A Place In Greece 2010

Francesco Benozzo -" terraqueous "(CD - Tutl SHD088, Danimarca 2009)

initially titled "Appennino Atlantic," the new album harpist poet Francesco Benozzo Emilia is a sophisticated catalog of traditional music revisited and new composition, which is essential in timbre (harp and voice only), evocative atmospheres, with an unusual choice that text, drawing from disparate sources (troubadour songs of 1100, contemporary poetry, popular song ...), also incorporates two northern Italian emigration songs like "La America" \u200b\u200band "The Ruvina, disclosing the concept Labour: A Reflection on the size of land and water that is above all a metaphor for the intimate space. Physical location of research, destruction, listening, in which forests, islands, wind, rocks, fire, sea ... are the cardinal points of a journey that is first internal, that is the soul.
Fanano as the Balkans, Salento such as Galicia, Bangor, which is the Val d'Enza - planisphere of the myth that you rebuild experiencing this ...

"long valley, valleys forged
below the ridge
erratic static I hear the hum of the blood under the skin
cold"

(from "Onirico geological")


"I follow the call
subtle than many years ago
fatto di terre vicine
di boschi, di brine
di fumo nei bar"

(da "Notte a Trignano")


Con una grazia e un gusto davvero rari nel panorama del tradizionale, Benozzo realizza l’incontro tra culture e storie con un equilibrio che ha del miracoloso, approfondendo quanto di convincente aveva già proposto, qualche anno fa, con il bellissimo “In 'tla piöla”.
È arte del sottrarre, questa, lieve come l’aria dell’Appennino in autunno. Senza risultare stucchevole come certa famigerata new age è forma alternativa dell’espressione, anima che si fa materia sonora impalpabile.

Ad accompagnare Benozzo in sei brani la bella voce ‘popolare’ di Maddalena Scagnelli dei piacentini Enerbia (www.enerbia.com) e, nella conclusiva bonus track, la cantante irlandese Willie Mahon.

(2 aprile 2009)


I BRANI DEL CD :
1. “Continente libero” (4.42)
2. “La ruvina” (3.04)
3. “L’Appennino” (5.14)
4. “Gondomar” (1.47)
5. “Marturèla” (3.04)
6. “Isola e luna” (3.46)
7. “Mediòch” (3.25)
8. “Notte a Frignano” (3.20)
9. “La Merica” (4.42)
10. “Moelvci” (1.03)
11. “Onirico geologico” (4.08)
12. “L’avvelenato di Riolunato” (4.13)
13. “Romanelle” (2.20)
14. “Canto del continente” (3.15)
15. “Pradarena” (1.35)
“Táimse in arrears” (bonus track) (1.56)


Produced and arranged by Francesco Benozzo
Recorded at Studio Slide Vignola (Modena) in November and December 2008. Engineer Alberto Callegari.
Bonus tracks recorded in December 2002 all'Eoin Aoife & Systems of Aberystwyth (Wales


MUSICIANS Album:
Francesco Benozzo: Celtic harp, harp bardic singing
Maddalena Scagnelli: song
Willie Mahon: singing "Táimse in arrears"


DISCOGRAPHY OF FRANCIS BENOZZO :
"Carte di mare" (con Matteo Meschiari) - Music On MO-005, 2000
"In 'tla piöla" - Sain Records SCD2278, 2001
"Llyfr Taliesin" - Frame Events FE2004/1, 2004
"Arpa celtica" - Fondazione Campostrini FC-AS002, 2005 ( dal vivo )


I NFO E CONTATTI :
http://www.tutl.com
http://www.francescobenozzo.com  

Salmon Cakes Without Eggs

Matilde Politi – “Si eseguono riparazioni dell’anima” (CD – Arcimiccica ERA 0800833, Italia 2008)

Tornavo in auto a casa, proprio mentre radio (RAI 2 program "The Misfits", I believe) promoting his latest book (a 'pamphlet', have defined the core ...), Gino Castaldo 'reflected' sull'amaro fate of the music today. Hearing him talk about the market, corruption of the music, no 'soul', I thought that the times we live in are nothing short of paradoxical if one of the major causes of the moral decay of the musical culture of our country has the gall to write a book about fate of the music and no one has the courage to take on farts. A little 'as if Mussolini had written a pamphlet against the dictatorship and had promoted through the Institute Luce o Berlusconi tenesse una conferenza stampa contro il consumismo e la pubblicità televisiva a reti unificate sui canali Mediaset…

Per fortuna, prossimo allo svenimento e alla perdita di controllo dell’auto, ho potuto traslare dalla radio al lettore CD con la semplice pressione di un tasto (miracoli della tecnologia!) e ritrovare l’ultimo album di Matilde Politi , uscito da qualche settimana.

Può sembrare retorico, e confermare paradossalmente le tesi ipocrite di Castaldo, ma dischi così non se ne registrano quasi più. I nuovi tredici pezzi cantati da Politi, dopo l’ottimo, raro “A tirannia” (cfr. http://www.lucaferrari.net/articolo.php?ID=287) confermano che la musica folk (geneticamente modificata) sopravvive ormai solo grazie a sempre più rari fuochi fatui, a dispetto di Castaldo & C. che hanno fatto e disfatto per ridurre la musica in Italia a un fatto di consorterie, mode vuote, prodotti da vendere.

Qui, al contrario, è contenuta una risposta inequivocabile al periodico piagnisteo ipocrita di chi, appunto, dichiara la ‘fine della musica’ con la rivoltella ancora fumante tra le mani: la musica, quella ‘autentica’, creativa, che sa farsi poesia, che sa penetrare nel profondo sentimenti e coscienze, esiste, è disponibile; si tratta di volerla incontrare, volerla ascoltare, decidere di farla conoscere, ‘raccontarla’ agli altri anche quando – soprattutto quando, diremmo – è indifesa, indipendente, esiste al di fuori delle conventicole giornalistiche, dei poteri forti della discografia, non muove grandi interessi economici.

La bellezza di “Figghiu miu”, terzo brano del disco - un’invocazione da madre a figlio che sembra nata da una dimensione amniotica dello spirito da tanto è intensa, profonda, sentita - esprime un valore incommensurabile se accostata a quella presunta da più parti delle 'più belle canzoni della musica italiana' degli ultimi anni: al suo raffronto, scompare “La cura” del furbo Battiato, ad esempio; impallidisce il tormentone rap Jovanotti of 'mystical' (or papal?) of "Mud" - the sound of plastic that poisons.

Matilda's voice intones in simple terms with the power of those 'really feels' to which he sings. His is the Song of Songs sung by the many unknown women of the world popular peasant farms of the Po Valley or the tonnage of Sardinia is the song that rises from Pajari Puglia Sicily or from the fields, some of the modest houses of an Italy more poor and backward but more real, the same missed by the Pasolini "Corsair Writings". A song by the power and grace of expression that comes from the pride of their roots, you find a form of communication that is ancient and modern together because it is capable of re-translation of the feelings experienced.

It takes humility, Castaldo, and freedom to hear and 'feel' the music seriously in the world!

(January 5, 2009)


□ The tracks on the disc :
1. "Amuninni" (Di-Gregorio Politi) 4:14
2. "Cumar" (CIMO-Politi) 4:33
3. "Figghiu Miu" (Politi)
3:49 4. "Ri Cascia Suli (Pereira) 3:59
5. "Aria of departure" (Politi-traditional) 6:21
6. "Ringo" (traditional) 2:18
7. "Acula Riali" (Politi) 5:53
8. “Santaninfara” (tradizionale) 2:51
9. “Marzapaneddu” (tradizionale-Politi) 3:58
10. “Acqua chi curri” (Politi) 2:49
11. “Matri Terra” (Politi) 4:55
12. “Semu ancili” (Politi) 3:58
13. “Ruciaruci” (Pessoa-Politi) 3:23

□ I musicisti :
Matilde Politi - voce, chitarra, fisarmonica, concertina, tamburello, bendir, castagnette, sonagli, campane;
Gabriele Politi - violino, viola, oud;
Simona Di Gregorio - organetto, tamburello, concertina; voce in 1, 6 e 8; coro in 12;
Dimitri Voutsinas - voce in 9; choir 12;
Guido Politi - chorus in 6 and 12;
Lelio Giannetto - bass;
Lajos Zsivkov - darbouka, djembe, copa, dun dun, bells.

□ Recorded in 2008 at the Blue Studio Monreale (PA). Mixing and
masterizzazazione Maurizio Curcio

□ Contact Info:
mat.politi @ gmail.com
http://www.matildepoliti.com

List Of Stores That Have Layaway

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