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JAZZ

KD

KD

€ 13,50

1 - Dorham's Epitaph,  1:40 2 - Monaco,  6:02 3 - None Shall Wander,  5:32 4 - Lotus Blossom,  6:01 5 - La Mesha,  5:46 6 - Jazz-classic,  6:09 7 - Sunset, 5:04 8 - Blues Elegante,  5:05   Tot. Time:  41:24   All compositions by Kenny Dorham   Lorenzo De Luca, sax Martino De Franceschi, double bass Marcello Abate, guitar Marco Soldà, drums   88.2kHz / 24bit digital recording made at Magister Recording Area, Preganziol- Italy,  on January 5, 2021   Production: VELUT LUNA Executive Producer: Marco Lincetto Balance recording engineer: Marco Lincetto Pro Tools operator: Andrea Valfrè Mix and Mastering engineer: Marco Lincetto Photo: Marco Lincetto Design and layout: L'Image   Questo disco si avvale anche del contributo economico del PROGETTO LPM, nato da un atto di mecenatismo privato e finalizzato a sostenere l'avvio all'attività professionale dei giovani eccellenti fra i laureandi e i laureati dai Conservatori Statali di Musica del Veneto.   TESTI   Kenny Dorham (a differenza del quasi coetaneo Miles Davis) viene spesso inserito nella categoria dei musicisti sottovalutati, nonostante una carriera molto intensa; in effetti soprattutto nel suo ultimo periodo - è morto nel 1972 - non ha avuto vita facile. Un aspetto che però caratterizza e nobilita la figura di KD (così viene chiamato dai jazzisti) è la sua attività di compositore: sono oltre la sessantina i brani da lui scritti, tutti interessanti, articolati e a volte molto lirici. Numerose sue composizioni sono entrate a far parte del repertorio jazzistico contemporaneo e questo CD ne è la prova. L’energia e la creatività di Lorenzo, Marcello, Martino e Marco dimostrano come sia possibile dare una versione assolutamente contemporanea e non datata delle composizioni di KD rispettando pienamente l’idea originaria dell’autore. Lunga vita a KD! Pietro Tonolo Kenny Dorham (differently from his almost contemporary Miles Davis) is often enclosed in the category of the undervalued musicians, despite a really intensive career. Indeed, in particular in his latter period – he died in 1972 – his life has not been easy. An aspect that characterises and dignifies KD (as he is called by jazz players) is his activity as a composer: there are more than sixty pieces he has written, all interesting, flowing and at times, particularly lyric. Many of his compositions have become part of the contemporary jazz repertoire and this CD is a demonstration of it. Lorenzo, Marcello, Martino and Marco’s energy and creativity show as it is possible to give an absolutely contemporary version of KD’s works, without date, fully respecting the author’s original idea. Long live KD! Pietro Tonolo     Quando ci è stato proposto di realizzare un omaggio alla musica di Kenny Dorham, abbiamo colto l’occasione con entusiasmo e curiosità. Il lavoro che ne è uscito è il prodotto delle nostre numerose esperienze come gruppo (condivise sia in ambito accademico sia artistico) e del nostro background musicale, dal quale abbiamo attinto nel reinterpretare un repertorio intriso di colori e suoni affascinanti. Di fatto, abbiamo scelto le composizioni più vicine alla nostra sensibilità, in alcuni casi deviando dall’idea originaria del trombettista.  Sonorità afrocentriche, reminiscenze blues e delicato lirismo trovano negli elementi tipici del bebop il loro denominatore comune, fornendoci un materiale ricco sul quale lavorare senza stravolgerne, di per sé, l'essenza. Affrontare un lavoro monografico su un autore prolifico come KD è stata un’opportunità stimolante: collaborare  ad  un  progetto  discografico  in  un  periodo  in  cui  gli  incontri  sono  rari,  ha rappresentato  per  noi  una  sfida,  mettendoci  alla  prova  nel  realizzare  un  album  che  fosse  il  più  fedele possibile  a  un’esecuzione  dal  vivo. Lorenzo, Marcello, Marco, Martino When we were suggested to perform a homage to Kenny Dorham’s music, we took the opportunity with both enthusiasm and curiosity. The result has been the result of our various experiences as a group (shared in both academic and artistic field) as well as of our musical background, from which we drew in the reinterpretation of a repertoire full of fascinating colours and sounds. As a matter of fact, we chose the pieces that were nearer to our sensitivity, a few times turning away from the trumpet player’s original idea.  Afrocentric sonorities, blues reminiscences and delicate lyrism find their common denominator in the typical elements of bebop, providing us with a rich material on which it is possible to work without upsetting its essence. Facing a monographic work on a prolific author such as KD has been a stimulating experience: contributing to a discographic project in a period when meetings are rare, has represented a challenge for us, making us test how to produce an album as close as possible to a live performance. Lorenzo, Marcello, Marco, Martino  

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MINGUS WORLD

MINGUS WORLD

€ 13,50

VELUT LUNA CVLD320 - MINGUS WORLD UPC: 8019349878692 01 - Monk, Bunk & Vice Versa  4:30 02 - Fables Of Faubus  6:40 03 - Goodbye Pork Pie Hat  4:51 04 - Jelly Roll  3:35 05 - Duke Ellington Sound Of Love / Oh Lord, Don't Let Them Drop That Atomic Bomb On Me  7:55 06 - O.P.  3:10 07 - Sue's Changes  6:18 08 - Jump Monk  4:38 09 - Better Get Hit In Your Soul  4:18 total time: 45:58 All compositions by Charles Mingus All arrangements by Salvatore Maiore and Maria Vicentini Maria Vicentini, violin and viola Salvatore Maiore, cello and double bass 88.2kHz/24bit original recording made live-in-studio at San Giacomo Spazio d'Arte, Italy, on November, 30, 2019 Marco Lincetto choose a pure DECCA TREE recording set up, using three RIBERA R12 vacuum tube microphones Production: VELUT LUNA Executive Producer: Marco Lincetto Balance Engineer: Marco Lincetto Recording Engineers: Cristiano Zatta & Marco Lincetto Editing Engineers: Cristiano Zatta & Marco Lincetto Mix and Mastering Engineer: Marco Lincetto Photo: Marco Lincetto Design and layout: L'Image Kingus Mingus Più invecchio, più mi irrito per la banalità del racconto sul jazz e sui suoi personaggi rinchiusi nei luoghi comuni che vanno dal “buontempone dalla risata perenne” al “genio e sregolatezza”, passando per una serie di frasi fatte che vi risparmio e mi risparmio. Più invecchio, più gioisco quando mi imbatto nei lavori di musicisti di ogni generazione che non si fermano alle formulette stereotipate, ma al contrario si attivano in opere di sana ricerca e di  approfondimento, guidati da una concezione del jazz come grande crocevia di apporti culturali . La rilettura dei capolavori di Charles Mingus realizzata da Maria Vicentini e Salvatore Maiore, se da una parte ne mantiene con grande luminosità l’effervescente fiume tematico, dall’altra ne esalta i valori contrappuntistici, la vocazione per il dialogo, il coraggio della sperimentazione, e il gusto per i colori tipico dell’amato Ellington, ma anche di Oscar Pettiford, qui deliziosamente omaggiato con “O.P.”, e non a caso anche lui violoncellista oltre che contrabbassista. Il tutto con la competenza strumentale, l’impegno nella progettazione del percorso, l’esecuzione “senza trucco e senza inganno”, ma al tempo stesso la leggerezza e la sottile ironia vuoi nelle improvvisazioni quanto negli obbligati che caratterizzano i musicisti maturi ma ancora freschi e creativi, in grado di quel non prendersi troppo sul serio che è in realtà l’anticamera della serietà. Insomma un bel servizio a Mingus, che se ce ne fosse ancora bisogno, si disvela artista dalle ampie visioni, ben oltre quel borioso e vanitoso attaccabrighe da bar dello sport che tante voci (…compresa quella di lui medesimo…) ci hanno superficialmente descritto. The more I get older, the more I get angry for the banality of the story about jazz and about its characters limited in common places varying from  the “always smiling jolly fellow” to the “genius and recklessness”, passing through a series of readymade sentences I want to spare to you and to myself. The more I get older, the more I rejoice when I run up into the works of musicians of every generation that do not stop at the stereotyped easy formulas, but, on the contrary, activate in works of research and further analysis, driven by an idea of jazz as an important crossroads of cultural contributions. The new reading of Charles Mingus’ masterpieces carried out by Maria Vicentini and Salvatore Maiore, on one side keeps its sparkling thematic flow with brilliance, on the other enhances its contrapuntal values, the vocation for dialogue, the courage of experimentation, and the taste for colours, typical of the beloved Ellington, but also of Oscar Pettiford, here deliciously honoured with “O.P.”, not by chance he himself being a cellist and a double bass player as well. All this with the instrumental competence, the commitment in planning the course, the performance “without tricks and deceits”, but at the same time the lightness and the subtle irony both in the improvvisations and in the obligatos characterising mature but still fresh and creative musicians, so good in not showing themselves too serious, thus showing their seriousness and reliability. All considered, this is a good service paid to Mingus, who, if it were still necessary, reveals to be an artist with wide visions, much more than the arrogant and vain quarrelsome person superficially described by many voices, including his own.  Bruno Tommaso  

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AT TIME IT IS

AT TIME IT IS

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“At the moment it is” wants to be a new musical experience through jazz music with the idea of recovering the essence of music and composition through the desire to search for sound innovations combined with my crossover style. The musical compositions inside the album are characterized by different musical styles: listening to my new project you will find some Latin influences combined with Arab riffs, all in harmony with my jazz style. I think modern music is very close to the idea of “musical freedom”, the same freedom that characterized the music of the past, especially baroque music. In both you can play “what is not written on the music sheet” being free to express your musical sensibility with your playing. This is the reason why I decided to honor in my album J. S. Bach and Girolamo Frescobaldi, two composers of the past who were very modern during their time and which are still current today. Both have influenced my musical growth and my way of playing and composing. Finally I want to thank my friends who have shared “my idea of making music” with me. Vincenzo Cipriani was born in Bad Cannstatt (Germany) on 12 October 1969. He is a professional pianist, organist and composer of music. Vincenzo also teaches jazz harmony, rhythm of contemporary music and air training. During his career he has released two original music albums entitled “Weke music for piano & string” (Velut Luna, 2010) and Eclectic Inside (Farelive, 2018). He has also performed in many international tours in China, Hong Kong, Lithuania, Belgium, Brazil, Thailand, Turkey, Egypt, Romania, El Salvador, Germania e Francia. He collaborates with some famous Italian actors such as Giancarlo Giannini, Michele Mirabella, Silvia D’Amico            

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JAZZ NATURE

JAZZ NATURE

€ 13,50

Lucia Minetti, voice Pietro Ballestrero, guitar Stefano Profeta, double bass Production: VELUT LUNA Executive producer: Marco Lincetto Recording, mix and mastering engineer: Marco Lincetto Cover photo: Massimo Forchino Inside photos: Marco Lincetto Design and layout: L'Image The recording was made direct to stereo master, strictly live-in-studio, during only one session at MagisterArea Studios, Main Hall, Preganziol, Italy, on September 23rd, 2017 THIS IS A PURE AUDIOPHILE RECORDING: during the recording of the digital HD PCM 88.2kHz/24bit master and the contemporary analog master and the subsequent transfer to disc, the entire audio chain was trasformerless. The signal was not passed through any processing device (no compression, no equalization and no corrective editing) at any step during production. Musical Notes by Lucia Minetti Over the years, I have sung and loved many repertoires, exploring different worlds, from Fado to Brazilian music, from French "chanson" to Jazz. From the time of my album "Elle" published in 2003 and produced with my music mentor Giorgio Gaslini, this is the first work entirely devoted to the standards of the great American songbook. This is for me a sort of return to the heart of what has always been the main reference point of my artistical path. Jazz can represent for a musician a particular way to relate to art, a desire for freedom, a wish to experience new emotions, to dare while singing and playing. I share this particular feeling with Stefano and Pietro and this is the reason why we decided to call this project "jazz Nature". A natural way to make jazz that becomes immediately the key to play and sing a vast repertoire of songs from the 1930s to the 1970s. Marco Lincetto immediately grasped the mood of this research and proposed us a live studio recording mode that enhances the features of our "natural" approach as well as the extraordinary technical qualities of audio recording. We have accepted with great enthusiasm this challenge, and lived together an incredible experience, two days during which the music was played, sung, listened and recorded with the same tension and emotional intensity one can feel only during best concerts. Lucia Minetti

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ROOTS

ROOTS

€ 13,50

VELUT LUNA CVLD279 - ROOTS upc: 8019349159555 ISCR: ITW311627901 ..02 ..03 ... Il chitarrista torinese Pietro Ballestrero firma il suo quarto lavoro solista con l’etichetta Velut Luna, qui insieme ad Achille Succi, musicista italiano tra i più interessanti, apprezzato anche all’estero come specialista del clarinetto basso. In questo progetto ognuno dei due strumenti può essere cantante o bassista, creare linee melodiche oppure riffs, ritmo e armonia, per dar vita ad un intenso dialogo che fonde scrittura, improvvisazione jazzistica e contrappunto. La profonda ricerca timbrica, che permette al duo di spaziare con omogeneità da composizioni originali fino ai Radiohead e Nick Cave, è fedelmente ritratta con un’incisione “live in studio” dal fonico e produttore Marco Lincetto, che ancora una volta ci regala una qualità audio straordinaria. Guitar player Pietro Ballestrero signs his fourth work as a leader with the label Velut Luna, here together with Achille Succi, one of the most interesting Italian musicians today, well known also abroad as a specialist on bass clarinet. In this project each one of the two instruments can be a lead voice or a bass player, creating melodic lines or riffs, rhythm and harmony, in order to give birth to an intense dialogue that melts written material, jazz improvisation and counterpoint. The deep timbrical research, allowing the duo to range seamlessly between original compositions and a couple of beautiful covers from Radiohead and Nick Cave, is faithfully portrayed with a “live in studio” recording by the producer and sound engineer Marco Lincetto, who once again makes us the gift of an extraordinary audio quality. TRACKLIST 1 Hopeful triads (P. Ballestrero) 7:13 2 Non vuole uscire (Achille Succi) 4:27 3 Upi (P. Ballestrero) 6:02 4 Gigiù madama (Achille Succi) 4:00 5 Ugo (P. Ballestrero) 6:42 6 I cavalieri della tavola rotonda (P. Ballestrero) 6:02 7 Gentle snow (Achille Succi) 6:34 8 Paranoid android (Radiohead) 7:14 9 Roots (P. Ballestrero) 3:23 10 Into my arms (Nick Cave) 3:41 Total Time: 55:22 24bit/88.2kHz recording made live-in-studio at Areamagister Recording Studios, Preganziol (Italy), on September 27th and 28th, 2016 Production: Velut Luna Executive producer: Marco Lincetto Recording, mix and mastering: Marco Lincetto Design: Limage Photographs: Andrea Faggiano, Marco Lincetto, Manù Ballestrero

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WHEN YOUR DRUMMER HAS GONE

WHEN YOUR DRUMMER HAS GONE

€ 13,50

When Your Drummer Has Gone Massimo Salvagnini, clarinet Sandro Gibellini, guitar Velut Luna CVLD284 Introduction Music rises before being placed in a certain kind. In this case, Sandro Gibellini and I agreed to record beautiful songs in the best way we could, avoiding to use them just as schemes to improvise on. The songs we chose are absolute musical pearls, with perfect melodies and harmonies. They just need musicians to play them with love and passion. It's like lighting up a fire on a beach, in a rough night. That done, there is a pleasure to share with the human beings close to us. Massimo Salvagnini Tracklist 1 My Melancholy Baby - Ernie Burnett & George Norton 2 Stardust - Hoagy Carmichael 3 Indiana - Ballard McDonal & James Hanley 4 I'm Confessin' - Chriss Smith & Sterling Grant 5 You Took Advantage Of Me - Richard Rodgers & Lorenz Hart 6 In A Sentimental Mood - Duke Ellington 7 When It's Sleepytime Down South- Clarence Muse, Leon & Otis Renè 8 Till There Was You - Meredith Wilson 9 Pennies From Heaven - Arthur Johnston & Johnny Burke 10 Prisoners Of Love - Russ Columbo, Clarence Gaskill & Leo Robin 11 Foolin' Myself - Jack Lawrence & Peter Tinturin 12 The Gipsy - Billy Reid 13 I'm Getting Sentimental Over You - Ned Washington & George Bassman 14 When Your Lover Has Gone - Einar Aaron Swan 15 On A Slow Boat To China - Frank Loesser 16 There Will Never Be Another You - Harry Warren & Mack Gordon 24bit / 88kHz original live-in-studio recording made at San Giacomo Spazio d'Arte, Italy on May, 13th, 2016 The recording was made using only Ribera R12 Handmade Tube Microphones ( NOS stereo pair and close). During the recording of the digital master and the subsequent transfer to disc, the entire audio chain was trasformerless. The signal was not passed through any processing device (i.e. compression, limiting or equalization) at any step during production. Production: Velut Luna Executive Producer: Marco Lincetto Recording Engineer: Marco Lincetto & Cristiano Zatta Mix and Mastering Engineer: Marco Lincetto Cover Design: L'Image Design and layout: L'Image Photo: Marco Lincetto

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LUSH MUSIC

LUSH MUSIC

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Lush Music: the wonderful kaleidoscope of Billy Strayhorn In the last years the master searching of archives on Billy Sytrayhorn's figure, his role and style has led more and more musicians and music experts to appreciate his talent and his personality releasing him from the gaudy shadow of the great musician Duke Ellington, with whom he collaborated for almost 30 years. The centenary of his birth in 2015 has given a great impulse to the searching on his style and the amazing qualities of Stray, as he used to be called by the Ellington's band. Ellington, being linked to Strayhorn by a relationship of a human and close musical friendship, never hid his admiration and gratitude for him expressing them in his famous autobiography Music is My Mistress (1973),." ): "Billy Strayhorn was my right arm, my left arm, all the eyes in the back of my head, my brain waves in his head, and his in mine. Strayhorn played different roles within Ellington's band such as composer, arranger, pianist, (either in the recording studio and alive) making not only transparency in the orchestration of the complex harmonic style of the band's leader but also bringing a classic emphasis. Besides, he collaborated with famous masterpieces like Such Sweet Thunder, A drum is a Woman, The Perfume Suite, The Far East Suite, Anatomy of a Murder, The Nutcrackers Suite. He also wrote many songs which became Ellington's hits such as the well-known Take the "A" Train and Chelsea Bridge. In this album the ensemble N.P. Stray Horns, has been produced within the New Project's activity whose musicians works between Trento and Bolzano meeting Strayhorn's music, reinterpreting some of his unforgettable masterpieces of his production ranging from the famous Lush Life to the last work, Bloody Count, recorded by Ellington himself posthumous his friend's premature death in 1967. The project was conceived as a collective work, in which many of the musicians involved have given their contribution arranging the original pages. By doing so they managed to create a sound kaleidoscope where the music of the African-American artist has been reinterpreted with great respect and with a certain spirit of adventure that often characterizes many reinterpretations of jazz music. Roberto Spadoni

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SETTE PASSI VERSO IL CIELO

SETTE PASSI VERSO IL CIELO

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Title SETTE PASSI VERSO IL CIELO (Seven Steps To The Sky) Velut Luna CVLD260 "...It’s not classical, it’s not jazz…” This is the mantra I have found myself repeating since I started out on the cultural adventure of Velut Luna about twenty years ago. I think it is the best way to describe many of my records. The music of Roberto Manuzzi not only supports this "mantra;" if such a thing is possible, it sheds even more light on certain special features of great modern music that I love so much. This is what I look for in the artists I want to produce. This music lives and breathes our time. It takes its inspiration from the thousand and more geniuses who have been writing music for centuries. Roberto Manuzzi’s “musical pictures” also have a characteristic which makes them easy to listen to and enjoy: they are very descriptive, and are full of emotion. Wisely, he doesn’t throw away melody, but he uses very special harmonies. These are never banal, but they certainly don’t show off. So is music has a lightness of touch and this is where its strength comes from. It reminds me of an Impressionist sketch by Monet. As they lead us ever upwards, Manuzzi’s saxophone accompany us very peacefully towards the sunset and into the dark night. Our journey together is full of vitality, expression, and culture. But it is never tedious. It never tries to teach us something, and it is certainly never banal. Artist Roberto Manuzzi, sax Multi-talented musician, saxophonist, and composer. Born in Rome, he lives in Ferrara. He has composed sound-tracks for both theatre and the cinema, and teaches and experiments in many different modern musical languages. He has already made several CDs under his own name for different record companies, and others where he is the arranger and performer. He worked unremittingly from 1979 to 1990 alongside percussionist Andrea Centazzo as a soloist and arranger, with musicians such as Paolo Fresu, Enrico Rava, Gianluigi Trovesi, Radu Malfatti, and Albert Mangelsdorff, and has appeared at some of the best-known jazz festivals in Italy and around the world. He is the coordinator for jazz courses and a teacher of music and performance skills for jazz students at the Conservatory in Ferrara. From 1986 to 2013, Manuzzi was saxophonist (but he also played several other instruments) in the band of the well known Italian singer-songwriter Francesco Guccini. He performed during all his tours and all his recording sessions. Manuzzi’s music has been published by EUFONIA and WICKY MUSIC. Paola Tagliani, piano A pianist with exceptional expressive and technical skill, Tagliani was born in Ferrara, where she still lives. She studied piano at the City Conservatory under Rina Cellini, and was awarded top marks at the end of her course. At the same Conservatory, again with top marks, she graduated with a B. Mus. in pianoforte. She now teaches and gives concerts of chamber and orchestral music. Tagliani has appeared on television and performed at many multi-media events. She has given solo and duet performances (with Rina Cellini) at the Teatro Claudio Abbado in Ferrara of music by Mozart, Beethoven, Schumann, and Brahms. With the Città di Ferrara Orchestra she has performed Mozart’s KV 413, KV 414, and KV 415, and Haydn’s Concerto in G major (cadenza by Nino Rota).

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SOMEONE LIKES IT ZOMBIE !

SOMEONE LIKES IT ZOMBIE !

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MR ZOMBIE ORCHESTRA A drum-kit in constant movement, a bass always in control of the situation, a liquid and unstoppable piano and guitar which are at the same time capable of uniting distant worlds... This is the first impression on listening to “Mr Zombie Orchestra”, a group which demonstrates to even the most distracted listener that they posses far more musical references than that which they mentioned in their musical program, which includes both Jelly Roll Morton and Secondo Casadei (but to whom we can easily add Anibal Troilo, Georges Bizet, Danny Elfman, Ennio Morricone, Django Reinhardt and the list certainly doesn’t end here). The impression given is one of skilful research which supports an “omnivorous” taste, which magically gives the feeling of completeness and style. “Mr Zombie” drags the public into a fairy-tale, recreating the atmosphere of an orchestra at the start of the 20th century, one that mixes valzer, jazz, mazurca and tango, with no other aim but the entertainment of the public and their own musical enjoyment. This orchestra in question, rather than re-emerging from an oleographic past, seems to definitely come from the third millenium or even another one, being more similiar in many ways to the “cantina band” of the bees of Star Wars than to some swing remakes in the recent past. The result is something far different to the material used, one which both surprises and fascinates because of the continuous prestidigitations operated by these young apprentice wizards. The indisputabile excellence of this quartet, at ease with all the musical styles that they mix in their magical cauldron, makes the project uniquely interesting in the Italian musical panorama, one that is, in these times, so hungry for intelligent music.

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ADAMO... LET'S SWING!

ADAMO... LET'S SWING!

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Jazz. Original compositons by: Piccoli, Marks-Irving-Lerner, Cole-Mills, Bresler-Winn, Johnson, Prima, Ellington-George-Hodges-James, Warfield-Williams, Rose-Lewis-Stock, I. Gershwin-G. Gershwin. The Metronomes: F. Michielin, C. Piccoli, S. Fedato. Special Guests: M. Strano, Bonivento, M. Scomparin, L. Bottos, M. Gava. M24bit/88.2kHz digital recording made at MagisterAreaStudios, Preganziol on May and June 2011  Six years have passed since I reviewed their last album, “Ciao Fred" - 2005 - Velut Luna, and since that time I have wondered what direction their music would take after their magnificent tribute to Fred Buscaglione All the while, the three metronomes have continued to entertain anyone who has had the opportunity to see them perform live; making their fans sing, dance, laugh and cry with their endless repertoire of swing, blues, boogie and both American and Italian jumpin' jive. Even today, if I have the chance to attend one of their concerts I find myself unable to stop tapping my foot to the beat of the drum’s pace by Stefano Fedato that, "jokingly" (how Jannacci would say), drags the trio to impossible speeds. I am always stunned by the asymmetrical and unique way Carlo Piccoli plays the piano, with his whole body swaying to the beat and with a left hand that plays like a bass. I still laugh uncontrollably when I see a ham actor like Francesco Michielin; The way he squirms like a maniac, constantly alternating between scratchy singing and the kazoo sounds that he mimics so well. He can mimic any instrument with his voice, from the trumpet to the guitar. Above all, though, I cannot help but be amazed by how only three musicians can create such complete and well-rounded sounds with their music!  After paying homage to the music of Fred Buscaglion, they have returned to the music scene with this new work, "Adamo... let's swing! " which is the fifth album of the Veneto trio.It’s a diverse and fresh album with tracks that immediately show the fun and ironic nature of their music; something that is happening maybe for the first time. In order to understand the spirit behind the trio’s music, all you have to do is listen to their title songs "Adam" (an ironic, bold, and humorous comic strip is depicted on the album cover), "Iperteso" (Italian for hypertensive; who among us has not stumbled on the highway in a “hypertensive mood, wearing dark glasses and a hanging dress” while flashing the high-beams and honking the car’s horn in order to surpass the traffic?), or "Hard Times" (a ragtime piece reminiscent of music from the twenties enriched by vocal trumpets evoking the Mills Brothers sound). A careful selection of past American classics from Gershwin to Louis Prima and from Duke Ellington to Nat King Cole completes the album. All in all the album has frequent variations in tempo and rhythm, tapping ragtime, the stomp, blues, swing and the jumpin 'jive, and it contains different quotes as homage to Louis Armstrong, Tom Waits, Louis Prima, Al Jolson and, of course, Buscaglione, who remains one of their main inspirations.  A cool and fun album that demonstrates, first and foremost, the joy & fun the musicians felt in creating it. In fact, it is enough to say that the Metronomes have lived to realize that when they play, they really know how to have fun!  And now ... Let’s swing! FRANCO CECI COLPIS 

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RESTLESS SPIRITS

RESTLESS SPIRITS

€ 13,50

JAZZ. Original compositions by Roberto Magris. Big Band Ritmo Sinfonica Città di Verona, conductor Marco Pasetto. Special guests: Roberto Magris piano, Massimo Greco trumpet and flugelhorn, Sbibu percussions. 24bit/88.2kHz/40 Tracks digital recording made strictly-live-in-studio (with no digital editing) at Teatro Martinelli, Castelnuovo del Garda, Italy, on September 2008.  Established in 1946, the Big Band Ritmosinfonica Città di Verona, an acclaimed forty-three-piece super big band from the historical city of Verona, Italy, came to be as an idea from musicians who were members of the Symphonic Orchestra of Verona. Over the years the BBRS evolved into a formidable jazz-centered orchestra originally led by Mario Pezzotta in the 70s and since 1995 under the direction of Marco Pasetto. Playing the music of American jazz giants such as Duke Ellington, Count Basie and Miles Davis, Pasetto has continued the band’s axploration of jazz to include a repertoire of today’s modern an comtemporary jazz styles leading to the recording of several albums. Enter Italian piano recording virtuoso Roberto Magris an internationally recognized recording artist long known as a master jazz pianist and composer with seventeen recordings to his credit, and happens to be someone with whom Pasetto had previously collaborated with performing much of his music with the BBRS. With restless Spirits Musical Director and Conductor Marco Pasetto and the BBRS pay tribute to Magris by recording his compositions in September 2008 at Teatro Martinelli in Castelnuovo del Garda, Italy, a performing arts theatre instead of production studio resulting in a live-recording quality sound to the audio. Roberto Magris headlines as the main guest for this outing although Italian trumpeter Massimo Greco and percussion specialist Sbibu are also featured as specialist guests. The classic big band performance captured on this disc reminescent of the kind of music you hear from today’s comtemporary large orchestras like the renowned 50-piece Netherland’s Metropole Orchestra or the sound once produced by such big bands like Woody Herman’s Thundering Herds or the legendary Stan Kenton Orchestra’s of the past. In fact, BBRS is a brass-rich ensemble loaded with a twenty-piece reed section that can blow your socks off. Magris leads the rhythm side and lends eight vibrant originals including reprising “ Blues for My Sleeping Baby” from his Chek-in album and provides an alternate take to “Ambigous” culminating in nine big band arrangements and seventy minutes of sophisticated and rhytmically-rich modern big band music

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STORYVILLE JAZZ BAND - VLHD HIGH QUALITY

STORYVILLE JAZZ BAND - VLHD HIGH QUALITY

€ 13,50

JAZZ:Tracks 1-6: original compositions by L. Shields, M. Endsley, K. Ory, Boutelja-Wilfree, D. Ellington, L. Pollack. Trumpet: S. Gilioli, trombone: G.B.Tedeschi, Clarinet, soprano sax, voice: M. Pasetto, banjo: R. Bonato, tuba: M.Cracco, drums: G. Gozzi. 24bit/96Khz original live-in-studio recording direct-to-stereo master made at Magister Studio. Preganziol on July,2006 Tracks 7-16: original compositions by C. Davis, R. Henderson, Furber-Braham, Fields-Mc Hugh, H. Carmichael, B. Strayhorn, S. Williams, Creamer-Layton, D. Ellington. Trumpet: B. Zorzella, trombone: L.Bragantini, clarinet, voice: M. Pasetto, tenor sax:P. Pesenti, banjo: R. Bonato, tuba: M.Cracco, drums: L. Zorzella, piano: D. Moroni. 24bit/96Khz original live recording direct-to-stereo master made at the club Il Posto. Verona on February,2000  The Storyville jazz band is one of the italian band specialized in dixieland. They come from Verona, and even though the succession of musicians, they are on stage since thirty years. In this CD you can listen a live concert played in a Veronese place called " Il Posto" on february 2000 with the pianist Dado Moroni, and then a new recording live in studio on july 2006. 74 minutes of brilliant music, recorded with the best technical level today available and most of all TRUE LIVE, without any additional recording and mixed directly on high resolution stereo master.

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