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atjo usouls

the latest experience: the angiolo tarocchi jazz orchestra (atjo)

back to the nineties: the jazz chromatic ensemble

An amazing tune written and arranged by a very close friend, one of the most prolific italian jazz musicians who had been a former student of mine about 25 years ago. I'm very proud on his work.
The solos are by Julius Loglio on tenor sax, Marcello Noia on alto sax and Beppe Caruso on trombone.
The complete track had been released in 1995 in the CD "Skydreams" played by the Jazz Chromatic Ensemble.

The score of this lovely chart of Gil Evans was unavailable in the Italy music shops in the late eighties, so how could I play it with my band ? Simply by scoring the records by ear, adjusting the voices for the JCE (ATB, 2tpts, 2 tbns, tuba and RS) and, why not?, putting some new material. That's what I did!

a long-standing friendship and collaboration: conducting the Daniele Cavallanti's milano contemporary art ensemble

music for my favourite instrument: the double bass

Enrico Fagone, Tim Cobb and Marco Panascia playing in NYC my arrangement of Oblivion (version for two soloists)

Enrico Fagone, Claudio Schiavi and myself (version for one soloist)

adagio e ciaccona

This music was composed in 2013 for the Jeff Bradetich Bass Campus in Mittenwald and is dedicated to Andreas Bennetzen. This is a MIDI demo edition without dynamics.

ex hippocratica civitate

Three symphonic sketches inspired to the salerno medical school with themes of the medieval mediterranean tradition - premiered in Florence (italy), 2008

"Ex Hippocratica Civitate" is a tribute to the Medical School of Salerno, an important medical school that was already active from the medieval times to Napoleon. This conferred the title of "Città Ippocratica" to Salerno. It's also a short journey through the traditional medieval music seen through a contemporary eye. This music appears in its entire modernity and thus underlines the capacity to have been a source of inspiration of a good wealth of European-Mediterranean music, both educated and popular for centuries. The composition follows the thread of three imaginary episodes. The first one is the encounter between the medical cultures of the time. After a short introduction of vaguely byzantine taste, the drum accompanies this meeting while the melody gains accents and rhythms form the neighboring Orient in order to emphasize the contribution of these cultures to the medical knowledge of the time. The protagonists of the second episode are the afflicted, where one can imagine them reaching out to the Salerno doctors in order to be treated. The motif is inspired by a Cantiga, a medieval lyrical composition in the Galician-Portuguese language. After the exposure and a brief bridge, the melody is proposed in choral counterpoint marked by a walk of several drums to evoke sacred processions of Iberian-Mediterranean tradition. In the third episode the sick people, once healed, are back to leading their "normal" life as usual and dance the Saltarello, a traditional dance which is accompanied by pizzicati of the strings and is reminiscent of Jewish kletzmer music. After the exposition, the song is enhanced by grotesque and dreamlike features that culminate in a upturned revival of the main melody. The latter leads to the end of the dance.

  1. The Doctors are meeting in Salerno (Prologo e Marcia) - "The legend tells about an encounter between three masters, the Greek Pontus, the Jew Helinus, the Arab Adela, and a wounded Latin, Salernus…"

  2. The procession of the sicks (Cantiga) - "These came from everywhere in Salerno and brought with them their suffering, their idols and their hope"

  3. A newfound health (Saltarello) - "Healing is the spell that for a while deletes the memory of having been sick"

my symphonic corner: the world doctors orchestra