Instrumentation:
Part 1:
Flute, Oboe, Violin, Guitar (C)
Alto Sax (Eb)
Trumpet, Clarinet, Soprano & Tenor Sax (Bb)
Part 2:
Alto Sax (Eb)
Trumpet, Clarinet, Tenor Sax (Bb)
Part 3:
Trombone (C)
Baritone Sax (Eb)
Tenor Sax (Bb)
Rhythm Section
Buon Giorno Le Marche was inspired by a number of events that took place in 2011. After a 2010 tour to the Abruzzo region of Italy where my grandfather originates from, I performed a number of concerts in the summer of 2011 with Italian bassist Gabriele Pesaresi who originates from Le Marche. Gabriele is one of Italy’s greatest bass players and a most beautiful person. Gabriele can play in any musical context setting, which reflects his outstanding musicianship. The bass line was written with him in mind and for him.
The melody was inspired by Italy’s rich operatic canzone history. The starting note (Ab) of the bass and melody reflects the rich tenor range of the voice. On the saxophone, the low Bb has a richness to it that invokes the whole body when playing it. As an artist for Rampone & Cazzani, I find the sound and richness of the low Bb to be unlike any other saxophone I have experienced, and believe Rampone & Cazzani saxophones reflect the true Italian voice. I was introduced to Claudio Zolla of Rampone & Cazzani in 2005 by my dear friend Dennis Tini (Wayne State University). Claudio Zolla and his wonderful family are dedicated to making some of the best hand-made saxophones in the world.
The region of Le Marche is a fascinating area of Italy. Just north of Abruzzo and along the Adriatic, it is one of Italy’s best kept secrets when one thinks of the great treasures Italy has to offer. The piece has a melancholic feel to it that reflects the dual meaning of Buon Giorno, which in Italian can mean hello and goodbye. For my wife Diane and I, we were happy to see and experience this part of Italy, but also sad to leave.
This piece is rich with harmonic challenges that support the melody which should be played in a relaxed and legato manner. The rhythm section can play in a floating manner off the bass line as an anchor with the drummer playing an ’Elvin Jones’ big three feel. Pay special attention to the dynamics as stated. The tutti/solo section is used as material for improvisation in addition to working well as a tutti line to play after the last solo.
This piece is dedicated to my dear friends Gabriele Pesaresi and Claudio Zolla, and to the people of Le Marche, Italy.
Buon Giorno Le Marche is part of an Italian Suite published by Advance Music that also includes Arrivo in Abruzzo and Scungilli.
