Elio e le Storie Tese wasfounded in Milan in 1980 by Elio. Elio takesitsname from his first songwhichisentitled "Elio".

The first line-up, whichperforms in the first concertheld in July 1980 at the party of CAF San Siro in front of an audience of a dozenretirees, iscomposed of Elio (guitar and vocals), Cortellino (bass) and Zuffellato (drums).

Cortellinowillsucceed Chiosco and then Scaffale, until the arrival in '85 of Faso, beyondwhichitisnotreallypossible to go.

Zuffellatowillleave the place to Cosma and then, since the entry of Rocco Tanica in 1982 until the arrival of Christian Meyer in 1988, the "place" disappears, replaced by the cheaper and lessbulkyDrumulator of Rocco Tanica, of which the visitors of the Magia Music Meeting in Via Salutati willremember the funnyjokes, everythreesongs, to entertain the wait for the loading of the song from tape recorder.

At the beginning Elio, in addition to singing, isalso the guitarist of the group, then, when in 1984 one of the best rock guitarists of the Milanese square, Cesareo, arrives, he prefers to dedicate himself to be the full-time frontman with measuredincursions of transverseflute.

In 1988, the skill and verve of Christian Meyer are right of the Drumulator and, more or lesssimultaneously, enters the groupFeiez, sings, playspercussion, sax, guitar, makespeoplelaugh, allat the level of Elio e le Storie Tese (thatisvery high): the dream of every band on the face of the earth, lastedtenyears, thanksFeiez.

In 1992, at the beginning by Elio'swill and soon by acclamation, Mangoni, Elio'sclassmate in high school, joins the band (thoughremaining, as Elio says, "an artist in hisown right") and iscalled to play himself on stage (a pirate, definitive icon of the piratethatis in eachone of us) eventhough in the meantime he hasbecome a lovinghusband and fatheraswellas an esteemedarchitect (author, amongotherthings, of the "Mangoni Tower" in Via Nervesa, easilyvisible to thosepassing over the flyover from Piazzale Bologna to Piazzale Cuoco, lookingtowards the left).

The last to arrive, in 1999, wasJantoman or, as more and more peopleseem to believe, "Uomo" who, in perfectsymbiosis with Rocco Tanica, shares the numerous and complexkeyboardparts and constitutes the "technological pole" of Elio e le Storie Tese, in continuousdialectic with the "analogue" side of Faso, Meyer and Cesareo, the pure performers of the group.

Since 2008 Elio isoftenjoined by the talentedsinger Paola Folli, "the honeythatturnsinto a voice" in the words of Architect Mangoni.

In 2016 Rocco Tanica decides to say goodbye to concerts to focus on studio work, hisplace on stage istaken by his friend and longtime collaborator Vittorio Cosma.

 Line up:

  • Elio: vocals, flute
  • Faso: bass
  • Cesareo: guitar
  • Rocco Tanica: keyboards
  • Christian Meyer: drums
  • Jantoman: additionalkeyboards
  • Mangoni: artist on his own


Now a talented instrumentalist and composer, Thom Rotella has achieved both critical and commercial success. He hasproduced and recorded 11 CDsas a leader thathavegarneredlistenersthroughout the world for manyyears. He hasalsohad a thriving career writing and playing for television and films, aswellasbeing an in-demand session player.

Rotella hasperforming and recordingcredits with a wide variety of world-renownedartistsacross the musical spectrum, including Norah Jones, D onnaSummer, Frank Sinatra, Cher, The Beach Boys, Phil Spector, Lionel Richie, Bette Midler, Luciano Pavarotti, Seth MacFarland, David Foster, Stanley Turrentine, Tom Scott, Rick Braun, Gerald Ablright and GreggKarukas.

Rotella wrote and performed the score for the movie "Altos"; aswellaswriting for and performing on such TV shows "Ellen DeGeneres"; "Extra"; "Sex and the City"; and "China Beach." He createdoriginal music for televisioncommercials for Ford, Cadillac, Goodyear, Chevrolet and Taco Bell. In addition, he alsoplayedguitar on "The Simpsons," "Family Guy," "American Dad," "The Tonight Show" and "The Tracey Ullman Show." He hasappeared on numerous movie soundtracks, including "Ted," "Ted 2," "Splash," "Same Time NextYear," "The Gods Must Be Crazy," "Rumblefish," and "Mississippi Masala."

Thom Rotella wasborn in Niagara Falls, N.Y., surrounded by a very musical family. When he wassixyearsold he startedplaying for the fun of it on hisgrandfather'sguitar. He beganseriousguitarlessons at theage of ten. As a teenager, Rotella played rock 'n roll, butsoondiscovered jazz through the recordings of Wes Montgomery. He subsequentlyattended Ithaca College (as a classicalguitar major), and whileatBerklee College, studied under Gary Burton (1970-1972). Rotella leftBerklee to tour with a lounge band, thenmoved to Los Angeles where he found a mentor in the legendary studio guitarist Tommy Tedesco. He quicklyestablishedhimselfas a top call studio musician. However, after a fewyears of this work, he began to miss performing live, so in 1980 moved to New York, wherealthough he continued studio work, he alsohad more opportunities for live performance.

Itwasatthis time that he was "discovered" by the pioneerdigitalrecording company, DMP (Digital Music Products) and made 3 CDs, (1987-90) all of whichfound a world-wide market, receivingextensive radio airplay.

By 1988, with enough of New York under his musical belt, he moved back to Los Angeles. A 1996 Christmas album for Telarc led to a signing with thatlabel and the recording of 1997s "Can't Stop," whichincluded the top radio hit "What's the Story." Taking a hiatus for a while, in 2002, Rotella returned to the scene with an "homage" to Wes Montgomery, titled "A Day In The Life." Thatwasfollowed by a straight-ahead jazz release, "Out of the Blues." in 2007 and another Christmas CD, "12" in 2012.

He iscurrentlyworking on a new jazz CD; isfeatured on a big band collaboration with composer Walter Murphy ("Family Guy", "Ted, Fifth of Beethoven") and continuesperforming with his 4tet, with sax legend Ernie Watts. Rotella says: "Thereisnothing more funthanplaying live, becauseI'mable to get an instantaneousresponse to whatwe'redoingas a band, and to seehowthatmovespeopleemotionally. The interplaybetweenthesemusiciansisincredible, and alwaysleads to surprises."

Rotella continues to surprise and leadhisaudiencesintooften-unchartedterritory -- butalways with thatsense of adventure and passionthathavebeen a cornerstone of his musical life.



Montreal jazz band in the fusion style. Itwasformed in 1976 in Drummondville, Que, by the guitarist Michel Cusson (b there 22 Jan 1957) and others. Followingitsdebut 14 Aug 1976 at St-Euzèbe, Que, ittook the nameEusèbe-Jazz, subsequentlyshortened to UZEB, and soonmoved to Montreal. The drummer Jean St-Jacques and the bassist Alain Caron (b St-Eloi, Que, 5 May 1955) hadjoinedCusson by 1978; St-Jacques wasreplaced by SylvainCoutu, and Coutu in 1980 by Paul Brochu (b Quebec City 5 Apr 1958). UZEB wascompleted by a keyboard/synthesizer player until 1987 - in turn, Stéphan Montanaro, Jeff Fisher, Michel Cyr, and itsformerdrummer St-Jacques. Itcontinuedafter 1987 as a trio: Cusson, Caron, and Brochu. UZEB'smembersalsohaveworkedas studio musiciansthroughoutitshistory and the band itselfaccompanied Diane Tell and Claude Dubois on tours in 1980 and 1982 respectively.

UZEB enjoyed pop-star status in Quebecduring the 1980s, winning Félix awards asgroup of the year in 1984 and 1989 (in competition with pop and rock bands) aswellas for jazz album of the year in 1983, 1984, 1986, and 1987. In addition to many province-wide (and severalnational) tours, itappearedregularlyat the FIJM, culminating in concertsat PDA in 1989 and 1991, an honorotherwiseaccorded by the festival only to Oliver Jones and Oscar Peterson among Canadian musicians. In 1991 UZEB received the FIJM'sPrix Oscar-Peterson. The band'spopularity and dazzlingblend of instrumentaltechnique and technology, whichhas offset a ratherlacklustrerepertoire of originalcompositions, has made UZEB a compelling model for youngQuebecmusicians and hasaccounted in part for the greaterpopularity of fusion in Quebecthanelsewhere in Canada during the decade.

UZEB made itsEuropeandebut in 1981 at the Bracknell (England) Jazz Festival, where the first of itsseveral live albumswasrecorded. Beginning in 1983 with an appearanceat the Festival de Jazz de Paris, UZEB enjoyedgreatpopularity in France; itrecordedLPsat the Olympia in Paris on itsown and with the French violinist Didier Lockwood in 1986. UZEB alsohasappearedthroughout Europe and in 1990 toured in the Far East. Itsappearances in the USA, however, havebeen rare. Sales internationally of itseightrecordings 1981-8 for the Montreal labelParoles et musiqueexceeded 200,000 by 1989, an unprecedented figure for a Canadian jazz group. UZEB'smostpopularcompositions include Junk Funk, Smiles and Chuckles, Mile 'O', 60 rue desLombardes, Spider, and Uzeb Club, mostwritten by Cusson alone or in collaboration with other band members. A folio of 16 UZEB pieces, Compilation 1982-1988, waspublished in 1989 by Editions UZEB/Editions Luna-Mars.

In 2017, the band reformed for a series of fiveconcerts in Europe and fourteen in Quebec.

Line up:

  • Alain Caron: bass
  • Paul Brochu: drums
  • Michel Cusson: guitar



Bass player Alain Caron’s career began at the age of 11, when he entered an amateur competition. He later joined various groups to play the top 40 popular music and American and French standards. At the age of 14, he was presented with a record by Oscar Peterson and discovered the music that became his greatest passion, JAZZ.

It was in 1977 that Alain Caron met Michel Cusson and his band. Caron was then in the company of musicians of the same calibre who appreciated the basics of jazz while having the will to innovate. They were born in 1980, like the fusion jazz group UZEB.

In Montreal, in addition to playing with the band, Alain Caron started working in different recording studios and performing in jazz clubs. Although he considered himself a self-taught musician, he took some private and correspondence courses before attending the Berklee College of Music in 1979. During his stay in Boston, he was put in touch with elite jazz musicians and began playing in Boston jazz clubs with David Kikovsky, Tom Harrell, Sal Nestico, Frank Tiberi, Jerry Bergonzi and Bob Moses.

However, he decided to return to Montreal to dedicate himself almost exclusively to UZEB. The group recorded ten albums between 1981 and 1990. Over 400,000 copies have been sold worldwide, with countless concerts in more than 20 countries. In April 2005 he was invited to participate in a series of performances and recordings with the prestigious big band WDR in Cologne, Germany, under the direction of Michael Abene.

Alain Caron has released more than 20 records, both solo and with UZEB, as well as collaborating on about 50 albums by artists who have evolved in jazz, world music and pop. Winner of numerous awards (including 11 Félix and Gemini) and Oscar winner Peterson twice, Alain Caron has been voted best bassist for eight consecutive years by Jazz Report magazine.

Caron quickly earned his reputation as a master of the six-string electric bass guitar. As such, he has been invited to teach master classes in most major cities around the world. In 2007 he received an honorary doctorate from Rimouski’s “Université du Québec”.

In September 2016, Caron began a new career as a bass teacher and head of the jazz master’s program at the University of Montreal. Also, in 2016-17, he performed a series of concerts in Argentina and the United States, including a performance at the renowned “Dizzy’s Club Coca Cola Jazz at Lincoln Center” in New York.

After almost 10 years as spokesman for the Italian bass amplifier company Markbass, Alain participated in the announcement of the release of a second SIGNATURE amplifier at the prestigious NAMM show in California. In addition to being the spokesperson, Caron contributed to the conception and design of this amplifier.

After 25 years of absence, UZEB announced his return. In addition to the Montreal Jazz Festival, where the tour kicked off, the famous power jazz trio also performed in France, Israel, Italy and Canada.

In July 2018, he was honored to receive the Order of Canada, the highest civil award awarded in Canada! 



Bassist, double bass player and arranger, Federico Malaman graduated in double bass in 2000 at the Conservatory of Music “E. F. Dall’Abaco” in Verona. Very young, he started working with Paolo Belli’s Big Band as a bassist and arranger in important Italian RAI television programs: “Ballando con le stelle”, “Telethon”,” Torno Sabato”.
Strong of an extraordinary versatility, Federico has established himself as an appreciated and requested session man, accompanying in tour acclaimed Italian artists such as Mario Biondi, Elio e le StorieTese, Antonella Ruggiero, Paolo Belli. At the same time, he has gained authority as a virtuoso of reference on the electric bass in the current international jazz, fusion and progressive scene. A creative and tireless musician, Federico continues to be divided between records, recording studio, festivals, TV shows and international music fairs. Federico’s popularity on the Web is absolutely remarkable: thanks to his amazing virtuosity, combined with an innate sympathy and communication skills, Federico Malaman has become a real star, imposing himself as a prominent teacher and one of the most followed musicians on the net. In his musical journey, Federico has had the honor of playing, among many others, with George Benson, Solomon Burke, Wilson Pickett, Al Jarreau, Kid Creole, Zucchero, Lucio Dalla, Ron, Renato Zero, Claudio Baglioni, Gianni Morandi, Giorgia, Gianna Nannini, Fabio Concato, Marcus Miller, Virgil Donati, Victor Wooten, Billy F. Gibbons (ZZ Top), Jean-Paul “Bluey” Maunick (Incognito), David Garfield, Stefano Bollani, Paolo Fresu, Stef Burns, Andrea Braido, Maxx Furian, Christian Meyer, Alfredo Golino, Ellade Bandini, Ada Rovatti and many other artists.