{"id":11564,"date":"2026-03-18T10:42:29","date_gmt":"2026-03-18T09:42:29","guid":{"rendered":"https:\/\/www.nusica.org\/web\/?page_id=11564"},"modified":"2026-04-17T10:59:21","modified_gmt":"2026-04-17T08:59:21","slug":"41-roundabout","status":"publish","type":"page","link":"https:\/\/www.nusica.org\/web\/label\/41-roundabout\/?lang=en","title":{"rendered":"41 &#8211; Roundabout"},"content":{"rendered":"<section class=\"l-section wpb_row height_auto\"><div class=\"l-section-h i-cf\"><div class=\"g-cols vc_row type_default valign_top\"><div class=\"vc_col-sm-6 wpb_column vc_column_container\"><div class=\"vc_column-inner type_sticky\"><div class=\"wpb_wrapper\"><div class=\"w-image align_center\"><a href=\"https:\/\/www.nusica.org\/web\/wp-content\/uploads\/2026\/03\/nusica-41.jpg\" ref=\"magnificPopup\" aria-label=\"Link\" class=\"w-image-h\"><img width=\"1500\" height=\"1500\" src=\"https:\/\/www.nusica.org\/web\/wp-content\/uploads\/2026\/03\/nusica-41.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" srcset=\"https:\/\/www.nusica.org\/web\/wp-content\/uploads\/2026\/03\/nusica-41.jpg 1500w, https:\/\/www.nusica.org\/web\/wp-content\/uploads\/2026\/03\/nusica-41-300x300.jpg 300w, https:\/\/www.nusica.org\/web\/wp-content\/uploads\/2026\/03\/nusica-41-1024x1024.jpg 1024w, https:\/\/www.nusica.org\/web\/wp-content\/uploads\/2026\/03\/nusica-41-150x150.jpg 150w, https:\/\/www.nusica.org\/web\/wp-content\/uploads\/2026\/03\/nusica-41-768x768.jpg 768w, https:\/\/www.nusica.org\/web\/wp-content\/uploads\/2026\/03\/nusica-41-1200x1200.jpg 1200w\" sizes=\"(max-width: 1500px) 100vw, 1500px\" \/><\/a><\/div><\/div><\/div><\/div><div class=\"vc_col-sm-6 wpb_column vc_column_container\"><div class=\"vc_column-inner\"><div class=\"wpb_wrapper\"><div class=\"w-tabs style_default switch_click accordion has_scrolling type_togglable title_atleft icon_chevron iconpos_right\"><div class=\"w-tabs-sections\"><div class=\"w-tabs-sections-h\"><div class=\"w-tabs-section active\" id=\"1616143362057-71e110c9-19dbb2a3-3f8f\"><button aria-controls=\"content-1616143362057-71e110c9-19dbb2a3-3f8f\" class=\"w-tabs-section-header active\"><div class=\"w-tabs-section-header-h\"><div class=\"w-tabs-section-title\">Introduction<\/div><div class=\"w-tabs-section-control\"><\/div><\/div><\/button><div class=\"w-tabs-section-content\" id=\"content-1616143362057-71e110c9-19dbb2a3-3f8f\" aria-expanded=\"true\"><div class=\"w-tabs-section-content-h i-cf\"><div class=\"wpb_text_column\" ><div class=\"wpb_wrapper\"><h4>41 Roundabout<\/h4>\n<p><strong>Giulio Scaramella<\/strong><\/p>\n<p>Released by nusica.org, <strong>Roundabout<\/strong> is the new album by pianist <strong>Giulio Scaramella<\/strong>: a project that brings classical training into dialogue with the language of jazz, weaving together composition and improvisation within a quartet capable of moving between formal rigor and expressive freedom.<\/p>\n<p>The album will be available on all digital platforms from <strong>March 18<\/strong>, preceded by the single <strong>Pu\u00f2 Succedere<\/strong>, released on <strong>March 13<\/strong>.<\/p>\n<p>Press kit:<br \/>\n<a href=\"https:\/\/press.giuseppebettiol.it\/roundabout-scaramella\">https:\/\/press.giuseppebettiol.it\/roundabout-scaramella<\/a><\/p>\n<p><strong>Giulio Scaramella \u2013 piano<\/strong><br \/>\n<strong>Jure Pukl \u2013 soprano sax, tenor sax<\/strong><br \/>\n<strong>Alessio Zoratto \u2013 double bass<\/strong><br \/>\n<strong>Luca Colussi \u2013 drums<\/strong><\/p>\n<p>Some melodies wait a long time: written, set aside, revisited, rewritten. The album <strong>Roundabout<\/strong> was born in this way, as a return to pieces composed over different years and kept suspended until they found their definitive form. It is the second album as leader by the pianist and composer from Gorizia <strong>Giulio Scaramella (born 1987)<\/strong>, who has so far established himself mainly in shared projects as a sideman and co-leader, within a dense network of collaborations that have shaped his artistic profile, including those with Fabrizio Bosso, Mauro Ottolini, Vanessa Tagliabue Yorke, and Francesco Bearzatti. In <strong>Roundabout<\/strong>, this trajectory brings together a decade of ideas into a single, recognizable narrative.<\/p>\n<p>The pianist\u2019s roots lie in classical music. Scaramella studied at the <strong>\u201cGiuseppe Tartini\u201d Conservatory of Trieste<\/strong> under the guidance of Prof. Igor Cognolato. He later refined his studies at the <strong>Trio di Parma\u2019s two-year chamber music academy<\/strong> and obtained a Master\u2019s degree in jazz performance. At the same time, he has built an extensive recording career through albums and collaborations in various contexts and ensembles, developing a musical language capable of combining classical rigor with improvisational openness.<\/p>\n<p>Scaramella\u2019s writing reflects this approach: focusing on an idea and then leaving real space for the musicians who play it. In ensemble pieces, the music is conceived to be immediately inhabitable, preserving spontaneity and openness; some more concentrated pages are instead entrusted to solo piano, as a territory for personal research and formal control.<\/p>\n<p>The collaboration with <strong>Jure Pukl<\/strong> on soprano and tenor saxophone is one of the expressive axes of the album: a voice that intertwines steadily with the piano, shifting the perspective of the compositions and expanding their timbral range. Pukl recognized the component that comes from the classical world and responded with his own sensibility, creating a dialogue that brings together different approaches in sound care and interpretive freedom. Alongside them, <strong>Alessio Zoratto<\/strong> on double bass and <strong>Luca Colussi<\/strong> on drums \u2014 a rhythm section with whom Scaramella has collaborated for years \u2014 build a foundation that never becomes heavy: they support without stiffening, react without intruding, and accompany the narrative with a discreet yet decisive presence.<\/p>\n<\/div><\/div><div class=\"w-image us_custom_a833bf3c align_none\"><a href=\"https:\/\/www.nusica.org\/web\/wp-content\/uploads\/2026\/03\/Giulio-Scaramella.jpg\" ref=\"magnificPopup\" aria-label=\"Link\" class=\"w-image-h\"><img width=\"1406\" height=\"932\" src=\"https:\/\/www.nusica.org\/web\/wp-content\/uploads\/2026\/03\/Giulio-Scaramella.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" srcset=\"https:\/\/www.nusica.org\/web\/wp-content\/uploads\/2026\/03\/Giulio-Scaramella.jpg 1406w, https:\/\/www.nusica.org\/web\/wp-content\/uploads\/2026\/03\/Giulio-Scaramella-300x199.jpg 300w, https:\/\/www.nusica.org\/web\/wp-content\/uploads\/2026\/03\/Giulio-Scaramella-1024x679.jpg 1024w, https:\/\/www.nusica.org\/web\/wp-content\/uploads\/2026\/03\/Giulio-Scaramella-768x509.jpg 768w\" sizes=\"(max-width: 1406px) 100vw, 1406px\" \/><\/a><\/div><div class=\"wpb_text_column\" ><div class=\"wpb_wrapper\"><p>Giulio Scaramella says:<br \/>\n\u201cI\u2019ve collaborated extensively on other people\u2019s projects: it\u2019s a dimension I recognize myself in, because it forces you to listen and interpret. That\u2019s why the word \u2018leader\u2019 in music has always sounded a bit narrow to me: if you write pieces, it\u2019s inevitable to have a vision, but for me the point is to leave space for the vision of those who play them with you. I choose musicians I trust and, if their contribution shifts the starting point, I\u2019m willing to change what I wrote. In <strong>Roundabout<\/strong> I gathered pieces written in different years, many of them left in a drawer for a long time. In the solo piano pieces I kept the more \u2018studio-like\u2019 and complex aspects; for the ensemble, on the other hand, I wanted writing that could be immediately interpreted, able to enter the music right away without losing spontaneity. Even the tributes come from real affinities: <strong>Deep River<\/strong> comes from ten years spent playing with different gospel and spiritual choirs; <strong>The Mozdok\u2019s Train<\/strong> is a melody I heard during my Conservatory years that has never left me; and <strong>Brahms<\/strong> is a composer I naturally return to. In the end, this album is exactly that: distant materials that recognize each other and, thanks to mutual listening, find a common sound.\u201d<\/p>\n<p>The album privileges melody, timbre, and dynamics, moving across a wide palette \u2014 from pianissimo to fortissimo \u2014 that recalls an almost orchestral sensibility. It is a record that chooses coherence over effect: the ideas remain articulated but are contained within a clarity that allows the music to breathe and the ensemble to move naturally.<\/p>\n<p>The title evokes a simple yet powerful idea: <strong>circularity<\/strong>. A movement that returns, but never identical to itself; a form that wraps and transforms; a gesture that resumes, shifts, rewrites. This impression subtly runs through the album: linear themes resting on ostinatos capable of shifting their axis, central sections that change perspective without breaking continuity, codas that open and leave the pieces suspended. Harmonic returns and internal variations hold the path together, creating continuity without ever becoming repetition.<\/p>\n<p>The album\u2019s structure also follows this logic of movement. <strong>Roundabout<\/strong> alternates solo piano, duo, trio, and quartet, as if continually changing the listener\u2019s distance from the music. The solo pieces are more intimate and concentrated pages: the piano becomes an inner space of precision and suspension. Ensemble formations, on the contrary, open the space: the music moves through relationships, and interplay completes the design.<\/p>\n<p>The original compositions of <strong>Roundabout<\/strong> create a series of micro-stories, autonomous yet connected by an idea of inner transformation, shifts, and returns.<\/p>\n<p>The title track <strong>Roundabout<\/strong> is a study for solo piano built on an irregular ostinato: a sonic vortex that grows through accumulation and suddenly extinguishes just as it seems to reveal its geometry. <strong>A Short Story<\/strong>, also for solo piano, intertwines three recognizable elements \u2014 rhythmic impulse, a motif in the low register, and a high counter-melody \u2014 in a deliberately precarious balance that at a certain point suddenly thins out before closing with a more rarefied coda.<\/p>\n<p>Among the ensemble pieces, <strong>Fotografia<\/strong> arises from a concrete image: a lyrical theme that passes from piano to saxophone and opens into a \u201ccoloristic\u201d interplay with the rhythm section, where the pulse emerges and then fades again. <strong>L\u2019Autobus Che Non Ho Preso<\/strong>, the only piano trio track, stems from a reflection on determinism and free will: lyrical and harmonically refined writing that proceeds through small deviations, like a path of alternative possibilities. In <strong>Pu\u00f2 Succedere<\/strong>, the tension is mainly rhythmic: beneath an apparently linear melody lies an irregular design that constantly shifts its axis, allowing the improvisations to expand the play of perspectives. <strong>Bedtime<\/strong>, finally, begins as a quiet contrapuntal dialogue between soprano sax and piano, then changes direction and opens into a long improvised coda involving the entire ensemble, leading the piece toward suspension.<\/p>\n<p>Alongside the original compositions, <strong>Roundabout<\/strong> includes three pieces that engage with the pianist\u2019s musical history and illuminate three different strands of it. They do not interrupt the discourse: they expand it and make it more personal.<\/p>\n<p><strong>Deep River<\/strong>, the African-American spiritual, stems from a direct connection with that tradition: for years Scaramella has regularly played with several gospel and spiritual choirs. Here the piece becomes an essential version for solo piano, focused on the theme and on the care of harmonization and timbre \u2014 a gesture of memory more than virtuosity.<\/p>\n<p>With <strong>The Mozdok\u2019s Train<\/strong> by <strong>Anouar Brahem<\/strong> (from <em>Astrakan Caf\u00e9<\/em>, ECM, 2000), the album includes a melody that has accompanied Scaramella since his Conservatory years. Revisited for solo piano, it maintains the linear and suspended character of the original, built on an ostinato pedal: more than a cover, it is a piece internalized and brought home.<\/p>\n<p>Finally, <strong>Meine Lieder (op. 106 no. 4)<\/strong> by <strong>Johannes Brahms<\/strong>: the soprano sax replaces the voice and the central section opens to free improvisation. It is a sign of belonging: the classical root not as an \u201celsewhere,\u201d but as an organic part of the album\u2019s language, naturally coexisting with the improvisational dimension.<\/p>\n<p>The album will be available on all digital platforms from <strong>March 18<\/strong>, preceded by the single <strong>Pu\u00f2 Succedere<\/strong>, released on <strong>March 13<\/strong>.<\/p>\n<\/div><\/div><div class=\"wpb_text_column\" ><div class=\"wpb_wrapper\"><p><strong>Giulio Scaramella<\/strong><br \/>\n<strong>Roundabout<\/strong><\/p>\n<p><strong>Tracklist<br \/>\n<\/strong>Pu\u00f2 Succedere<br \/>\nThe Mozdok\u2019s Train<br \/>\nFotografia<br \/>\nBedtime<br \/>\nA Short Story<br \/>\nL\u2019Autobus Che Non Ho Preso<br \/>\nRoundabout<br \/>\nMeine Lieder<br \/>\nDeep River<\/p>\n<p><strong>Production<\/strong><br \/>\nMix and mastering: Stefano Amerio (Artesuono)<br \/>\nCover photo: Romano Ferlan<\/p>\n<p>Published by nusica.org, 2026<\/p>\n<p><strong>Information<\/strong><br \/>\n<a href=\"https:\/\/www.nusica.org\">www.nusica.org<\/a> \u2013 info@nusica.org<\/p>\n<p><strong>Press Office and Communication<\/strong><br \/>\nGiuseppe Bettiol \u2013 comunicati@giuseppebettiol.it \u2013 +39 349 1734262<\/p>\n<\/div><\/div><\/div><\/div><\/div><div class=\"w-tabs-section\" id=\"1699432965201-62ebfe1e-bf16\"><button aria-controls=\"content-1699432965201-62ebfe1e-bf16\" class=\"w-tabs-section-header\"><div class=\"w-tabs-section-header-h\"><div class=\"w-tabs-section-title\">Giulio Scaramella<\/div><div class=\"w-tabs-section-control\"><\/div><\/div><\/button><div class=\"w-tabs-section-content\" id=\"content-1699432965201-62ebfe1e-bf16\" aria-expanded=\"false\"><div class=\"w-tabs-section-content-h i-cf\"><div class=\"w-image us_custom_a833bf3c align_none\"><a href=\"https:\/\/www.nusica.org\/web\/wp-content\/uploads\/2026\/03\/Giulio-Scaramella.jpg\" ref=\"magnificPopup\" aria-label=\"Link\" class=\"w-image-h\"><img width=\"1406\" height=\"932\" src=\"https:\/\/www.nusica.org\/web\/wp-content\/uploads\/2026\/03\/Giulio-Scaramella.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" srcset=\"https:\/\/www.nusica.org\/web\/wp-content\/uploads\/2026\/03\/Giulio-Scaramella.jpg 1406w, https:\/\/www.nusica.org\/web\/wp-content\/uploads\/2026\/03\/Giulio-Scaramella-300x199.jpg 300w, https:\/\/www.nusica.org\/web\/wp-content\/uploads\/2026\/03\/Giulio-Scaramella-1024x679.jpg 1024w, https:\/\/www.nusica.org\/web\/wp-content\/uploads\/2026\/03\/Giulio-Scaramella-768x509.jpg 768w\" sizes=\"(max-width: 1406px) 100vw, 1406px\" \/><\/a><\/div><div class=\"wpb_text_column\" ><div class=\"wpb_wrapper\"><p><strong>Profiles<\/strong><\/p>\n<p><strong>Giulio Scaramella<\/strong> (Gorizia, 1987) is a pianist and composer. He graduated with highest honors in piano from the <strong>\u201cGiuseppe Tartini\u201d Conservatory of Trieste<\/strong> under Prof. Igor Cognolato, refined his studies at the <strong>Trio di Parma\u2019s chamber music academy<\/strong>, and obtained a Master\u2019s degree in jazz performance. He further pursued jazz and classical studies through masterclasses with international musicians including <strong>Danilo Perez, Gwilym Simcock, and Nik B\u00e4rtsch<\/strong>. He has won prizes in national and international competitions and in 2015 received the <strong>Franco Russo Award<\/strong> as an emerging young talent; with <strong>Oirquartett (Abeat Records)<\/strong> he won the prize for best debut album at the national <strong>\u201cChicco Bettinardi\u201d competition<\/strong>. He has performed at festivals such as <strong>Umbria Jazz, Mittelfest, and Bologna Jazz Festival<\/strong>, appearing in numerous European countries. He has released over <strong>20 recordings<\/strong> and collaborated with artists including <strong>Fabrizio Bosso, Mauro Ottolini, Francesco Bearzatti, Jure Pukl, and Klaus Gesing<\/strong>.<\/p>\n<\/div><\/div><div class=\"w-image us_custom_a833bf3c align_none\"><a href=\"https:\/\/www.nusica.org\/web\/wp-content\/uploads\/2026\/03\/Jure-Pukl.jpg\" ref=\"magnificPopup\" aria-label=\"Link\" class=\"w-image-h\"><img width=\"1406\" height=\"932\" src=\"https:\/\/www.nusica.org\/web\/wp-content\/uploads\/2026\/03\/Jure-Pukl.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" srcset=\"https:\/\/www.nusica.org\/web\/wp-content\/uploads\/2026\/03\/Jure-Pukl.jpg 1406w, https:\/\/www.nusica.org\/web\/wp-content\/uploads\/2026\/03\/Jure-Pukl-300x199.jpg 300w, https:\/\/www.nusica.org\/web\/wp-content\/uploads\/2026\/03\/Jure-Pukl-1024x679.jpg 1024w, https:\/\/www.nusica.org\/web\/wp-content\/uploads\/2026\/03\/Jure-Pukl-768x509.jpg 768w\" sizes=\"(max-width: 1406px) 100vw, 1406px\" \/><\/a><\/div><div class=\"wpb_text_column\" ><div class=\"wpb_wrapper\"><p><strong>Jure Pukl<\/strong> is among the most prolific and creative saxophonists of the new Slovenian jazz generation. In <strong>2015<\/strong> he received the <strong>Pre\u0161eren Fund Award<\/strong>, Slovenia\u2019s highest national recognition for artistic achievement. He pursued his academic training abroad, studying classical and jazz saxophone at the <strong>University of Vienna<\/strong> and the <strong>Royal Conservatory of The Hague<\/strong>; he later received a scholarship at <strong>Berklee College of Music<\/strong>, studying with masters such as <strong>Joe Lovano<\/strong> and <strong>George Garzone<\/strong>, and obtained a Master\u2019s degree in music from the <strong>University of Music and Performing Arts Graz<\/strong>. Throughout his career he has collaborated with numerous internationally renowned musicians including <strong>Dave Liebman, Branford Marsalis, Esperanza Spalding, Vijay Iyer, and Jeff \u201cTain\u201d Watts<\/strong>, as well as orchestral ensembles such as the <strong>RTV Slovenia Big Band<\/strong>. He has toured in the United States, Asia, and Europe, performing at major clubs and festivals including <strong>Blue Note, Ronnie Scott\u2019s, Winter Jazz Festival, Moers Jazz Festival, Berlin Jazz Festival, and Jazz \u00e0 Vienne<\/strong>. He has released <strong>twelve albums<\/strong> as a leader and participated as a sideman in over <strong>50 projects<\/strong>, receiving attention from international publications including <strong>DownBeat, The New York Times, Jazzwise, and All About Jazz<\/strong>.<\/p>\n<\/div><\/div><div class=\"w-image us_custom_a833bf3c align_none\"><a href=\"https:\/\/www.nusica.org\/web\/wp-content\/uploads\/2026\/03\/Alessio-Zoratto.jpg\" ref=\"magnificPopup\" aria-label=\"Link\" class=\"w-image-h\"><img width=\"1406\" height=\"932\" src=\"https:\/\/www.nusica.org\/web\/wp-content\/uploads\/2026\/03\/Alessio-Zoratto.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" srcset=\"https:\/\/www.nusica.org\/web\/wp-content\/uploads\/2026\/03\/Alessio-Zoratto.jpg 1406w, https:\/\/www.nusica.org\/web\/wp-content\/uploads\/2026\/03\/Alessio-Zoratto-300x199.jpg 300w, https:\/\/www.nusica.org\/web\/wp-content\/uploads\/2026\/03\/Alessio-Zoratto-1024x679.jpg 1024w, https:\/\/www.nusica.org\/web\/wp-content\/uploads\/2026\/03\/Alessio-Zoratto-768x509.jpg 768w\" sizes=\"(max-width: 1406px) 100vw, 1406px\" \/><\/a><\/div><div class=\"wpb_text_column\" ><div class=\"wpb_wrapper\"><p><strong>Alessio Zoratto<\/strong> is a jazz double bassist. He studied at the <strong>\u201cJ. Tomadini\u201d Conservatory of Udine<\/strong>, studying jazz double bass with <strong>Glauco Venier<\/strong> and <strong>Alfonso Deidda<\/strong>, graduating with highest honors and special mention; he also obtained, with honors, a diploma in jazz ensemble performance at the same conservatory. At the same time he studied classical double bass with <strong>Franco Feruglio<\/strong> and <strong>Fabio Serafini<\/strong>. In <strong>2025<\/strong> he was listed by the magazine <strong>Musica Jazz<\/strong> in the <strong>Top Jazz<\/strong> poll among the new \u201cItalian Talents.\u201d He has performed in numerous festivals and series in Italy and abroad, including <strong>Umbria Jazz<\/strong> and <strong>Umbria Jazz Winter<\/strong>, as well as institutional venues such as <strong>Teatro La Fenice<\/strong> and <strong>RAI broadcasts<\/strong>. He has collaborated with national and international artists and ensembles and regularly participates in several projects, including groups led by <strong>Glauco Venier<\/strong> and <strong>Luca Colussi<\/strong>, as well as projects with <strong>Giulio Scaramella<\/strong>.<\/p>\n<\/div><\/div><div class=\"w-image us_custom_a833bf3c align_none\"><a href=\"https:\/\/www.nusica.org\/web\/wp-content\/uploads\/2026\/03\/Luca-Colussi.jpg\" ref=\"magnificPopup\" aria-label=\"Link\" class=\"w-image-h\"><img width=\"1406\" height=\"932\" src=\"https:\/\/www.nusica.org\/web\/wp-content\/uploads\/2026\/03\/Luca-Colussi.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" srcset=\"https:\/\/www.nusica.org\/web\/wp-content\/uploads\/2026\/03\/Luca-Colussi.jpg 1406w, https:\/\/www.nusica.org\/web\/wp-content\/uploads\/2026\/03\/Luca-Colussi-300x199.jpg 300w, https:\/\/www.nusica.org\/web\/wp-content\/uploads\/2026\/03\/Luca-Colussi-1024x679.jpg 1024w, https:\/\/www.nusica.org\/web\/wp-content\/uploads\/2026\/03\/Luca-Colussi-768x509.jpg 768w\" sizes=\"(max-width: 1406px) 100vw, 1406px\" \/><\/a><\/div><div class=\"wpb_text_column\" ><div class=\"wpb_wrapper\"><p><strong>Luca Colussi<\/strong> (1978) is a drummer and educator active in the Italian jazz scene. His artistic activity includes collaborations with prominent musicians from the European and American circuits, with concerts in Europe and the United States. Over the course of his career he has worked, among others, with <strong>Randy Brecker, Kurt Elling, David Liebman, Steve Grossman, Oliver Lake, Don Menza, Fabrizio Bosso, Flavio Boltro, Francesco Bearzatti, Glauco Venier, Mauro Ottolini, and Jure Pukl<\/strong>. He has received numerous awards and recognitions: from <strong>2004<\/strong> (winning the <strong>\u201cPremio Nazionale delle Arti\u201d<\/strong> with the group Nam\u00f2s) to several Italian jazz competitions; in <strong>2017<\/strong> he was mentioned in the <strong>Top Jazz<\/strong> poll with the <strong>XY Quartet<\/strong>. His discography includes more than <strong>130 recordings<\/strong>, with three albums released under his own name. He is a professor of <strong>Jazz Drums<\/strong> at the <strong>\u201cA. Steffani\u201d Conservatory of Castelfranco Veneto<\/strong>.<\/p>\n<\/div><\/div><\/div><\/div><\/div><div class=\"w-tabs-section\" id=\"1616144214346-b861b3ca-2812b2a3-3f8f\"><button aria-controls=\"content-1616144214346-b861b3ca-2812b2a3-3f8f\" class=\"w-tabs-section-header\"><div class=\"w-tabs-section-header-h\"><div class=\"w-tabs-section-title\">Streaming<\/div><div class=\"w-tabs-section-control\"><\/div><\/div><\/button><div class=\"w-tabs-section-content\" id=\"content-1616144214346-b861b3ca-2812b2a3-3f8f\" aria-expanded=\"false\"><div class=\"w-tabs-section-content-h i-cf\"><div class=\"wpb_text_column\" ><div class=\"wpb_wrapper\"><h4><em>Roundabout<\/em><\/h4>\n<\/div><\/div><div class=\"uavc-list-icon uavc-list-icon-wrapper ult-adjust-bottom-margin \"><ul class=\"uavc-list\"><li><div class=\"uavc-list-content\" id=\"list-icon-wrap-2684\">\n<div class=\"uavc-list-icon \" data-animation=\"\" data-animation-delay=\"03\" style=\"margin-right:5px;\"><div class=\"ult-just-icon-wrapper \"><div class=\"align-icon\" style=\"text-align:center;\">\n<div class=\"aio-icon none \"  style=\"color:#333333;font-size:12px;display:inline-block;\">\n\t<i class=\"Defaults-arrow-right\"><\/i>\n<\/div><\/div><\/div>\n<\/div><span  data-ultimate-target='#list-icon-wrap-2684 .uavc-list-desc'  data-responsive-json-new='{\"font-size\":\"\",\"line-height\":\"\"}'  class=\"uavc-list-desc ult-responsive\" style=\"\"><a href=\"https:\/\/pirames.lnk.to\/Aria\" target=\"_blank\" rel=\"noopener\">Listen to the <strong>album <em>\u00c0ria<\/em><\/strong>\u00a0on the main streaming platforms<\/a><\/span><\/div><\/li><li><div class=\"uavc-list-content\" id=\"list-icon-wrap-8327\">\n<div class=\"uavc-list-icon \" data-animation=\"\" data-animation-delay=\"03\" style=\"margin-right:5px;\"><div class=\"ult-just-icon-wrapper \"><div class=\"align-icon\" style=\"text-align:center;\">\n<div class=\"aio-icon none \"  style=\"color:#333333;font-size:12px;display:inline-block;\">\n\t<i class=\"Defaults-arrow-right\"><\/i>\n<\/div><\/div><\/div>\n<\/div><span  data-ultimate-target='#list-icon-wrap-8327 .uavc-list-desc'  data-responsive-json-new='{\"font-size\":\"\",\"line-height\":\"\"}'  class=\"uavc-list-desc ult-responsive\" style=\"\"><a href=\"https:\/\/pirames.lnk.to\/TimeThieves\" target=\"_blank\" rel=\"noopener\">Listen to the single <strong><em>Time Thieves<\/em><\/strong>\u00a0on the main streaming platforms<\/a><\/span><\/div><\/li><\/ul><\/div><\/div><\/div><\/div><div class=\"w-tabs-section\" id=\"1616144522879-82acdaeb-9474b2a3-3f8f\"><button aria-controls=\"content-1616144522879-82acdaeb-9474b2a3-3f8f\" class=\"w-tabs-section-header\"><div class=\"w-tabs-section-header-h\"><div class=\"w-tabs-section-title\">Tracks and Scores<\/div><div class=\"w-tabs-section-control\"><\/div><\/div><\/button><div class=\"w-tabs-section-content\" id=\"content-1616144522879-82acdaeb-9474b2a3-3f8f\" aria-expanded=\"false\"><div class=\"w-tabs-section-content-h i-cf\"><div class=\"wpb_text_column\" ><div class=\"wpb_wrapper\"><p><strong>Pu\u00f2 succedere<br \/>\n<\/strong>Composed in 2016, this piece is based on a polyrhythm: beneath a melody written mainly in 4\/4, a pattern in 5\/8 unfolds. The left hand of the piano outlines an ostinato that at times stands out, interacting melodically with the main motif.<br \/>\nThe theme is first presented as a solo piano, then taken up by the soprano saxophone; the section dedicated to improvisation develops in 3\/4.<\/p>\n<p><strong>Roundabout<br \/>\n<\/strong>The album\u2019s title track represents a kind of \u201cstudy\u201d for solo piano and is characterized by a pounding ostinato in 15\/4, built through an interlocking pattern between the left hand and the first three fingers of the right hand. The melody, simple and minimal, is mainly entrusted to the fourth and fifth fingers.<br \/>\nThe idea the composer wishes to convey with this short composition (2\u201938\u201d) is that of a chaotic and fragmented sonic vortex that suddenly fades out just as the listener begins to grasp its nature.<\/p>\n<p><strong>Fotografi<br \/>\n<\/strong>The first quartet piece on the album features a theme with a strong lyrical character, first presented by the piano and then by the saxophone, with free coloristic interaction from the rhythm section. The metronomic pulse becomes clear in the improvisation section, only to dissolve again in the final restatement of the melody.<\/p>\n<p><strong>Bedtime<br \/>\n<\/strong>Written in 2015, <em>Bedtime<\/em> represents an experiment in simple two-voice contrapuntal composition with an ancient flavor. Soprano saxophone and piano converse softly in a delicate, sometimes fragile sonic environment.<br \/>\nThe second section changes direction completely: a hypnotic loop of four two-note chords played in the lower register of the piano forms the foundation of a long, freely improvised coda involving the entire band.<\/p>\n<p><strong>A short story<br \/>\n<\/strong>A short tale for solo piano. Three clearly distinguishable subjects are introduced one at a time: first the obsessive rhythmic element in 5\/8, then the main motif in the bass, and finally a counter-melody with more extended values in the upper register.<br \/>\nThe three characters chase one another throughout the narrative, weaving their parts together and telling their stories\u2014sometimes alone, sometimes overlapping\u2014in a balance that may appear precarious.<br \/>\nAbout two-thirds into the piece, after a long crescendo that seems about to erupt into chaos, there is a sudden collapse in dynamics. One character is left alone on stage and resumes its story, leading us to the conclusion in a subtly melancholic coda.<\/p>\n<p><strong>L\u2019autobus che non ho preso<br \/>\n<\/strong>The only track on the album recorded in a piano trio format. The piece is marked by strong lyricism and a fairly sophisticated harmonic exploration.<br \/>\n<em>L\u2019autobus che non ho preso<\/em> is inspired by a reflection on determinism and free will, and on the infinite possible paths that open before us at every single moment of our lives.<\/p>\n<p><strong>Meine Lieder<br \/>\n<\/strong><em>Meine Lieder<\/em> is part of a cycle of Lieder written by Johannes Brahms between 1886 and 1889; the original text was written by the Swiss poet Adolf Frey.<\/p>\n<p>If my heart begins to resonate<br \/>\nand spreads its wings in sound,<br \/>\nfaded, forgotten delights<br \/>\nrise again into the air around me,<br \/>\nand the shadows of cypress trees.<br \/>\nGloomy sound my songs!<\/p>\n<p>In this version, the soprano saxophone replaces the voice, and the central section is devoted to free improvisation.<\/p>\n<p><strong>Deep River<br \/>\n<\/strong>An African American spiritual of anonymous origin, <em>Deep River<\/em> became famous in 1917 following the piano-and-voice arrangement by Henry T. Burleigh.<br \/>\nAmong the many versions, we recall Paul Robeson\u2019s 1927 interpretation and the more modern one by Mahalia Jackson on the 1964 album <em>Let\u2019s Pray Together<\/em>.<br \/>\nIn <em>Roundabout<\/em>, a brief solo piano version is presented: an essential, \u201cstolen\u201d exposition of the theme, with particular care given to harmonization and timbral and expressive research.<\/p>\n<p><strong>The Mozdok\u2019s Train<br \/>\n<\/strong><em>Astrakan Caf\u00e9<\/em> (2000, ECM) is one of the most famous albums by Tunisian oud player Anouar Brahem, recorded with clarinetist Barbaros Erkose and percussionist Lassad Hosni.<br \/>\nIn <em>Roundabout<\/em>, a solo piano version of <em>The Mozdok\u2019s Train<\/em> is presented, characterized by a hypnotic E-flat pedal over which flows a simple melody built on the Mixolydian mode.<\/p>\n<p><a href=\"https:\/\/www.nusica.org\/web\/wp-content\/uploads\/2026\/03\/41-nusica.zip\" target=\"_blank\" rel=\"noopener\"><strong>Download PDF<\/strong><\/a><\/p>\n<\/div><\/div><\/div><\/div><\/div><div class=\"w-tabs-section\" id=\"1616144535650-1b74593a-0439b2a3-3f8f\"><button aria-controls=\"content-1616144535650-1b74593a-0439b2a3-3f8f\" class=\"w-tabs-section-header\"><div class=\"w-tabs-section-header-h\"><div class=\"w-tabs-section-title\">Get the Album<\/div><div class=\"w-tabs-section-control\"><\/div><\/div><\/button><div class=\"w-tabs-section-content\" id=\"content-1616144535650-1b74593a-0439b2a3-3f8f\" aria-expanded=\"false\"><div class=\"w-tabs-section-content-h i-cf\"><div class=\"wpb_text_column\" ><div class=\"wpb_wrapper\"><h4>Sostieni nusica.org<\/h4>\n<p>nusica.org \u00e8 un&#8217;<strong>associazione no profit<\/strong> che promuove la cultura musicale.<br \/>\nPartecipa al progetto con una <strong>donazione di 14 euro<\/strong> e riceverai il cd in regalo.<\/p>\n<\/div><\/div>[vc_raw_html el_class=&#8221;bottonedonacd&#8221;]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[\/vc_raw_html]<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/section>\n","protected":false},"excerpt":{"rendered":"Introduction 41 Roundabout Giulio Scaramella Released by nusica.org, Roundabout is the new album by pianist Giulio Scaramella: a project that brings classical training into dialogue with the language of jazz, weaving together composition and improvisation within a quartet capable of moving between formal rigor and expressive freedom. The album will be available on all digital...","protected":false},"author":1,"featured_media":0,"parent":6145,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"categories":[33],"tags":[],"_links":{"self":[{"href":"https:\/\/www.nusica.org\/web\/wp-json\/wp\/v2\/pages\/11564"}],"collection":[{"href":"https:\/\/www.nusica.org\/web\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.nusica.org\/web\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.nusica.org\/web\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.nusica.org\/web\/wp-json\/wp\/v2\/comments?post=11564"}],"version-history":[{"count":7,"href":"https:\/\/www.nusica.org\/web\/wp-json\/wp\/v2\/pages\/11564\/revisions"}],"predecessor-version":[{"id":11627,"href":"https:\/\/www.nusica.org\/web\/wp-json\/wp\/v2\/pages\/11564\/revisions\/11627"}],"up":[{"embeddable":true,"href":"https:\/\/www.nusica.org\/web\/wp-json\/wp\/v2\/pages\/6145"}],"wp:attachment":[{"href":"https:\/\/www.nusica.org\/web\/wp-json\/wp\/v2\/media?parent=11564"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.nusica.org\/web\/wp-json\/wp\/v2\/categories?post=11564"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.nusica.org\/web\/wp-json\/wp\/v2\/tags?post=11564"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}