ by the famous Italian magazine L’Espresso. This group is formed by great musicians already involved in many projects ranging through jazz, free jazz, rock, afrobeat, electronic, experimental music, Klezmer music, New Orleans blues, contemporary music, free improvised music, soundtracks for cinema and theater. The band plays in concert the music – arranged for live shows – from his wonderful debut album Obtorto Collo, co-written with composer Paki Zennaro (Carolyn Carlson) and produced by Taketo Gohara; published on May 27th 2014 by Universal. Tour production by BPM Concerti. Liquid light show: Max Klein; audio: Giulio Ragno Favero, Elvis Graffi, Simo Sant.

Pierpaolo Capovilla ‘Interiezioni’

Pierpaolo Capovilla direction, narrating voice, whispers and screams
Paki Zennaro live electronics, guitar, synth and samplers
Guglielmo Pagnozzi alto sax, clarinet, live electronics and percussions
Angelo Urso double bass
Stefano Giust drums and percussion

Short selection from the official presentation: “Interjections – twofold poetics robbery and flight screaming from the daily horrors. From an idea of ​​Pierpaolo Capovilla, voice of the well known band Il Teatro Degli Orrori and Paki Zennaro, experimental composer and historical collaborator of Carolyn Carlson was born “Interiezioni”, a meta-show theatrical poised between poetry and musical experimentation. The texts of representation were chosen from Antonin Artaud and Carmelo Bene. Accompanied by three musicians of great talent such as Stefano Giust, avant-garde jazz drummer internationally renowned, Guglielmo Pagnozzi, saxophonist from many artistic interests, afro-beat, jazz, avant-garde, rock, Angelo Urso, virtuoso of the double bass and of course Paki Zennaro (here with his live elecrtonics, but also on guitar and samples), Pierpaolo Capovilla will offer an exciting and disturbing reading of the verses of Artaud and Bene. With video installation by Fania Palma and Enea Garrapa. An ambitious, risky and a bit crazy project, but for this very close to the poetic spirit that animated the two great protagonists of twentieth-century theater. Crossing the direction painful and angry by Antonin Artaud with the irreverent and desecrating irony of Carmelo Bene, “Interiezioni” aims to rediscover the two authors in a new light, contemporary and experimental, arbitrary in form but intimately consistent with the poetic content. An event in the sign of the great poetry of the twentieth century, revised in the spirit of modernity.”


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