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. It is very difficult to keep alive projects that are uncompromising and, for this reason, out from the music biz establishment, but I think the duty of every artist should be to pursue with determination and devotion his vocation, doesn’t matter if it’s popular or unpopular. Anyway, recent projects are available for festivals and concerts.

 
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 on Setola di Maiale a studio recordings album.

 
 
Transition

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.

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Magimc

Edoardo Marraffa tenor sax and sopranino sax
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 Area Sismica, on Setola di Maiale (2015).

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Camusi

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.

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Aghe Clope

Paolo Pascolo alto sax and flute
Andrea Gulli laptop and electronics
Giorgio Pacorig piano, korg ms-20 and rhodes
Stefano Giust drums and percussion

“Aghe Clope is a homogeneous and original group. The inventiveness of Stefano Giust creates scraping, demolition or rebound, a plot of details, a percussive activity that integrates every sound. The four musicians are heard each other admirably, encouraging diversity/ discontinuity of intentions and strategies. A series of playful processes and a clean mind for these Aghe Clope that seems that I’ve not heard anything like it. Many sensitive listeners will be interested and we bet that you will be won over by the cohesion of their freely improvised approach. Because it is the group’s strong point!” (on the second album) Jean-Michel Van Schouwburg, Orynx-improvandsounds

“Among the Italian quartets that lead to a desirable concept of true renewal of jazz.” (on the second album) Ettore Garzia, Percorsi Musicali

“Unconventional music that flows following the free flow of thoughts, embracing a wide range of references, ranging from radical improvisation to electronic music, from minimal noise to progressive rock music, from contemporary references to tribal. The characteristic element is the successful combination of acoustic and electric sounds, of solids and voids, of furious improvisations and moments of stasis that run on a thin wire tension. Sometimes tele-transported into the future and other times involved in a coven jarring, the listener will face a trip that will not leave indifferent.” Vincenzo Roggero, All About Jazz

“Nocturnal atmosphere. This is a super line up, dense, never magmatic, very classy and full of fascinating atmosphere.” Kathodik

“This disc on Setola di Maiale label, showcases a notable instances. Highly accomplished, unabashed free music, the Italians players on this disc can hold their own in any situations.” Ken Waxman, Jazz Word

Aghe Clope is a free improvisation ensemble, with lots of influence, from electronic and contemporary music to free jazz and psychedelia. The result is an unstable, vibrating and vulnerable material. Often they collaborate on stage with the Hybrida Light Show, a combo of visual artists that uses the tag-tool system. They have two albums published on Setola di Maiale, as Aghe Clope Ensemble in 2007 (with guests Nicola Guazzaloca on piano and synth, Chris Iemulo on amplified guitar and Gianluca Varone on tenor sax and toys) and “Blind Mind”, 2015, co-produced with Dobialabel.

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Gamra

Paed Conca clarinet, electric bass, objects and electronics
Patrizia Oliva electronics and voice
Eugenio Sanna amplified guitar and objects
Stefano Giust drums and percussion

“This excellent quartet, caught during a striking live performance, works perfectly, allowing the creation of a living music in constant movement and change. An important document, fascinating in its development.” Stefano Arcangeli, essayist, music journalist (thirty years with Musica Jazz), founder and president of Pisa Jazz and CRIM

“A good point to each musician and kudos for this unusual quartet.” Jean-Michel Van Schouwburg, Improjazz/Orynx-improvandsounds

“Magnetic improv. A framework that know how create anxiety and the wait. Vital music.” Antonio Ciarletta, Blow Up

“Gamra is looking for a living sound articulation with several connections with contemporary music and in this sense it’s all provable in terms of the results. It travels into unthinkable sound worlds, led by the absolute expertise of the four musicians.” Ettore Garzia, Percorsi Musicali

Gamra is an Italian-Swiss ensemble. They play free improvisation, where decades of experiences of the musicians create an unique and contemporary soundscape. The quartet have published the first album on Setola di Maiale in 2011, recorded live at the Abbey San Zeno in Pisa – which was one of the best known places in Italy, since ’70, for concerts of free improvised music -. Again for Setola di Maiale, in 2015 they’ve released “Pow”, recorded at Chilli Jazz Festival (Austria).

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Nervidi

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

“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 trio devoted to free improvisation, born in Turin after two concerts in February 2016. Their album titled Classified is available on Setola di Maiale.

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Mahakaruna Quartet

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

The group was set up by the pianist and 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.

 
 
The Five Roosters

Martin Mayes french horn
Mario Arcari curved soprano sax
Massimo Falascone alto sax, baritone sax and iPad
Roberto Del Piano electric bass guitar
Stefano Giust drums and percussion

“Five top Italian-based improvisers. While it might be difficult to convey exactly what goes on during their album, different sequences adhere enough so that the final product is as rousing as the sounds made by the band members feathered namesakes.” Ken Waxman, Jazz Word

“No theme, no solos, no accompaniment, no rhythm section. Instead of playing all together at the expense of readability, they alternate on half measures, on points and curves. Eminently collective, it’s a kaleidoscopic puzzle. In the first place the drummer, an organic crackling that accelerates and slows down around a pulsation that is implicit and rarely emphasized. It seems as if he didn’t care the rest. Yet, you can clearly hear how its tools and techniques hold up the building. I’ve really a great pleasure to listen to these crazy Five Roosters. An original disc where nesting playful and creativity takes the precedence over individual achievement.” Jean-Michel Van Schouwburg, Improjazz/Orynx-improvandsounds

“Everything takes place in the most logical and beneficial practice of the improvisation, full of vitality and inventiveness.” Ettore Garzia, Percorsi Musicali

“We start from the line-up, to rediscover the scene of free jazz in Milan in the 70′s. The brilliant electric bassist Roberto Del Piano had a past in the Gruppo Contemporaneo lead by Guido Mazzon, as well as in the Trio Idea of Liguori and now he is currently engaged in Three Uncles, with Magliocchi and Matthias Boss. Mario Arcari, one who did live in their own history De André as Steve Lacy; Martin Mayes, already in the Company by Derek Bailey as in the Italian Instabile Orchestra; Massimo Falascone, also with Gruppo Contemporaneo and dozens of other subsequent projects; and finally Stefano Giust, the youngest, but certainly propeller of the revitalization of the free improvised scene in Italy. A power quintet that seems they play together from many time: unplanned guidelines but perfect interplay that manages to emerge with great clarity (and creativity) at the every moment in which things happen. Music is enhanced a great physicality, just listen to the really brilliant rhythm section that enhances the enviable interplay of bass and drums, to convince yourself that set of improvisations as these, leave a mark among the many projects that are being produced today, in the field of free improvisation.” Michele Coralli, Blow Up

The band was set up by bassist Roberto Del Piano. The music of the quintet is a sea of sounds, a river that flows, sometimes, into unknown nocturnal lakes. They made one albums on Setola di Maiale in 2013.

 
 
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

Collaborators:
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 doublebass 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 doublebass 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.

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A solo play

Stefano Giust drums, cymbals, objects, percussion

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 even 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 and contemporary music of the twentieth 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, Jo Jones, Rashied Ali, J.C. Moses, Dennis Charles, Elvin Jones, Dannie Richmond, 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, 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 machine, then drummers of post punk, hard-core, and then Chris Cutler, Charles Hayward, Aphex Twin, Autechre, 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, 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, on the acoustics of the place, on the energies that are there, and it fits, dynamic can be very very loud (fff) or very very soft (ppp) and move through the shades of intensity. But in the end, the heart comes before anything else.

 
 
Fred Casadei Spiritual Unity

Fred Casadei double bass

Marco Colonna bass clarinet
Stefano Giust drums and percussion

This is an open combo led by Fred Casadei, active since 2016, when 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); furthermore there are also other musicians that Fred involves, mainly in the Roman area. The ensemble plays original compositions that have ample possibilities for collective and soloist improvisation.

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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 public, invested with an emotional charge that is hard to forget.” Zai.net

“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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