When I play and conduct the orchestra, ” my heart stops” from emotion

by G. Dèlmati

Giancarlo Porro directs La Paper Moon

Hor had the pleasure of meeting Giancarlo Porro, a valid musician and arranger who, as well as being a talented instrumentalist and music teacher at middle schools in Milan, sounds in the jazz/swing composed of good musicians. Further, as well as directing, rings different tools: tenor sax, baritone,contralto, clarinet and flute... and he plays them divinely. Hear its sounds, the soul remains involved. Giancarlo was born in Milan in 1956. He studied harmony and composition with Enos Patracchini – trombonist-, at jazz school; he graduated in clarinet at the G. Conservatory. Verdi of Milan with Maestro Cosimo Pomarico. He collaborated in the recording of more than 100 album con A. Sales -B. praise- And. Ruggeri- F. Guccini – F. De Andrew – P. Bertoli- R. Vecchioni – R. Casale – G. Bella – S. Caputo. With artists such as: O. Vanoni – Mina – Jovanotti G. Faletti. N. D’Angelo –

A. Celentano. In his multifaceted activity, he worked in advertising (jingle). In the theater with G. Strehler and J. Dorelli. He played for twenty years in the RAI orchestra for television shows: San Remo – Cantagiro – Doc and Fininvest – Highly awarded – Once upon a time there was a festival – Southern Italy – Paperissima – The party pooper – Barracuda. Con Steve Wonder al Palatrussardi. For seven years on tenor sax and clarinet in” Italian symphonic rhythm orchestra”. Since '97 he has been playing in the JW Band, directed by Marco Gotti, “blowing” in all the instruments mentioned… in hundreds of concerts. Album with projects related to L. Amstrong – Beatles – E. Morricone – G. Verdi – Mozart – G. Mahler…and African American music… and much more. Dal 2017 directs the “Paper Moon Orchestra” of Seregno ( MI) so composed:

– Dir. Giancarlo Porro, after a welcome coffee, here we are in comparison. I'll ask you a few questions about your current musical activity... what's the difference in playing an instrument, and conduct an orchestra?

<< When you play alone in context with others, you have to worry about your sound “be well” together with the others, that is with your section which in my case, it is that of saxophones. Anyway, all sections are parallel. While, when he heads, global concentration is needed. This is much more tiring... also when you direct it doesn't depend on you. Ad esempio, when you conduct an amateur orchestra it can happen that in a live performance, when you feel that the “things” they don't go the right way... ” my heart stops”…>>

– Then, this falls within the sensations and touches the emotions...–

<< S&igrave;, but there is another personal aspect. Being a lover of B. Brothers… in their film they said “…we are on a mission from God…” beh, I feel a little’ so… every single section must be compared in parallel with the others. Ad esempio, the sax section must compete with that of the trombones, of trumpets etc. While when you direct your responsibility is relative, since it is the others who play, so if things don't work I'm hit with problems... on the other hand, when intonation and musical language… when everything goes smoothly, I feel great satisfaction and a filling emotion …”my heart stops”…>>

– When you're the one playing in the band, as you often do, that is, when you embrace one of the multiple tools you give “entry” expressing a solo and hearing all the sections behind, what a feeling you get unlike directing?

<< Both sensations , both as performer and director. I must confess that there are no words to describe these emotions. I think that only those who perform can experience them... playing in a’ orchestra that follows you well and then performing a solo… well… it's inexpressible, ripeto:only those who play can try them…>>

– What you expressed, brings me to a question… sensitivity, in your opinion, it is innate in an artist, or it forms along the way?–

<< And’ a very interesting question. I think there are percentages: there are people born to play, people born to lead, others to compose music... I don't think it's enough to go to school. I think you have to be born with predisposed skills and gifts.>>

– And’ It's difficult to form a band/orchestra... there are choices to make, tests relating to individual instrumentalists… how to make a band?–

<< In the first place Two different situations arise: professional or amateur orchestra. The first can be trained for the purpose of a job possibility; like in my case where I play from 23 years in S.W, Absolutely professional orchestra, and with a strong esprit de corps, ci “we choose”… those who are not suitable leave. While for the band Paper Moon (amateur) which I manage in Seregno (MI) from about 3 age, I made some selections by inserting new elements from time to time, up to a current number of about twenty elements, including me. >>

– Then, there are difficulties?–

<< S&igrave;, Certainly. Difficulties related to instrumentalists... this is why when we rehearse, actually, mine are lessons focused on ensemble music >>

– These performances you propose, and some of which I witnessed, are available on request or a pre-packaged repertoire is exhibited?–

<< For some concerts a certain repertoire is required, as in the Christmas concerts; at various conventions there are specific requests: G. Miller, Count Besie, Benny Goodman... while in other cases we decide the repertoire... this year we performed Italian songs at an international level, with jazz arrangements. >>

– On average, how long does a concert last? Paper Moon?–

<< From an hour to an hour and a half.>>

– And how many pieces are proposed?–

<< Dai 18 to about twenty…>>

– La “Paper Moon” finds a certain amount of public affection? –

<< I have to say yes. For example in time of “Virus”, in Seregno, the public had to book even though it was an outdoor concert, and he accepted and shared all the necessary rules... we often play in the Auditorium, containing approx 500 people, and it is always packed. Paper Moon has an activity that is expressed in about ten concerts a year…>>

– The concerts you do, including those in the squares, in various locations they are paid? –

<<On average they are remunerated with “tokens”, as well as the singer Cecilia Antonello>>.

– Mrs. Antonello, he studied music?–

<< And’ graduated in singing and perfected her skills with Maestro Giorgio Gaslini (jazz)…he also sings ancient music , medieval and baroque …>>

– Dir. Further, you intervene with arrangements on the basic scores? –

<< I obtain arrangements on American Internet sites which are reported at various levels ( with difficulty from 1 a 5), this does not mean that on some pieces I make personal updates…>>

– You also write solos? –

<< It happens that I have to write some solos for some elements, others are the result of personal improvisation.>>

– Personally I think that improvisation is an intimate expression of the soul of a musician... –

<< Improvisation has always fascinated me. I went to school at “Terminus – MI, then with Maestro Patracchini, jazz trombonist, I approached improvisation in a way “scientific”. Anyway, when a jazz musician plays he already has in his mind and in his heart what he is expressing... as if he had a canvas within himself and filled it,appunto, with improvisation…>>

– A few words about Hot and Cool jazz…–

<< Hot jazz played by mostly black musicians, It is more aggressive in tone, while Cool jazz, played mostly by white musicians, it is less aggressive…>>

– Dir. Giancarlo Porro, to conclude?

<< I think I was lucky, I never thought I would have the feedback I have had and currently have, both professionally and artistically, because after the first experiences I had in dancing and nightclubs, I recorded several pop music albums; I worked in television, in theatres; I'm a musician who has played with the major songwriters... a total of a hundred albums... in the end, I'm very happy with that

what I have done and do.

I would like to mention with an aside: who is interviewing me, the journalist in question, he was my first orchestra leader (Complex “Bobo and the Legendary” 1972… 48 years ago…). I had the pleasure of meeting and hugging him at some of my concerts… the pleasant surprises of life!>>

– Thanks Director. Giancarlo Porro, and sincere best wishes also on behalf of Communication and Forms newspaper for his still promising career. –

… PHOTO GALLERY to follow

G. LEEK WITH TENOR SAX

SAX CONTRALTO

Further, ON THE FLUTE

CECILIA ANTONELLO – YOU PAPER MOON

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Gianpiero Delmati