Archivio mensile:Marzo 2009

Rings Of Fire – Jazz It

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Il sodalizio tra Cavallanti e Tononi (con o senza l’etichetta nexus) ? uno dei più durevoli del jazz italiano, dato che dura ormai da una trentina d’anni. Quest’ultimo lavoro conferma ancora una volta le linee essenziiali della loro poetica: il riferimento all’avanguardia storica degli anni ’70, la forte enfasi sulla dimensione collettiva e sull’elemento ritmico, i progetti a largo respiro.

In questo caso si tratta di due suite: “faces”, composta da Daniele Cavallanti e dedicata a diversi registi , e ”Phases – 3 2 3″ , a firma di Tiziano Tononi. La formazione ? un ottetto a parti raddoppiate: due sassofoni (Cavallanti e Succi), due percussionisti (Tononi e Pacho), due strumenti ad arco (il violino di Scheinman e la viota di Parrini), due a Corde pizzicate (il basso e contrabbasso di Maier e la Chitarra di Mariani).

Insolita lineup, Suggerita dal produttore della Long Song Fabrizio Perissinotto, consente di ottenere da una parte uno spessore sonoro quasi orchestrale, dall’altra impasti timbrici inediti, soprattutto nelle molteplici Combinazioni di ance e corde.Il sodalizio tra Cavallanti e Tononi (con o senza l’etichetta nexus) ? uno dei più durevoli del jazz italiano, dato che dura ormai da una trentina d’anni. Quest’ultimo lavoro conferma ancora una volta le linee essenziiali della loro poetica: il riferimento all’avanguardia storica degli anni ’70, la forte enfasi sulla dimensione collettiva e sull’elemento ritmico, i progetti a largo respiro.

In questo caso si tratta di due suite: “faces”, composta da Daniele Cavallanti e dedicata a diversi registi , e ”Phases – 3 2 3″ , a firma di Tiziano Tononi. La formazione ? un ottetto a parti raddoppiate: due sassofoni (Cavallanti e Succi), due percussionisti (Tononi e Pacho), due strumenti ad arco (il violino di Scheinman e la viota di Parrini), due a Corde pizzicate (il basso e contrabbasso di Maier e la Chitarra di Mariani).

Insolita lineup, Suggerita dal produttore della Long Song Fabrizio Perissinotto, consente di ottenere da una parte uno spessore sonoro quasi orchestrale, dall’altra impasti timbrici inediti, soprattutto nelle molteplici Combinazioni di ance e corde.

The Ill-Tempered Piano – Musica Jazz

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Ventiquattro improvvisazioni per pianoforti rotti o scordati trovati a New York, precisa il sottotitolo di questa che si potrebbe quasi definire musica immaginaria, ideale per mondi borgesiani come Tlon (dove alla base dell’aritmetica c’è la nozione di numero indefinito) o per qualche città invisibile calviniana (forse Zemrude, dove l’umore di chi la guarda ne cambia la forma) Musica di altri mondi, dove il pianoforte suona come uno xilofono, un cymbalom, un sitar, una chitarra a sua volta scordata à la Derek Bailey, o un qualche marchingegno elettronico analogico: sembra tanti altri strumenti tranne che un pianoforte, anche se a tratti si potrebbe pensare a uno strumento preparato alla Cage, così come a Fluxus sembra ispirarsi nello spirito questa registrazione. I suoni sprofondano dentro se stessi, oppure trovano equilibri armonici istantanei, spericolati; emanano insoliti riverberi e insomma fanno quel che pos- sono, essendo rottami o quasi. Molto riesce invece a fare Cipani, in questa sua prima uscita, inventando una serie di soluzioni ritmico-melodiche prodigiose, considerati gli strumenti scalcagnati che adopera. Strano e affascinante.Ventiquattro improvvisazioni per pianoforti rotti o scordati trovati a New York, precisa il sottotitolo di questa che si potrebbe quasi definire musica immaginaria, ideale per mondi borgesiani come Tlon (dove alla base dell’aritmetica c’è la nozione di numero indefinito) o per qualche città invisibile calviniana (forse Zemrude, dove l’umore di chi la guarda ne cambia la forma) Musica di altri mondi, dove il pianoforte suona come uno xilofono, un cymbalom, un sitar, una chitarra a sua volta scordata à la Derek Bailey, o un qualche marchingegno elettronico analogico: sembra tanti altri strumenti tranne che un pianoforte, anche se a tratti si potrebbe pensare a uno strumento preparato alla Cage, così come a Fluxus sembra ispirarsi nello spirito questa registrazione. I suoni sprofondano dentro se stessi, oppure trovano equilibri armonici istantanei, spericolati; emanano insoliti riverberi e insomma fanno quel che pos- sono, essendo rottami o quasi. Molto riesce invece a fare Cipani, in questa sua prima uscita, inventando una serie di soluzioni ritmico-melodiche prodigiose, considerati gli strumenti scalcagnati che adopera. Strano e affascinante.

Craig Green + David King – DownBeat

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Dave King is a brave-hearted musician that can swing sweetly one moment, then quickly erase any notion of slang-a-Lang as he smashes his drum kit to a pulp. As he does in The Bad Plus, King makes defying expectation his mission on this collaboration with guitarist Craig Green. But Green and King don’t simply play guitars, drums and occasional piano; they bang on gongs, trample foot pedals and slide combs against strings.
There are multiple paths into this music, which is entirely improvised. It works well in the semi-pastoral “Walk Left” with Green shaking his guitar neck to create glowing, skittering effects, will King plays piano like some son of Thelounious Monk set afire. They cross sentiments and met in lyrical moments. “Rock, Paper, Scissors” is equally fascinating, its martial snare drumming and erie treated piano recall Chinese warlords
pillaging a village.
King scalds the sense on the speedy “Part 3” ripping his brushes as Green’s guitar produces menacing tones. Sometime this collaboration is more “beat it with your fist” that massage your temples, as in the noisy
“Faux Hawk”; less would have been more here. However, King and Green never overstay their invitation.Dave King is a brave-hearted musician that can swing sweetly one moment, then quickly erase any notion of slang-a-Lang as he smashes his drum kit to a pulp. As he does in The Bad Plus, King makes defying expectation his mission on this collaboration with guitarist Craig Green. But Green and King don’t simply play guitars, drums and occasional piano; they bang on gongs, trample foot pedals and slide combs against strings.
There are multiple paths into this music, which is entirely improvised. It works well in the semi-pastoral “Walk Left” with Green shaking his guitar neck to create glowing, skittering effects, will King plays piano like some son of Thelounious Monk set afire. They cross sentiments and met in lyrical moments. “Rock, Paper, Scissors” is equally fascinating, its martial snare drumming and erie treated piano recall Chinese warlords
pillaging a village.
King scalds the sense on the speedy “Part 3” ripping his brushes as Green’s guitar produces menacing tones. Sometime this collaboration is more “beat it with your fist” that massage your temples, as in the noisy
“Faux Hawk”; less would have been more here. However, King and Green never overstay their invitation.

Vignes, nuovo album dell'Acoustic Guitar Trio (Nels Cline, Jim McAuley, Rod Poole)

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Long Song Records è fiera di presentarvi il nuovo disco Vignes, dell’Acoustic Guitar Trio: composto da Nels Cline, Jim McAuley e il compianto Rod Poole. Registrato nel 2003, è una testimonianza inedita e suggestiva dello splendido lavoro di questo trio. Ecco cosa dice Nels Cline in proposito:
Long Song Records proudly presents a new album: Vignes by Acoustic Guitar Trio formed by Nels Cline, Jim McAuley and the late Rod Poole. This is an unreleased live album, recorded in 2003 and shows the brilliant work of these three wonderful musicians. Here’s what Nels Cline says about:

Sometime in the late 1990s, I finally heard Rod Poole play solo acoustic guitar. I think it was at The Smell, an all-ages oasis for underground music in downtown Los Angeles. He was playing his just-intonated Martin guitar, fighting the very resonant leakage from the jukebox in the Latino tranny bar next door, its patrons being showered with blasts of Norteno that threatened a sonic incursion on the intimate, crystalline purity of Mr. Poole’s performance. But nothing could sully this moment for me. Many had told me that I should check Rod’s music out. He had only been in Los Angeles a few years, transplanted from his native England. He had been playing solo concerts here and there, as well as performing his music for an ensemble of bowed, open-tuned acoustic guitars. He had recorded a bit at the now-defunct recording studio and underground music haven in Los Angeles called Poop Alley, and I think that Poop Alley empresario Tom Grimley may have been the first person to tell me about Rod. But on that evening at The Smell, I was not only dazzled by the beauty of Rod’s music and by his concentration, I also wondered how I could find an avenue that would lead me closer to his art, to a possible collaboration of sorts.

Eventually, it came to me. I had known guitarist Jim McAuley since the late 1970s. He had played numerous times in the 90s at a concert series I once booked, performing on mostly acoustic guitars in various states of preparation, different tunings, etc. And I have long felt that Jim, always bubbling under the radar after years and years of creative endeavor, was under-appreciated. Like Rod (and unlike me), he possessed serious fingerstyle technique. Like me, he had a non-systematic love and understanding of salient aspects of microtonal music, which was Rod Poole’s obsession (well, one of many, it turned out). So I came up with the idea of an improvising, microtonal acoustic guitar trio. When I approached these gentlemen with the idea, they were enthusiastic, which was a bit surprising, especially in Rod’s case, because outwardly he had a sort of British reserve, and also because I had heard and felt that he was one serious fellow! Jim had apparently not heard Rod’s music, but it was no surprise that when he finally did that he loved it as much as I did. The year was 1999. The Acoustic Guitar Trio, as it would generically be called, was born; a group which I formed but one I did not lead. Our work was purely collaborative.

Rod Poole was also a tireless documenter of the local improvising and new music scene. He could often be seen in a corner, in headphones, with his DAT-loaded mini-rack and luggage cart. As such, every bang, scrape, and chime of the Acoustic Guitar Trio was recorded by Rod. Lucky us! The release of this document, “Vignes” is, of all the ‘live’ recordings Rod made, the only one that was subject to Trio scrutiny that lead to unanimous agreement on content. We really hoped that someone would release it, in spite of the car noises and whatnot, because we all liked these pieces. Rod could be quite a stickler, and it was his ear for severe editing that shaved two sets of improvising at the Downtown Playhouse (on Vignes Street) in Los Angeles to the three pieces heard on this record. Rest assured there is a lot of other good material waiting in the wings, but this was what we hoped could be the follow-up to the eponymously-named studio recording that Derek Bailey had released on Incus. Time and circumstances beyond our control prevented this. Until now.

Sometime around 2003, Rod announced to Jim and myself that he wanted to cease performing ‘live’ completely. Given his headstrong qualities and seeing what a battle it is to play music of such uncompromising delicacy and subtlety, I really couldn’t blame him. This, along with my burgeoning tour schedule with Wilco and numerous other groups coupled with Jim’s family responsibilities, caused us to all drift apart, a drift I felt was surely temporary. Unfortunately, Rod Poole was murdered not far from his and his wife Lisa’s apartment in Hollywood, the details of which I do not care to go into here. Suffice to say that it was a pointless act of the most heinous type, and we who loved Rod Poole and his music are forever wounded by it.

For now, enjoy “Vignes”, a concentrated sampling of three microtonal improvising acoustic guitars. Our methodology was quite simple: make up a tuning on the spot for each improvisation, look around at each other to find the nods and grins of agreement that meant that a promising tuning combination had been arrived at, and GO. For Jim McAuley and me, it was challenging yes, but more like breathing; natural, nurturing. We hope you like the music. All love and respect to Rod Poole, and thanks to Fabrizio Perissinotto for bringing it to the world on Long Song.

– Nels Cline

Glendale, CA

March 11th, 2009

Vignes

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VIGNES, disco dal vivo inedito dell’Acoustic Guitar Trio, presto disponibile.
L’Acoustic Guitar Trio è stato uno splendido trio dedito all’improvvisazione tramite chitarre acustiche, come il nome facilmente suggerisce. Era formato da Nels Cline, Jim McAuley e dallo scomparso Rod Poole, tutti eccellenti musicisti.
Rod Poole, un chitarrista poco citato e purtroppo ancora sconosciuto, è morto improvvisamente l’anno scorso in circostanze tragiche.
Nels Cline ha detto di Rod: “era un artista vero, probabilmente un genio. Aveva capacità incredibili come amante della musica e come musicista autodidatta e visionario”.


Nels Cline e Jim McAuley vogliono che questo album sia un tributo a Rod e alla fantastica musica che hanno prodotto insieme.
Jim McAuley a proposito di “Vignes”: “drones, arpeggi scintillanti e chitarre preparete e rumorose. Penso sia il nostro lavoro migliore”.
L’unico lavoro finora disponibile dell’AG3 è il debutto auto intitolato, lodato dalla critica, uscito nel 2002 per l’etichetta inglese Incus.

VIGNES, unreleased live album by the Acoustic Guitar Trio.
The Acoustic Guitar Trio was a beautiful improvising trio. They were guitar masters Nels Cline, Jim McAuley and the late Rod Poole.
Rod Poole, an unsung and sadly quite unknown guitar player suddenly died last year under tragic circumstances.
Nels Cline said about Rod: “He was a true artist, probably a genius. He had an amazing capacity as both music fan and autodidact musician visionary”.


Nels and Jim Mc Auley want this live album to be a tribute to Rod and the fantastic music they played together.
Jim McAuley says of “Vignes”: “surging drones, sparkling arpeggios and noisy prepared guitars. I feel it’s our best work”.
The only recorded work by the AG3 so far is the self-titled and critically acclaimed cd released by the English label Incus in 2002.
More news and details about the artists involved coming soon.

Jim McAuley

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Una volta descritto come “l’unico chitarrista che ha suonato sia con Frank Sinatra che con Nels Cline”, il chitarrista Jim
McAuley è stato parte integrante della scena musicale creativa di Los Angeles per oltre 30 anni.
Dopo una breve esperienza come turnista nei primi anni ’70, comincia a concentrarsi sul suo progetto originale in solo: subito ottiene un contratto con l’etichetta di Takoma John Fahey nel 1976. Negli anni Ottanta si è mosso verso l’improvvisazione libera e avuto l’onore di eseguire e registrare con John Carter, Horace Tapscott e James Newton. Ha conseguito il MFA allaCalArts a ’91 (sotto la guida di Frederick Rzewski, David Behrman e altri) e nel ’94 forma un collettivo chiamato Gongfarmer con Alex Cline, JeffGauthier, Marty Walker, David Johnson e altri musicisti di Los Angeles. Il 2001 ha visto l’uscita di “Acoustic Guitar Trio” – Nels Cline, (alla  fine)Rod Poole e Jim McAuley – a cura dell’etichetta Incus di Derek Bailey.
Il suo album più recente (“The Ultimate Frog”, 2008) è un doppio CD di duetti con il compianto Leroy Jenkins, Nels Cline, Alex Cline e Ken Filiano.

Once described as “the only guitarist who has played with both Frank Sinatra and Nels Cline”, guitarist Jim

McAuley has been integral to LA’s creative music scene for over 30 years.

After a brief stint as a commercial session musician in the early 70’s, he began focusing on his original solo

material, quickly landing a contract with John Fahey’s Takoma label in 1976. In the eighties he gravitated toward

free improv and was honored to perform and record with such LA legends as John Carter, Horace Tapscott and James Newton. He earned his MFA at CalArts in ‘91 (mentored by Frederick Rzewski, David Behrman and others) and in ‘94 formed a collective called Gongfarmer whose revolving roster included Alex Cline, Jeff Gauthier, Marty Walker, David Johnson and other Los Angeles new music stalwarts. 2001 saw the release of “Acoustic Guitar Trio”–Nels Cline, (the late) Rod Poole and Jim McAuley–on Derek Bailey’s Incus imprint.

Wire Magazine hailed the album as “displaying the range, strength, boundary crossing and genre-melding fertility of contemporary improv” and “high on the list of favourite releases for this year.”

McAuley’s first solo outing, “Gongfarmer 18” (Nine Winds Records) received a similarly warm reception from

critics, landing on the “Best of 2005” lists in numerous major publications. This album demonstrated McAuley’s wide range of influences, creating a style he calls “pan-idiomatic.” Cadence Magazine called it “a mood-altering and mind-bending album…He makes his instrument hum with excitement while stepping away from

rigidity and into an open and free world of music”, while the Wire simply declared it “great stuff.”

His most recent album (“The Ultimate Frog”, 2008) is a 2-CD set of duets with the late Leroy Jenkins, Nels Cline, Alex Cline and  Ken Filiano.  The New York Times wrote: “Mr.  McAuley’s precise writing and playing is full of blues figures and rich-toned,  acoustic-folk resonance.

It’s peaceful and rigorous music.”  A track from “The Ultimate Frog” was featured on the April 2009 Wiretapper compilation CD which accompanies Wire Magazine.

Rod Poole

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1962 – 2007

Rod Poole è nato il 4 gennaio 1962, a Taplow, appena fuori Londra, in Inghilterra. Rod ha iniziato i suoi studi a chitarra nel 1972 e nel corso degli anni, ha sperimentato vari linguaggi musicali, tra libera improvvisazione, free jazz e musica elettronica dal vivo. Verso la metà degli anni 1980, i suoi interessi primari sono stati l’improvvisazione libera su chitarra acustica e i solo di chitarra finger-picking. È stato uno dei membri fondatori della Cooperativa improvvisativa di Oxford e in questa fu attivo dal 1983 al 1986. Anche se la sua famiglia si è trasferita e ha vissuto in diversi luoghi dell’Inghilterra, è stato a Oxford che Rod ha sviluppato le sue amicizie. Durante il periodo a Oxford, ha anche iniziato la sua attività come didatta, insegnando chitarra elettrica e acustica.

Dopo essersi trasferito negli Stati Uniti a 1989, Rod ha iniziato a studiare la “just intonation” con il più importante teorico al mondo in materia, Wilson Ervin, a Los Angeles. Ha trascorso gli anni successivi sviluppando il suo approccio chitarristico con la just intonation.

Dopo una pausa dalle performance dal vivo per parecchi anni, Rod si stavarecentemente preparando a performare nuovamente. Sua moglie, Lisa Ladaw, ed i suoi amici più stretti continueranno la sua eredità di musica su etichetta Justguitar erilascieranno alcune delle sue registrazioni in futuro.

1962 – 2007

Rod Poole was born on January 4, 1962, in Taplow, just outside of London, in England. Rod began his studies in guitar in 1972 and over the years, experimented with various musical idioms, including free improvisation, free jazz and live electronic music. By the mid-1980s, his primary interests were acoustic-based free improvisation and finger-picked solo acoustic guitar. He was a founding member of the Oxford Improvisor’s Cooperative and was active in the Cooperative from 1983 to 1986. Though his family moved to and lived in several places in England, it was in Oxford that Rod developed many close friendships and considered Oxford his home. During this time in Oxford, he also began his work as a music instructor, teaching both electrical and acoustic guitar.

Rod PooleAfter moving to the United States in 1989, Rod began studying just intonation with the world’s foremost theorist on the subject, Ervin Wilson, in Los Angeles. He spent the next several years developing his approach to playing the guitar using just intonation theory.

Rod released a handful of unique and highly praised CDs on the W.I.N., Transparency, and Incus labels – The Dead Adder, December 96, Iasis,and The Acoustic Guitar Trio. He contributed “Kalaidoscopic Sunday” to the Henry Kaiser-curated guitar compilation, 156 Strings, and “The Fire Left to Come” to the SASSAS two-CD set, Sound, a compilation of Los Angeles-based performances curated by Cindy Bernard. Rod also engineered the recording of all but three of the performances on Sound. He has performed with Derek Bailey, Mia Masaoka, Joseph Hammer, Kraig Grady, Nels Cline, Donald Miller, Pat Thomas, Tony Bevan, Eugene Chadbourne, and others.

In October of 2005, Rod released the CD, Mind’s Island, with Sasha Bogdanowitsch, a composer, vocalist & multi-instrumentalist whose work strives to unite East and West sensibilities by working towards a unique ‘world’ musical language.

Both Poole and Bogdanowitsch are long-time performers of just intoned music and Mind’s Island is an advanced example of the melodic and harmonic possibilities that can be created using alternative tuning systems. All of the recordings on Mind’s Island were created with virtually no prior discussion before the actual taping. Scale(s) were chosen as a basis for improvisation. Melody, harmony, rhythm, dynamics, and duration were spontaneous.

Justguitar Records was created in the Fall of 2005 as a vehicle for Rod to make available new and archival recordings from his sound library. Mind’s Island was its first release.

After a hiatus from live performance for several years, Rod was recently preparing to perform again. His wife, Lisa Ladaw, and his close friends will continue his legacy of music on Justguitar Records and release several of his recordings in the future.

Pacho

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multipercussionista / batterista e feticista del piede femminile (calze,zoccoli aperti con tacco ,smalto rosso etc..)……..nato a milano nel 1970 sotto il segno del capricorno. ho studiato batteria con enrico lucchini e tiziano tononi, percussioni con candelo cabezas e il grandissimo naco………ho ascoltato sino alla nausea :nanà vasconcelos. jamie muir,mike portnoy,lenny white. ho amato la musica dei weather report,art ensemble of chicago,king crimson,area,pfm,dream theater,beatles,return to forever……da cui non sono mai riuscito a separarmi!!!!! ho suonato con diversi musicisti italiani e stranieri tipo: zu, morgan,elio e le storie tese,james taylor,jenny sheinman,neels cline,tiziano tononi, the thrust,pancho ragonese,pepe ragonese,ladri di biciclette,biba band,gigi cifarelli(a cui sarò sempre grato per avermi dato la possibilità di registrare il primo vero disco di jazz).walter calloni,max furian,federico sanesi,cico cicognani,karma,giovanni giorgi,ike willis,franco d’andrea,craig green,grazia di michele, rossana casale e molti altri non meno famosi o bravi che non ho scritto per questione di spazio (se mai leggeranno non me ne vogliano!) suono attualmente con i natural mystic con cui ho realizzato il cd autoprodotto e distribuito da btf : mother nature,the trees and the magic of seasons, considerato dalla critica uno dei migliori dischi di prog del 2006, ne stiamo registrando un’altro nuovo e più potente!Percussionist / Drummer and foot fetish (socks, clogs with open heels, red nail polish, etc. ..). I was born in Milan in 1970 under the sign of Capricorn. I studied drums with Enrico Lucchini and Tiziano Tononi, and percussion with Candelo Cabezas and the great Naco.

Achille Succi

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Achille Succi, nato a Modena nel 1971, è uno dei talenti più interessanti nel panorama dei musicisti italiani. Ha studiato al “Berklee College” di Boston, e a “Siena Jazz”, dove oggi è docente. Ha collaborato con Dave Liebman, George Russell, Kenny Wheeler, Steve Coleman, Ernst Reijseger, Carla Bley, Louis Sclavis, Bruno Tommaso, la New Jungle Orchestra di Pierre Dørge, l’Italian Instabile Orchestra etc., suonando in varie nazioni . Solista estremamente dotato e generoso, dall’estro melodico e vertiginosamente virtuosistico, manifestato anche nella composizione, a suo agio sia in contesti più marcatamente jazzistici che in territori più aperti. Attualmente fa parte di formazioni come Belcanto di Ettore Fioravanti, Gramelot Ensemble di Simone Guiducci, Caos Ensemble di Alfredo Impullitti, Nexus, Eleven di Franco D’Andrea, del la Proxima Centauri Orchestra di Giorgio Gaslini, e più recentemente della Dolmen Orchestra di Nicola Pisani.

Achille Succi Saxophonist, bass clarinetist born in Modena on 1971. Mainly self-taught, he attended Siena Jazz and D.Liebman’s Masterclasses. Together with Fabrizio Puglisi and Alberto Capelli he founded the “Atman” group, with whom he performed with famous guests such as Louis Sclavis, Ab Baars and Ernst Rejiseger. Beside his own Ensemble and duo with bass player Salvatore Maiore, Achille Succi takes also part in many musical projects, among those the “Othello Suite” of Uri Caine, “Circulez!” of Louis Sclavis, “Belcanto” of Ettore Fioravanti, “Gramelot ensamble” of Simone Guiducci, “Urban Raga” of Paolino Dalla Porta, “Nexus” di T.Tononi e D.Cavallanti, “Dolmen orchestra” of Nicola Pisani, “P.Centauri Orchestra” of Giorgio Gaslini and the “Eleven” of Franco D’Andrea; he also took part in many CD and concerts in Europe and in the world with various groups and musicians, italians and foreigns. As winner of the “Pépinières Europeénnes pour jeunes artistes” he had been guested by the Copenhagen rhythmic conservatory, where he began a collaboration with the danish composer Pierre Dorge and his “New Jungle Orchestra”, who brought him touring in Scandinavia, Brasil and Australia. As bandleader Achille Succi released two cds, Shiva’s dance” and “Terra”, he also take part of a duo project with bass player Salvatore Maiore, with whom released “Pequenas flores do inferno”.All of those works got many positive critics from all national newspaper and Jazz magazines. He is teaching saxophone and clarinet at the civic school of Nonantola (Modena), and held jazz improvisation workshops and masterclasses at the Roccella Jonica Jazz Festival, “Tonelli” musical institute(Carpi), in Tollo (Pescara), Corropoli (Teramo), Lecco and Ferrara. Since 2001 he is among the teachers of the famous SienaJazz summer workshops and since 2006 he is teaching improvisation techniques on clarinet at the Conservatory of Ferrara.