Luca Ghielmetti – “Luca Ghielmetti” (CD – Old Times Record OTR005 CD, Italia 2008)
It's really a nice surprise this CD, the third in eighteen years (!) of Como Luca Ghielmetti. Refractory as we always take care of Italian music after the storms of the songwriters of the seventies and scimmiottature new wave eighties and nineties who have approved the scene, you come across an anaphylactic shock - even more rarely, actually - in all-round artists, masters of the composition of the so-called 'new singer-songwriters', poets. want to trivialize, it may summarily terminate Ghielmetti debt that pays some of the major Italian authors in disseminating their songs tracks of Paolo Conte, slag Fossati, De Andrè best of moods, images disruptive à la Capossela, or find behind the broad shoulders of certain melodies chansonnier French, but as we go from writing time is well pleasing to the effort of forcing himself to recognize in each groped his expressive figure, the unique identity, even when, inevitably, is mixed with the totems of a present / past so cumbersome: Ghielmetti has a powerful voice, from grain thick as jute, which grate the melodies and words that recall the choking Maier inspired by "The Vif" or the ballad of Tom Waits "Blue Valentine" or Gianmaria Testa of the tribute to iron ("Leo", a great hard!). Sang a solid and straightforward, at times declamatory, which warms the heart as he rummages in the odds and ends of our daily lives: "(...) But some girls are better shake before the wind carried them away throw them a boomerang of love, then come back here to see them With rest on the bottom was better to pretend be just a little 'film but ... sign an implied covenant of love for six hours then not see you again ... " (from" Just a step away from the clouds ") "What a beautiful trains an hour those who depart from the lake quelli che partono dal lago e portano in città ed ogni volta è come a Santa Claus arrivano in silenzio e vanno via ti affidi a orari vecchi chiedi conferma a tutti ti sembra strano che passino di qui senza una voce che li annunci e li saluti o un vagabondo che ci salti su…” (Da “I treni di un’ora”) I pezzi, scritti nel corso degli anni e suonati spesso dal vivo, si perdono in felici suggestioni blues, folk blues, tango, canzoni other times, fado suggest that the image of a universe as personal as accessible, given the expressive power of story telling, authentic passion (perceived listening) for existence. small masterpiece, even for limited duration, the album feels like a happy balance noise and sounds like a 'classic' right from the start. Thanks also good musicians involved, including in particular a Greg Cohen on bass by impressive resume (Waits, Coleman, ... Newman). (December 15, 2008) ● The track listing Disc : 1. "Antes que muda el mar" 2. "Those beautiful kisses in Paris" 3. "The grandfather of cornelian Rasouli" 4. "One step from the clouds" 5. "The face of the father" 6. "The trains an hour" 7. "Dr. Charles" 8. "Barbara" 9. "The Amsterdam's red" ● Words and music by Luke Ghielmetti ● Produced by Greg Cohen ● Musicians : Greg Cohen - bass, guitar, harmonium, percussion, marimba; Cyro Baptista - percussion Tim Sparks - guitar Greg Leisz - steel guitar, lap steel, Weissenborn, guitar electrical Mario Arcari - oboe, clarinet, harmonica, flutes; Franco Piccolo - accordion Jimmy Villotti - electric guitar; Ghielmetti Luca - vocals, guitar, piano, harmonium, Hammond. ● Promotion and Press Office : Carta da Musica – via della Marrana, 94 – 00181 Roma http://www.cartadamusica.it ● ALTRI DISCHI DI LUCA GHIELMETTI “City Record” (LP – fuori catalogo) “Le corniole di nonno Rasouli” (CD – 1990) “Dolci spose mancate d’un soffio” (CD – 1998) ● Info e contatti http://www.myspace.com/lucaghielmetti
Etnoritmo - "Tondomondo" (CD – UDU WWWDTGA 035, Italia 2008)
In 2003, we excluded dall'abbecedario of "Folk Genetically Modified" because, in our humble opinion, he had nothing to folk. Today, as then, and several years after that its ambitious and ambiguous "Sitanafri" which aroused unanimous specialized magazines (including a glowing review for Sergio Palumbo from the pages - incredible to say - of "Folk Bulletin"!), Paul Farina returns with a new album presented as "an album of song writing, singing mostly in dialect, with arrangements that refer not only to ethnic music, especially Southern Italy, del nord Africa e dell'Oriente, ma anche al rock, al reggae, al blues ed all'elettronica" (intervista a Farina di Nicola Morisco, La Gazzetta del Mezzogiorno, 30 aprile 2008). Ascoltatelo con attenzione: a dispetto delle illustri collaborazioni (Tonino Zurlo, Faraualla, Pino Martini, Giancarlo Parisi, Enrico Capuano, Alessandro Mancuso) e l’uso di campionamenti (“autorizzati”...) DOC (Matteo Salvatore e Enzo del Re), il musicista barese, trapiantato da anni a Milano, imbastisce sonorità con filo scadente e idee risapute, vagolando confuso tra suggestioni etno-world e un desolante, arrendevole disco-pop radiofonico (Jovanotti docet?) nell’evidente tentativo to scratch the wall of self-distrust that keeps him on the fringes of the mainstream music scene (the ones that usually do not attend our heroes, in short). The equation probably, on this occasion, that the disc is the 'last frontier of world music, "which is now a' free music 'from the constraints of gender that folk, blues, rock, reggae are just tools of the trade to be used casually in the composition of matter to sound "fun", "dancing", "tap your foot", as also prescribe an idea - holographic - popular culture ... All reviews legittime, ci mancherebbe, non fosse che alle nostre orecchie questa musica suona semplicemente brutta, per niente divertente, priva di interesse. A lunghi tratti irritante. Persino pretenziosa. Brani come “Sto bene con te” (un reggae-pop insipido da abbronzatura estiva), “Sono malato” o “Cudd ca sent” (un occhieggiare insistito al Battisti/Mogol più deteriore), “Le montagne sono alte” (che scimmiotta l’Eugenio Bennato sanremese) – per dire di quelle che ci hanno 'impressionato' di più - siamo convinti facciano male alla musica, contrabbandando l'idea di un progetto di sintesi multiculturale che è solo superficiale, facade, and relies heavily on the conventions that have severely affected the production 'world' of recent years (especially in Italy): enough to involve ethnic music and sing in dialect and you're (in form, composition, harmony, registers. ..)! saturating a sound space near collapse, as this album confuse most deprived mixing talents only honest musicians, a nonsense dialect poetry in Italian, with a textuality worthy of a newspaper in the country. "From the Fall" ("Do it and by"), a misguided attempt to capture an effective poetic Daniele Sepe, becomes the paradigm of risks of a political vision on the flat indifference to contemporary bar (that "all politicians are the same "...): preceded by a sampling of Matteo Salvatore, poetic and metaphorical (he says:" The state has always been stranded on the shoals of Eboli, the state is a stone wolf, does not bite because they do not have teeth, but it is the wolf, and the poor southern sheep without a shepherd with problems of food they are afraid "), the text of flour condensation in a few words the most worn-out obviousness of the 'common sense': "Get the most stupid and do Mayor foul, foul mayor for four years Anche la goccia scava la roccia scava la roccia, scava la roccia in tanti anni Dagli e dagli che si scassa che si scassa, che si scassa pure il metallo...”. Altri testi, più a carattere intimista, descrivono un universo di spensieratezza ed happy hour a noi totalmente estraneo che conferma il carattere ambiguo del progetto, candidato ai palinsesti di Radio Capital o di Radio 105. Da “Sono malato”, ad esempio: “Miami Beach che caldo che fa a Miami Beach qui sulla spiaggia under palm trees sipping my Cuba libre are an adventure in a film in black and white. are in Paris with a friend that "Cherie," he says in a bistro and together we are Anais and Henry la vie en rose, en noir et blanc. " Two questions to finish: 1. How could they allow the use of sampling Matteo Salvatore and Enzo on a disk like the King? 2. Why Paul Farina has sent this CD to us? (A third - because some of more authors of 'folk genetically modified' active in Italy have felt compelled to collaborate on a similar project? - We will keep for us ...). (August 9, 2008) ● The tracks on the disc : 1. "I'm fine with you" 2. "Je to stor'j Chess" 3. "I am sick" 4. "Cuddie ca sent" 5. "Fall from the" 6. "The mountains are high" 7. "Giuanni" 8. "Tjmp d c'ros" 9. "Nan c'stè" 10. "Southbound" ● Text and music: Paul Farina ● Art director and production executive: Paul Farina ● Info cont acts to indiriizzi : http : / / www.myspace.com / etnoritmo http://www.etnoritmo.it
Jessica Lombardi – “In dote” (CD – Radici Music RMR-122, Italia 2007)
Roots Music, Florentine label active few years with productions of absolute value, the first public solo Jessica Lombardi, polistrumentista già membro dei Fiamma Fumana e di numerose collaborazioni con Silvio Trotta, musicista degli storici Musicanti del Piccolo Borgo e, più recentemente, del Trio Tresca. “In dote”, va detto subito, è un ottimo disco di “folk geneticamente modificato”, nel significato che avevamo cercato di ‘forzare’ con l’omonimo libro del 2003 edito da Stampa Alternativa (da quell’anno, per la verità, di ‘quel’ genere di dischi se ne sono ascoltati davvero pochi…). I dieci brani, tutti tradizionali e frutto di registrazioni sul campo risalenti agli anni ’60 (erano stati pubblicati da Diego Carpitella nel 1978 con il titolo “Musica contadina dell’aretino”), sono trattati con intelligenza e grande sensibilità da Jessica e assumono un’identità ‘altra’, obliqua, certamente inquietante per i puristi e i depositari del ‘popolare DOC’, ma assolutamente convincenti per noi sia sotto il profilo culturale che dell’ascolto in sé. Questi antichi canti avuti in dote, come in una eredità che ne commemori la memoria, tornano a vita nuova, si confrontano con il passato in uno slancio dialettico che stimola e provoca criticamente un ripensamento del trito e paludato sguardo al tempo che fu che sovente, proprio in nome di quello, mummifica rather than relive coolly contemplates archiving instead of 'use it'. More than in the most recent evidence of Fiamma Fumana, Lombardi achieves here a miraculous balance between voices of memory - demure, whispered, slender humble references to stories of ordinary people - and the turmoil of today - the speed, chaos, too much of our contemporary problem: no pairing simple cut-and-paste or simple juxtaposition, but intermingling of sounds, blends, in a happy, wide parts thrilling encounter sensitivity seemingly distant. "Vanity" the end of the album, the masterpiece for us - the promised land of folk amended still largely to be explored: the yearning melody of the song of Catherine Arrigucci (recorded in Gavignano, Arezzo, May 13, 1965), Lady Jessica builds an accompanying electronic sound that puts chills, a perfect complement to the words that are essential and poetic truth: "Vanity of vanities everything is vanity and death that will everything is vanity If
field even a hundred years without penalties and no worries death to be everything is vanity If you could control the land in sky and the sea and death that will everything is vanity "is still Young, Jessica Lombardi, but has already produced interesting and bold ideas: that this is his early consecration? (July 18, 2008) ● The tracks on the disc: 1. "Guess what?" (Trad. arr. Lombardi - 3.12) 2. "Dirindina" (trad. arr. Lombardi - 2.43) 3. “Cecilia” (trad. arr. Lombardi - 4.33) 4. “Babbo tornate” (trad. arr. Lombardi - 3.28) 5. “Cara sposa” (trad. arr. Lombardi - 3.39) 6. “Occhi chiari sul mondo” (testo: M. Monina, musica: Lombardi) 7. “Rondinella” (trad. arr. Lombardi - 4.06) 8. “Firapstrocca” (trad. arr. Lombardi - 3.59) 9. “Vanità” (trad. arr. Lombardi - 4.04) 10. “Nonno segnami” (trad. arr. Lombardi - 5.26) ● The group : Jessica Lombardi - flute, bagpipes Emilia, electronics, percussion, piano and vocals, guitar and bass on "Riddles" and organ on "Dirindina" Silvio Trotta - guitar, bouzouki and low in all tracks except "Riddles" Stefano Tartaglia - vocals on "Grandpa let us mark" Paco Mengozzi - cello in "Dirindina" and "Daddy come back" Francesco Maria Rossi - narrator in "Eyes light on the world" ● Recorded by Jessica Lombardi at Box Studio Arezzo Arrangements and artistic production of Jessica Lombardi ● Discography Jessica Lombardi : "Steps towards the North" (CD - MPB003, 2002) - with Silvio Trotta "Home" (CD - OMM2034 Omnium Recordings, 2003) - Flame Fumana "Dagda" (CD - Etnicarezzo, 2003) - as Dagda "Wave!" (CD - Mescal, 2006) - Flame Fumana (collaboration) Viulan - "The Night of Valentina" (CD - Warner Bros., 2001) Flame - "Contact" (CD - Mescal , 2001) Jewelry and Mario Silvio Trotta - "shooting star" (CD - MPB004, 2002) Riccardo Marasco - "Bacione in Florence" (CD - 2006) Dodo Reale - "Les Nations Unies" (CD - 2007) Banda uproar - "Warning! Output Workers "(Book / CD - infections Cidilibri, 2007) ● Contact Info : http://www.suoniearmonie.it info@suoniearmonie.it http:/ / www.ladyjessicalombardi.com
“Quarant’anni cantati. Canzoni e vita dell’ultimo cantastorie” (libro – Edizioni Il Campano, Italia 2008): il libretto rosso dei pensieri (scomodi) di Pino Masi.
There is a story yet to be written, as well as the celebrations and revisionism on Sixty-eight of these months. A glorious history, hard, suffering, with little satisfaction for his players who have now lost hope of being compensated by the official story, one that ends up in books and is the subject of recurring conferences and television lounges. A minority history, born out of illegitimate because also the channels of political parties and the vibrant "of origin" linked to the Communist Party of the time. Pino Masi Take, for example, "storyteller" is defined as years, but certainly agitator, intellectual proletarian, artist tout-court. A true hero, at least for us, with a life behind without compromise and thirty processes to load. Yet those who know it? How many remember him among the leaders of the seventies, as an organizer of the Canzoniere Pisano, the club in October, the songbook of the proletariat and close relations with Workers Power, author of memorable songs like "Ballad of the Compass" (the first lead I seen in my life was there, and they were the shots of the police, other than a dispute referred to the Years of Lead ... ")," Violence ", the" Ballad of the Fiat "," Workers' Power, "" Release all "," The time of a gun "? I suoi dischi non si trovano più da anni (e quando si trovano, considerati oggetti da collezionismo, hanno valutazioni da capogiro…) tanto che si è trovato costretto recentemente a rieditarseli da solo, riversando in digitale i pochi vinili rimastigli… L’abbiamo incontrato a Pelago, nell’ambito del ventennale del Busker Festival, dove ci trovavamo invitati dall'intraprendente, geyser-man Bruno Casini a dire la nostra sulla contestazione in Italia, ed è stato l’incontro per noi più emozionante, più disorientante. In una conferenza quasi improvvisata, Pino Masi ha raccontato di sé in quegli anni, di cosa è stata per lui la contestazione, di cos’è vivere in un paese che ha lasciato che si eliminassero Pinelli, Pasolini, Rostagno senza voler perseguire i mandanti reali. Com'è stato sopravvivere al loro ricordo, allo strupro di storie, vite, affetti cercando di trovare un senso nel continuare a raccontare la storia del Paese "dal basso". "Anni di dure provocazioni", scrive Masi, "di vili aggressioni e pestaggi, di omicidi mirati, di orrende stragi, di atroci montature e pressioni, avevano trasformato noi 'figli dei fiori' non violenti e vegetariani, noi assertori e felici praticanti del Love&Peace... in 'lottatori continui': eroi amati ma poi, prestissimo, braccati and stressed. How many love songs I wrote, which I love - I wonder now - if I had not written for defense? What - really 'other' - questions I was trying, if not stressed by the events? "(P. 83) And again: "(...) Dragged to defend them from terrorism, we became some 'bad' in almost As they and others do not, but who calls them 'leaden years' ... we must remember that these were years of love and joy of life and true friendship, those of our younger years. Before violence was one of them thrashing in '67 (to peaceful gatherings of young people against the Vietnam War). First was the lead against us in the bush, in '68. Terrorism was only one of their bombs, from '69 until '93. This is history, the rest is disinformation: revisionism and dirty propaganda "(p. 84). Even Masi, in a sense, was killed. While survived all these years, he has been deprived of the freedom of expression , removed the material opportunities to continue to denounce the "bourgeois power" and continue talking, as he says, "the people". "I live on charity," he said without embarrassment. "I have to go and sing in local Tenco's songs, and De Andrè Guccini ...". awkward, ideas, direct, spit in the face of the establishment, was isolated, and then weakened, even from that universe that he had found in one of the most courageous and lucid in those years. Caused by a direct application of the public ("Can you tell us something about your relationship with the Institute De Martino?"), Masi preferred to writing off the end of the introductory essay to his songs, collected in a publication distributed by some months (this is the fourth edition of a songbook published in 2000), reading words with strong voice uncomfortable, unambiguous, that can not fail to reflect: "Out of the teeth (and only with extreme pain and to uncover the specific mechanisms , small or large or very large, which kill an artist, a poet, a storyteller) means now here, for example, to remember that the navy (in '68, author of a fabulous LP against American culture, but still registered at SIAE) in forty years I have never wanted to give a penny of the rights of all the songs composed and recorded by me from '66 to '75 (which she received because, on its proposal, which I received a verbal promise in front of her, she recorded all in his name - the pseudonym Vitavisia - because I was not writing to the SIAE and she said, I would spend the share of the profits) to my complaints (and thus further damage) now says that around the earnings that are dalle mie cose sono talmente esigui che in quaranta anni non si è ancora ripagata dalla fatica della trascrizione! Ovvio che questo della Marini è solo un piccolo esempio di pratica pidocchieria, ci sono altri esempi più grandi, da vomito, che non posso tacere. Che ne pensa ad esempio il nostro Lettore di Paolo Pietrangeli? Nel ’68 egli scrisse e cantò “Contessa” sugli stessi palchi dove io pure cantavo ed ha, ora da anni, mutato mestiere: regista del super squallido Maurizio Costanzo (‘ex’ piduista) Show e seguenti, sulla antenne Mediaset del noto (‘ex’ piduista) Silvio ‘Bandana’. Feci bene allora io, preveggente, (ero sul stage next to him at Pisa in '68, in Wisdom, with the courtyard full of students, as historical photos available, and sang a song in two turns for one) to tell him that he had the leather boots with zipper to be true bourgeois and, then, I did not like his song: he had just sung his "Countess" and I - from serious storyteller - I told him (during the applause, then touched back to me and not stealing time or scene) that his singing "Take the hammer and sickle bring / drop down to the streets / beaten with that!" reminded me of the 'Let us arm ourselves and lots "of jokes about Benito Mussolini. Non so – infine – se avrò la capacità di far capire qui tutta la delusione e il disappunto da me provati quando una amica che scrive per l’Unità mi ha informato che non poteva più inserire i testi delle mie vecchie ballate in un libro-inserto del giornale (come prima mi aveva detto di voler fare) perché le a me allora ignote edizioni “Ala Bianca” pretendevano troppi soldi per la loro pubblicazione. Fui costretto a dover scoprire a causa di chi dovevo stavolta vomitare (io che da quei testi non ho mai preso una lira): il noto cantastorie Ivan Della Mea, da tempo capo del Nuovo Canzoniere Italiano (dalla scomparsa di Gianni Bosio e Pier Paolo Pasolini), si era venduto ma non so per quanto i diritti di pubblicazione di tutto il catalogo dei Dischi del Sole (da noi inciso senza alcuna ricompensa, ai tempi che Gianni Bosio lo compilava per darlo in uso al nostro popolo!). Benedetto Iddio, mi viene ora da dire sempre fuori dai denti, non poteva accontentarsi – il piccolo uomo – di essersi preso dopo la morte di Gianni la direzione del suo istituto? Doveva appropriarsi (per venderlo o svenderlo per quattro soldi) del frutto del nostro lavoro, che avevamo voluto donare a tutti?” (pagg. 32-34). Nella Storia ufficiale, si sa, c'è sempre qualcuno che vince e qualcuno che perde. L'Istituto De Martino - con Ivan Della Mea che di tanto in tanto ironic provocations launched by the Left Manifesto - it seems we can not discuss: an institution is, in fact, and is already a miracle that there is, after all. But the film's release in the history of Discs Luke Shepherd Of The Sun (Fandango, 2004), writing (see http://www.lucaferrari.net/articolo.php?ID=179) that there was something that does not convince us in the reconstruction, defeated by an atmosphere of complacency that sounded a bit 'too out of tune ... (July 7, 2008) ● DISCOGRAPHY PINE MASI: ( The Canzoniere Pisano ) Canzoniere Pisano - "Songs for workers' power" (EP - Blades of the Sun DS 67, 1967) "Mario Piaggio", "Seven years ago," the Gino Pignone, "Olivetti Master" "Stornelli Pisa. Canzoniere Pisano - "That night in front of the compass" (EP - Blades of the Sun DS 69, 1969) "Oct. 15 at Saint Gobain," "Nation Telegraph printing master," "The girasullo" "That night in front of the compass." ( The Canzoniere of the Proletariat ) "The Ballad of Fiat" (A. Bandelli), "Violence" (A. Bandelli), "The Ballad of Pinelli" (P. Masi) ( 45giri - Lotta Continua LC 1, 1970) "December 12" (LP - LP CO Circle October 01, 1970) soundtrack of the short film directed by John Bonfanti brainchild of Pier Paolo Pasolini (screenplay Bonfanti and Goffredo Fofi). "That" 12 December ", the film of which I speak, my dear patient reader, is the only one, among those of Pier Paolo Pasolini, of which - even now as I write - you can not find in Italy do not say the film, but not the title ... among many filmographies accurate "(P. Masi, P.. 78) In reality, only have two in-depth articles on the genesis of the film site dedicated to Pasolini "Pages Progress" (http://pasolini.net/) within the "Cinema", but there is a version restored by the Fund Pier Paolo Pasolini "(36 minutes) on MySpace at: http://vids.myspace.com/index.cfm?fuseaction=vids.individual&videoid=30814941 “Proletari in divisa” “Da quando son partito militare”, “Questa prigione è scura”, “Ti ringrazio ministro” (45giri – Lotta Continua LC2, 1971) “Lotta Continua”, “L'ora del fucile”, “Compagno Saltarelli noi ti vendicheremo” (45giri – Lotta Continua LC3, 1971) "L'Internazionale proletaria"/"Se c'è la crisi per il padrone"/"Sarete voi padroni ad emigrare" (45giri – Lotta Continua LC4, 1971) “Liberare tutti”/ “Trenta luglio alla Ignis” (45giri – Lotta Continua LC5, 1971) "Prendiamoci la città"/"Tarantella di via Tibaldi" (45giri – Lotta Continua LC6, 1971) "Scade la ferma" (45giri – Lotta Continua LC7, 1972) "Quando verrà Lenin" (45giri – Lotta Continua LC8, 1972) Le canzoni della lotta armata in Irlanda: "Libera Belfast "/"No! Nessuno mai ci fermerà"/"I volontari of Bogside " (45giri - Lotta Continua LC9, 1972) " Look here, 'Gioan, if you ricordet " (45giri - Lotta Continua LC10, 1972) " The Ballad Franco Serantini "/" There is no try " (45giri - Lotta Continua LC 14, 1972) ( a soloist ) " Comrade seems like yesterday "(LP - I Dischi del Sole DS 1075/77, 1976) "In Search of Mediterranean mother" (LP - Cramps Records CRSLP5401 / 1, 1977) Registrato con il Tribal Karma Art Ensemble: Pino Masi (voce, chitarra, percussioni, tastiere), Rafael Garrett (clarinetto, flauto, basso), Roberto Della Grotta (basso), Lucio Fabbri (violino), Luca Cecchetti (percussioni) ● Canzoni scaricabili gratuitamente all'indirizzo : http://www.inventati.org/mp38/show_dir.php ● Info e acquisto copie del libro : info@campano.it ● Contatti con Pino Masi : telefono: 3491336907 http://www.repubblicapisana.it
