Con una confezione in digipack davvero attraente ( Felmay docet! ) e poche note di accompagnamento sul significato della loro musica, i Gai Saber tornano con un disco dedicato alla reinterpretazione dei noves Occitan, Provençal tradition of Christmas carols also diffusisi in Cuneo.
"Reinterpretation" expression is subtle because it says everything and nothing is likely to be misunderstood since it is played popular material today.
write Gai Saber, simply but very effectively, that their interpretation "refers to the multiple influences of the music of the people of yesterday and today, always in relation to the evolving mix of peoples and their cultures. "
True. From the time the third album " Electroch'oc " (2002), che suscitò un certo scalpore nell’asfittico e retrivo ambiente culturale del folk italiano, il gruppo rappresenta una delle espressioni più coraggiose in Italia nell’avventurarsi oltre le barriere culturali che condizionano il rapporto con il suono tradizionale.
Rapporto che nell’esperienza dei Gai Saber, più che altrove, sembra aver assunto il significato di una sfida a tutto campo alle rigide strutture di genere, all’insensata ancora diffusa ossessione per l'aderenza filologica alle fonti, per il pedissequo ricalco dell'“originale”. Annosa e noiosa diatriba che il gruppo di Peveragno aggira disinvoltamente taking a clear position in favor of a programmatic, environmental distortion of the repertory.
The eleven proposed pieces of "Angel Pastres Miracles", all on traditional texts, are redesigned from the original matrix melodic structures with the use of electronic products sampled (the "digital programming" are Alex Rapa) and a performance practice and interpretation very 'popular' (rock, pop), which refers to already established European models of music copyright (Stivell from the Capercaillie, for instance), usually defined by some journalism improperly world music (as the same Felmay to label the identity of the band's music).
File under aside, however, it must be said that the project of Gai Saber is above all pleasant to listen to and, in spite of the content, even danceable. Not a secondary element, if you compare the hard work from the repertoire to other similar arrangements which usually have a lesser and a total of resigned mood.
well played, with a texture balanced sound, the album reveals a meticulous care for the sounds, but never redundant or self-indulgent. Great voices, especially in the sequences of the whole, excellent rhythm section, a real soul album.
Among the beads, it remains trapped in the melody of "San Jauzi heme Mario" (Hedningarna?), Infected by the exuberant chorus of "Vénès, Vénès" characterized by inflections petergabrielliane and suggestions Galician (Na Lua ?) . Fascinated dall'incedere seductive "Pastres de l'Argentiera," just at the beginning of the disc.
Davvero un modo convincente di rendere la musica sacra popolare un divertente colto intrattenimento.
(22 gennaio 2011)
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| Una delle splendide illustrazioni del booklet tratta da un affresco presente in una delle chiese del territorio. |
I brani del disco
1. "Pastres de l’Argentiera" (Trad. arr. S. Berardo) 4.32
2. "Lou first miracle" (trad.) 1.10
3. "The cambo me fai mau" (trad.) 4.37
4. "Micoulau Noste pastre" (trad.) 5.42
5. "Venes, venes" (trad.) 5.48
6. San Jauze th Mario "(trad.) 5.38
7. "When Lou Anuech cantavo gau" (trad.) 4.50
8. "Lou viage very di Rei" (trad.) 4.45
9. "Rapataplan!" (Trad.) 5:50
10. "The cantarineta" (trad.) 3:58
11. "Pastre de la campagne" (trad.) 4:38
Joined in May 2010 at Studio 34 Piave Cuneo to Play! Bricherasio (TO), the study of Pevensey Gai Saber (CN) by Henry Tortarolo, Fabrizio Barale, Alberto Macerata and Axel O 'Rape
Arrangements Gai Saber
Mixed at Play! of Bricherasio (TO) from Alberto Macerata and Gai Saber
images of booklet (partially reproduced here) relate to the frescoes of the shrine of Our Lady of the Woods of Boves, the church of S . Fiorenzo di Bastia Mondovi and the church of San Peyre of Stroppo.
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| picture of the group |
The group
Clara Bosonetto - voice
Elena Giordanengo - harp, galobet heading
Maurizia Giordanengo - accordion
Alex Rapa - acoustic guitar, voice ,
digital programming, mandolin
digital programming, mandolin
Simon Lombardo - hurdy-gurdy, bagpipes, flutes
Lorenzo Arese - drums
Guests disk
George Boffa - bass (4, 6, 10)
Massimo Baudino - voice choir (8)
Pellerino Ross - vocals (5)
Eugenia Costanza and Anthony Rapa - items (2, 3, 9)
Eugenia Rapa - violin (7, 10)
Sources of texts
"Tresor des provençaux Noel" by Marcel Petit (Culture Provencale et Méridionale)
"Chants populaires de la Provence" by Arbaud of Damase (Editions TAC)
"Anthologie des Chants Populaires" by J. Canteloube
Info e contatti
Alessandro Rapa (cell. 3384735136)
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