Tiffany Granath Follando

Happy Birthday Dave Mattacks

He just turned 63 years Dave Mattacks , born on March 13, 1948 in England.

E 'perhaps little known, but it was the great drummer Fairport Convention in their golden years.

Pancotti My friend Aldo, aka Wazza Kanazza , tells me that:

" He was also the great family of Jethro Tull in the 1992 tour and I had the pleasure to see him and greet him in Bologna, in the only date "tour Dark & \u200b\u200bLight", which later became the double album "Little light tour", where Dave played, in addition to battery glockspiel and small keyboards.

Not rated by the fans with the "smell in the nose," those who think that a drummer is good only if it has three boxes, two gong behind, and maybe playing bare-chested, was only a metronome, with a great sense of music, just look at his site www.dmattacks.co.uk to realize how many people have played with ... Paul McCartney, George Harrison, Nick Drake, Jimmy Page, Brian Eno, and if call you ... there is always a reason!

I let myself go, because it is one of my favorite musicians

HAPPY BIRTHDAY DAVE! "

Does 1 Cigarette Affect A Fetus

Mirror Maze-"Hanblecheya" Happy Birthday Ry Cooder

I think the opinion of a "non experts" as I am, the mere thought of a lover of music, but not professional, are a good value in two main points:

1) Findings from a simple external observer as "not experts" is essential in any working group, why not influenced by the need to comply, and the license to say something stupid, because among the many You can not hide a good interpretation.

2) not having to "run" by not having to present their efforts to an employer, you have the time to go, and what usually can be written in twenty minutes, you do it in a week or more, and this allows have many details available. I consider this a good help to feed the curiosity of those who are approaching a new group or for a new album.

But ... this " Hanblecheya ," the Mirror Maze led me to something more complex than usual, and an important meeting, which is necessary to enter in the spirit of the album.

One of the features of this proposal is represented by the narrative text, and the narrator is Paul Carelli, who on this occasion, he revived the style used with Pholas dactylus back in the '70s.

But who is Paul Carelli and how did the collaboration between him and the band, it can be inferred from the interview follow and the one made last week to Paul, and I think the two posts could be considered complementary

http://athosenrile.blogspot.com/search/label/Paolo% 20Carelli

Paul, following the instructions of the LDS, he "signed" a poem, and then interpreted those made by the group.

So ... from a CD of a group unknown to me, I came to the interpretation (it is an attempt, of course) of his thinking (in tune with young people is in itself a great reward) and I introduced to the world of an unconventional artist, who left a mark on the Italian progressive music, yet indelible after forty years.

" Hanblecheya" literally means " cry vision" and are precisely the vision that guides this conceptual work, this "journey through the images and spirit."

The type of communication that drives much more than the LDS musical element.

In the head of millions of people, there are songs, pleas to remember, and the word becomes synonymous music entertainment, when it is not good "thinking."

's Journey "Hanblecheya" has nothing to do with all this, but it's something I know well, that is my need, but that surprises me is that even people at the beginning of life. The transformation in the music of "visions" of images, moods, smells and colors is an exercise that would be good every now and join. But it is not a one way street because the same exercise could be done on the contrary, "drawing" the music, sculpting or writing ... sides of the same coin.

Apparently I'm going off the road, but I do it in full consciousness, it is only right to advise members of the LDS, and maybe even Paul Carelli, that their "pictures" made me think, led me to find similarities and fueled my desire to "play with cards that I know, "with whom to share my game guess I can understand. And if it happened to me can happen more ... potentially sensitive mood.

Music as a single element of a more complex design, music is not for everyone, but of extreme refinement. For those who love the atmosphere and the plots are so many prog manna from heaven.

Besides the traditional tools used to realize the sounds typical of the genre, the extra touch comes from the use of the cello and the "narrated" (also means) already quoted Carelli.

The movie will follow an example of my thinking.

A mention of the CD cover. The loss of the vinyl (but is now back at the gates of the house) has taken away an important part of the pleasure. The size of the "new" format, despite wishful attempts, are an impediment to full utilization objective, but The CD contains little that need highlighting. In an album where the image is also critical of the apocalyptic visions "Hanblecheya" hit and I think that would be an easy incentive to create another story, another trip.

At this point the healthy curiosity push to assess the group and album at live, because direct contact is needed, at least sporadically. But in this case difficult to see the "reproduction" almost never useful, but with common elements that can not be missed. To achieve live performance, the element of "narrative" should result from a compromise (by a mere logistical point of view) between the group and Carelli and does not seem easy.

A good album, a work surprisingly ripe to be a debut.

Perhaps the secret lies in the words of that Carelli, describing the band members says

" They are all students, very young, and in their eyes I saw a light , meaning "desire to create " ... really nice to see .

www.myspace.com/labirintodispecchi/

http://www.lizardrecords.it/

Interview

reading your biography I was struck by one aspect that I find frequently in the music the "new" groups with whom I meet. I refer to the need to express not only through music, but using different art forms that are then to form a body unique. Where does, in general, this need to create musical situations using different cultural aspects?

Music is an art form and as such should be combined with other art forms in existence. Especially in the period of post-modernism (so now) art has become something of value and uncertain: it is hard to find a painter or a sculptor in the simple sense of the word. We have evolved at a rapid and almost complete fusion of different artistic disciplines at a conceptual level so that it is often difficult to distinguish a work of art from something that is not. We could, for example, respond to this interview with precise words and sounds and make this a performance, that is an art form. We as players want to neglect a conception of music as mere entertainment, instead of retrieving a purely artistic dimension. We intend to look for a different level of communication, which is not watertight but the music conveys dynamism, creating an all-encompassing. And that's what we did to the presentation of Hanblecheya: With the construction of two facilities, we have created a journey, a search path of the Vision, Understanding here, not in esoteric terms, but as a state of mind that is spontaneous the combination of images, memories, thoughts and moods. To convey this, a holistic approach to making art is inevitable .

Your music is not simple to "jack", I would say the elite, not in the sense of the word snob, but I would not be assimilated by all. The impression is that there is only one glance toward the visibility of the "product" (ugly word ...) and every effort has to quality and pleasure of create music according to their beliefs. You think there is a compromise between the "noble" principles that can guide a band of musicians and the need market?

Ask yourself the purpose of reaching a compromise in these terms, already represents an attempt to constrain the creativity and spirit of a group like ours. This attitude does not want to be "fundamentalist", but is dictated by the conception of an artistic product that needs to be totally disinterested beyond the simple and pure enjoyment of art. Too often, the market is the tool that kills the Arts. The purity of art should have nothing to do with the money, dirty and dishonest.

How important in this sense to work with Lizard?

The Lizard is definitely a great reality in which the groups are free to give free rein to their creativity without any restrictions. Difficult to those who try to offer something new, revolutionary and radical (though we are neither radical nor revolutionary) manages to find room in the world in general and, in case the question in music world, now dominated by the logic almost exclusively economic. With the publication of Hanblecheya, the Lizard has allowed us to expand our horizons and let us look out on the national scene, going out of bounds and sterility (musically speaking) in our area, that of Siena. The only side effect of Our collaboration is the geographical distance, which requires us to have to communicate only via computer (except a couple of meetings we have done) and in this sense is lacking a bit 'of warmth. But now as we (I think) Loris, we have become accustomed to this.

How is your music? E 'collection of ideas drawn up separately or is the strength of group that triggers the different sparks?

The idea from which a piece of LDS is the work of individual team members (especially the guitarist Gabriel Brown). Starting then from a core central portion of each develops its own instrument, influenced by the emotions that are aroused. Everything is still in a spontaneous manner during practice for the group.

How did your collaboration with Paul Carelli and what is its added value from the point of view of the composition ?

Working with Paul is the brainchild of Loris Furlan of the Lizard. Based on the main theme of the album, one of the Vision, we had made the texts that would later become part of Hanblecheya (except the lyrics of the song "In my mind nothing ethereal subjugated by the unknown expands "on the contrary made by Paul), but we did not just those who could speak. Given the great visionary experience of Paul in the narrative, appears on the album "The Concert of the minds" of Pholas dactylus, who more than he would have done in our case? The biggest problems were related to his long inactivity, and its will to cooperate or not our project. For us, his collaboration and his meeting went beyond the musical aspect. The thrill of knowing a person of great artistic and especially the human being as is Paul, is difficult to describe. In this sense, we must thank Loris that allowed this. It is also clear that working with a piece of the history of Italian progressive like Paul, has allowed us to get more visibility (also having regard to its long absence from the official scene).

There is a musical reference from the past that it is the common denominator of all of you?

No I do not think, there may be groups of the past that we listen, but none of them is actually a reference point. Being musically omnivorous and being open to any kind of music, even in its variants more "extreme", inspired by a lot of music. The influences, however, more progressive classic from a matrix (Canterbury scene and the Italian scene) and its contemporary variants (Tool, Porcupine Tree, Isis), and then come together in forms of alternative-rock, such as post-rock (65daysofstatic, My Sleeping Karma, Mogwai, Neurosis), or the noise-rock (Zu , Morkobot), without neglecting the acoustic scene (Balmorhea).

Referring to personal experience, I can not find anything he can to motivate rational my choices and my love of music. Laughter and cries of the sounds that they can dominate without that we can (or should want) to rebel. What do you see the "mystery of music?"

feature that differs greatly from the other arts music lies in its ability to transport feelings and moments spent in a manner so spontaneous and lightning that could be compared to the perception of a smell. This elementary and direct relationship with his mind, the gates of rationality prevails, which, however, often does not happen in front of a painting or a sculpture, for which it becomes necessary to use reasoning. The fluffy, the inconcretezza, music is sound and the sound is metaphysical. Since our birth is a universe of sound, the first stimulus that we have when we are fetuses is a sound stimulus, entire civilizations have stories about creating the sound that put the principle of all things, just think of Christianity itself: "In the beginning was the Word." Music is sound thinking (even when it is uncertain, because it is deliberately music), and is therefore able to "speak" in depth and touch those who hear it.

What is your relationship with technological innovation, applied to music?

Many of the characteristic sounds of the album derive from the use of devices, analog and digital, the result of new electronic technologies. We strongly believe in the potential that these technologies can make to this kind of music, and the variety of solutions that ensure, for the great fun that you try using them. But unfortunately we have not built any computer music hyper-sensitive to brain waves, even if our engineers are working on.

What gives and what keeps the web to a musician, young or old?

In its democratizing information, the Web has involved music. The advantages that a player can find in terms of vision, ideas, insights are many. A musician would take away a little if his goal was just to be heard. If instead enter into the dynamics of purely commercial, it is clear that, because of downloading of songs, the web is a scourge for professional musicians who base their income on revenues of a disk. In witness whereof, the fact that many major groups are beginning to lower the price of its CDs in order to boost sales.

How do you imagine the evolution of your musical journey over the next five years?

To date, we hope to continue on this path, perhaps with a second project and especially with more concerts.

BIOGRAPHY Mirror Maze

Mirror Maze is a project started in 2005. The initial intention was to depart from the commonplace of music that most of the groups is currently looking for, so much so that the first training group included two batteries, two basses, two storey / synths, two guitars and two voices (all looking for a setting almost orchestral). By the time this was later reduced due to the difficulty of reconciling the commitments of each component and also for practical reasons. Although at first intent to revisit progressive view of historical items (Italian and more), then with the passage of time the road was abandoned and the covers after a few months, the group focused on finding new sounds. The main prerogative of all the art and interartisticità total, ie the conjugation of various art forms such as music, poetry, philosophy and fine arts (with an exhibition of paintings at the concerts and the creation of spectacular installations where possible).

of 2007 and the demo "The Masque of the vision with which the group tried to enter the Italian underground and has obtained numerous reviews on the web and in magazines, many of which are positive and have encouraged to continue the project. The demo in question, however, still a die typically progressive-rock, which only has a few points in the atmosphere and the experiments on which he then decided to push the group.

In 2009 began the registration of the first official to Lizard Records called "Hanblecheya", released by the end of 2010. The concept album, in which the theme is that of vision (hanblecheya literally means "cry the vision"), have been reworked some songs from the previous demo and were inserted new ones. These shares have always played but a lot more attention and importance has been given to the atmosphere thanks to the inclusion a cello and poems written by the group and performed by Paul Carelli, progressive voice of the historical group Pholas dactylus. The work is receiving good reviews and entered the Prog Awards finalist in the "Best Debut Album 2010".

In recent times the group is intent on creating new songs which is to dominate the search for minimal sound, noisy and some noise making it possible to make the proposal even more personal and special, while keeping part of characteristics of the earlier work.

Rare Anime Originals Myspace

He completed 64 years today Ryland Peter Cooder , better known as Ry Cooder.

was born in Santa Monica March 15, 1947, and besides being an incredible guitarist (the Rolling Stones places him at number 8 of the special prize dedicated to the best of all times) is also a singer and composer.
As shown in the movie to follow is also an excellent mandolin player.
began studying guitar at an early age (a only three years), while remaining self-taught, though long in close contact with the English Vincent Gomez will definitely carry it to the world of music.
begins, however, to engage in other musical genres such as folk, country, but especially the blues, going to the Ash Grove in Los Angeles, where he met Gary Davies, who taught him the rudiments of the bottleneck guitar and introduced him to the banjo.
Ry Cooder is one of the manufacturers of sound more inspired of all time.
He began his career in the blues revival Cooder but soon established itself as an arranger and composer, able to create the atmosphere more troubled.
no case will end for preference the shape of the soundtrack. A
age of 17 he joined the Magic Band Captain Beefheart . A form with 19 years
the Taj Mahal Rising Sons and 21 works on his first soundtrack. How
virtuoso slide guitar, it soon became session-man requested by many, including Rolling Stones . For them
Cooder played the mandolin in "Let It Bleed", as the Stones make "Love in Vain" by Robert Johnson (still work with the Stones - this time with the slide guitar - for the piece Sister Morphine).
When finally released a solo album, "Ry Cooder" (1970) was almost a disappointment Cooder merely dusting off old songs remained forgotten for decades.
In fact this was the simplest way to reconstruct a time, as demonstrated, playing with more participation, on the next 'Into The Purple Valley "(1971).
With its chiming guitar, the bare simplicity of his arrangements, the timidity of his melancholy voice, the songs on that record are just as many "snapshots" of the world that no longer exists.

Cooder extended a heartfelt tribute to the people of the Great Depression, the Hoovervilles of the unemployed, the Dust Bowl drought of the great ` 30s.
cover of The Dark End Of The Street (1972), on Boomer's Story (1972), the song is perhaps the most exemplary manner in which Cooder extract emotions from a very humble treatment of the original source.
The next step was to learn how to use the recording studio.
A production made much more accurate for "Paradise And Lunch" (1974) an album more accessible.
Although this album was dedicated to gospel, Cooder let the size of the blues revival and focused on the abstract task of recalling the past (Jesus On The Piglet, the proposal in the movie at the bottom of post).
Cooder then immersed himself in the Hawaiian music with "Chicken Skin Music" (1976), enthralling excursion to waltz and bolero, with the participation of the great accordionist Bolivian Placo Jimenez and a great Hawaiian guitar.
Similarly, "Jazz" (1978) takes aim at the first jazz jazz, the beginning of the century. The central theme of the work
Cooder is humility.
While his skills as an arranger and producer allows him more creative flights, Cooder is getting closer to rhythm and blues and rock and roll with the album "Bop Till You Drop" (1979), "Borderline" (1980) and "The Slide Area" (1982), again with impressive results for authenticity.
The third is unusually rich Cooder's compositions. Starting
epic western cowboys and outlaws painted on "The Long Riders" (1980), he spent the '80s Cooder soundtracks.
were, among others, "Southern Comfort" (1981), "Border" (1981), "Streets Of Fire" (1984), "Paris Texas" (1985), "Alamo Bay" (1985), etc..
Each of these works sheds light on the personality of the archivist and mouse "disco", a craftsman of the "hand made with the taste of a time."
His approach is a mixture of nostalgia and philology.
the intense poetry of this soundtrack is the highlight of his work.
popular fantasies are able to immerse the listener at the outset in the true spirit of an ethnic microcosm.
His inexhaustible passion for the "oldies" meanwhile, continued to fill up albums such as "Get Rhythm" (1987) and especially "Johnny Handsome" (1989).
Ry Cooder was also part of Little Village (1992) with John Hiatt and Nick Lowe. It is of
Hiatt (back to two posts to read him) the single Sex Solar Panel.
But instrumental music suits him much more.
"Music By Ry Cooder" (1995) is an excellent anthology of soundtracks.
also those made by pasting other people's contributions, as "The End Of Violence" (1997) and "Buena Vista Social Club" (1997), seem almost existential meditations on the human condition.
Marginalized by his lofty teaching, Cooder hardly belongs to the history of popular music as it is only dedicated heart and soul to folk music.

Let's see and listen to him.

Jesus On The Mainline

Quote of the Day:

" Imagination governs the world " (Napoleon Bonaparte)

How To Check Whether Smps Is Working

James Taylor

propose again an old post today to remind James Taylor, who has just turned 63 years, having been born March 12, 1948 in Belmont, USA.

James Taylor was the most famous of the singer-songwriter who attacked the cliche 'of folk-singer in the 70s .
prototype cultured and creative singer-songwriter of the '70s, Taylor is never able to fully exploit this intuition.
Taylor made his debut in New York in the Flying Machine, whose recordings of 1967 will be collected on "The Original Flying Machine" (1971).
James Taylor's career is always been tormented because of his personal misfortunes (the first in a psychiatric hospital and then drug addict), and the songs (which goes well with the acoustic guitar drawing inspiration from jazz and rhythm and blues) reflect his inner neurosis.
After a first album, "James Taylor" (1969), without keeping ballads arranged with painstaking care, on which stood "Carolina On My Mind" and "Something In The Way She Moves", you say `with" Sweet Baby James "(1970), where his versatile vocal timbre, his guitar technique and pianist Carole King sentimental contribute to chisel the poignant "Sweet Baby James," "Fire And Rain," "Country Road".
"Mud Slide Slim And The Blue Horizon" (1971), which uses John Hartford, Richard Greene, he still had "You Can Close Your Eyes" and "Long Ago And Far Away," but it was already much lower.
"You've Got A Friend", the King, `places it topped the charts, and fame increased after the much talked about 'marriage to Carly Simon , and their duet" Mockinbird "(1974).
In reality the fragmentary "One Man Dog" (1972) and "Walking Man" (1973) had much lowered its prices, and the tone of domestic "Gorilla" (1975), with the ironic "Mexico", betrayed the intellectual limits of the character.
From "In The Pocket" (1976), with "Shower The People", Taylor was re-defining itself as a sophisticated interpreter of orchestral songs, including covers of rhythm and blues.
The conversion to easy-listening the result is a platinum album, "JT" (1977), with "Handy Man". "Flag" (1979) looks like a collection of leftovers from the previous album.
"Dad Loves His Work" (1981), "That's Why I'm Here" (1985) and "Never Die Young" (1987), continued the descent into a sophisticated pop.
Best "New Moon Shine" (1991), which brings him back to some thrilling atmosphere.
"Hourglass" (1997) and is also more sophisticated, although 'now has little or nothing in common with the folk or rock.
style autumn of these discs is sublimated to "October Road" (2002), which looks like an old testament on his deathbed.
"Greatest Hits" (1976) collects the hits of the golden age.

've got a friend




Famous last words:

" I do not see why you should have a computer in every home "(Ken Olsen, President of Digital in 1977).

Viedo With Brent Everett

Impressions setttembre

Massimo Pacini The friend sent me his consequent feeling of listening to a random cover of a song "historic" Impressions of September.

invitations to of Massimo Pacini

Not just a 'cover '

' Cover ', since the time when magic was working as a speaker at Riviera Radio Music has always evoked in me a sense of negativity music. I can not name a precise reason. Perhaps I have always branded the 'remaking' as the fruit of weariness Music unhealthy or worse as the search for a sinful distortion of the artistic forms the basis of the song 'true'. See it violated the works of art, in short, has always given me a profound shock.

other day, rummaging through my music collection (which I now also manage electronically with the PC) I happened on the wire keyboard, a song which apparently had not given due attention, at least in that version.

like old times. Open mind. Curiosity. That light that always test every patient heartbeat of music. Play (or rather ).

A grand piano.

can not be the same song. It will be the wrong title. No. No, the melody is not true. It 's really her.

Join a great male voice of an artist who, I must say the truth, I never managed to attach more much. But it is really a great voice. But it is above all a great song.

voice chases the piano or maybe it's a rock piano voice. What a beautiful!

The text is creepy. I've always adored. The poet Giulio Rapetti could not do better. Of course the version of my youth, that I've always loved, is the expression of one of the few groups of Italian progressive rock worthy of the name.

many memories.

The piano continues to work great. The voice, even in delicate steps, is thrilling.

The atmosphere is strange, different. Very nice.

I feel like a mature man holding a nice toy that is afraid to break.

The play several times and finally I am absolutely convinced of the melody. It 's like my mind fifty received a fond memory in improved quality, better suited to a person who has become' great '.

That's nice.

Thanks Flavio Premoli for your piano.

Thanks Francesco Renga for your voice.

Thanks Giulio Rapetti (Mogol ) for your lyrics.

Thanks PFM because you created something immortal.

Thank you all for having had the idea to revive this.

Impressions of September.

Not just a 'cover'.

Francesco Renga - Francesco Renga - Impressions of September.

Camcorder Optical Zoom

RedZen-The "Void" Robin Trower

few lines provided by RedZen to determine its origin. In the interview will be clearer to follow the common philosophy.

RedZen The project was born in Italy in 2009 by Roberto Leoni, Ettore Salati, Marco Schembri and Angelo Racz . The aim is attempting to carry out music "progressive instrumental" orientation "fusion."

The band members are well-known musicians in the music world "prog-fusion" and their "meeting" came after the sharing of projects with different distributions and concerts throughout Europe, USA, South America and Japan.

After a few jam sessions as a trio, joined the group Racz virtuoso keyboard player, but then came a defection to Schembri, then replaced by Nicola Della Pepa .

At this point the band was ready, with one word: " Jam Like Hell! .

" Void" is therefore a purely instrumental album, the result of a few hours of improvisation, and then with the wide use of "imagination and wisdom" on a script, loved, and that of the rock of jazz. This is what I inferred from the few basic information in my possession, but it is far from what is attributed to the collective term "Jam". Listening to the album in fact, I set before something smooth, studied, and with a sort of leitmotif. The technology works miracles, and often to form an opinion on a band be sure to listen live but, having no doubts about the quality of musicians from the important credentials, I think I can say that the work "hard" assembly "cut and sew "construction of form has led to a final situation that could perhaps go beyond the expectations normally associated with a" disk first. "

A working group, music, sports, education, independent of often the quality of the individual, or four "axes" put together can give lower income who have less quality but believes in collaboration and mutual help.

All this to say that after listening to my ideas are different from the expectations brought about by reading the presentation. Unimportant my personal interpretation, each live music in a thousand different ways, and I do not think there is a " better," but the feeling I felt after hearing carefully "Void" left me ' image of unity that is usually characteristic band of the second or third record release.

The definition of "instrumental project" can be modified to some extent, as a "singing" exists, albeit small, but very successful, and listening to " Alexa in the Cage " , the fourth track on the album, the vocals does not seem a stretch and I think it looks good on the other hand, a path for me to pursue in the future.

The influences are reported, ranging from prog giants ELP, Crimson and Genesis, to jazz to rock Colosseum, Mahavishnu Orchestra and Weather Report .

You can not erase the traces of our growth, but in this case (it happens more often talking about the new music groups) have found new evidence, particularly without forces me into the circle.

The use of keyboards as Shynt and Mellotron are more than signs, means being behind some of the music of early 70's, just think that some "scientists" of the sector will tell you how to distinguishing features of music prog and that without such innovations, the music would be ... "more music", but not progressive.

What I have found "fresh" is the use of dreamy atmospheres and melodic tracks (this is the indelible DNA Italian) intersected intercalated with funk rhythms and jazz . The resulting mixture affects impact. " Into the Void", which further, I think it is good illustration of my thought.

Alongside the new and old instruments, but commonly used, there are two "new" ... vintage, rare on stage: I speak of Dulcimer and Sitar. from different cultures, and sonority, with reasons, chance, away from those who have previously suffered a kind of conditioning caused by spiritual choices (see Harrison with Shankar ). Maybe "Return to Kolkata " is simply the result of a recent trip to India and maybe the dulcimer is the result of love for Joni Mitchell , the fact is that the inclusion of unusual sounds in a context of already assimilated by years of plays, makes "Void" "work" solid, pleasing from my point of view and, I repeat, probably more intense than you could possibly include in the draft stage. Rhythm, melody and sound research married to the pure virtuosity.

I am not sure if somehow the album can also be conceptual, and even came to my mind to ask, I am influenced by almost dogma "instrumental music" (but there are many artists carrying out a "concept" without the use of the lyrics).

Picture paradoxical? No, human sensitivity, even higher if you love music, it can ensure that even the history the world can be represented through an hour of sound, without uttering a word.

Also "Void", perhaps unconsciously, may be a hard concept!

Tracklist:

-Cluster

-Hot Wine

-Slapdash Dance

-Alexa In The Cage (vocal version)

-Into The Void

-Who’s Bisex?

-Return to Kolkata

-Spin the Wheel

-Alexa in the Cage(instrumental version)

Line up

Angelo Racz : piano, organ, synths, keyboards

Ettore Salati : electric, acoustic, 12 string and double-neck guitars, sitar, bass pedals, dulcimer

Nicola Della Pepa : electric, acoustic and double basses

Roberto Leoni : drums and percussions

Hometown: Milan, Italy

www.theredzen.com

www.myspace.com / theredzen

Distribution:

http://www.maracash.com/store.htm

INTERVIEW

In making this little interview I asked myself the question whether to write in Italian or English, because all I could find about the band, expressed by you, has very specific characteristics. The sole use of the language of Albion (and not dual language as almost always happens) is the result of a need or is it just the particular medium of expression with which you are more comfortable?

Roberto Leoni (drummer): seen the kind of music we offer, and we think is more attractive to foreign audiences, there came the use of natural language Albion of course ... always open to go to our own mother tongue.

Ettore Salati (guitar): The RedZen is an instrumental project, its language are known, but we are in a globalized world, and ... English spoken. Our past as a musician is an international and we want the RedZen have this type of image ... but we hope to be welcome at our house!

Your project is very recent, but I read an amendment to line up, that lends itself to multiple interpretations. How hard is, in general, create a working group pursuing a musical challenging, the achievement of which depends, unfortunately, only in part by the ideas and skills of the musicians?

RL : great deal, especially for the lack of "money", which forces us to have more projects and work at the same time. The change of line-up was caused by a depletion of energy and stimulation, because the need to create something new from scratch is not a trivial matter.

ES : ... and anyway we are all indebted to Mark for allowing us to start the project. Part of the arrangement is his, is right to remember and believe we have recognized his great job. Besides, I Roby and Marco we played live for years amid the world and it was natural that we will meet again to work together. Each of us has put what she has available as musician, the result was "Void", which I'm sure well reflect the personalities of all.

How do you feel in the current "game" of businnes music?

RL : play, and when the going gets tough ...

ES : Yes! We know only too well the dynamics of the business but we are not going to get involved or to be crushed. We work to have our place, and we are sure to succeed. In this, a special mention to our label, the Ma.Ro . Cash, who believes in these projects and supports them bravely.

do not like to put an artist in a box of recognition, although it is undeniable that the placement into categories facilitates the choice of who comes close to the "new". I love the progress, although he was born so we did not know his name, but the term "prog" is something I feel stuck in any kind of complex music and unconventional. How can you define the music "progressive fusion"?

RL : I also do not like to label types of music, simply divide the good from less good music. Unfortunately we are inside of a mechanism in my opinion wrong to label anything.

ES : "Void" is a crossover rather than hard, I would say ... if you want to call it "progressive fusion" is simply because it is full of jazz-rock. As much as we do, anyway.

I read what the "pit" to draw on, musically speaking, I mean those influences that we carry with us since we start to hear the music first and over time ... progress. There is an artist, a band that regarded as the main reference, and which are all in full agreement?

RL : I do not think you have an artist or band of reference, we are playing, improvising, and what comes out, whether we like it, is then reworked and defined without ... no reference.

ES : our primary source of inspiration are the RedZen! However, disc completed and a cool head, I noticed in "Void 'a bit of Return To Forever and King Crimson.

In the presentation I've read, your preparation is emphasized to the Jam, "improvisation. Personally I think it is an important situation, "liberating", but I guess for you is so much more. During the live performance is usually cause for appreciation and involvement. Think hard about that result, in terms of satisfaction, may be the same?

RL : We propose a live very close to the disc, improvisation is very nice, but in some respects it is also very risky. Live in our case will serve to let us know and promote the album, then we will bring a much more professional improvised, hence will deviate slightly from what you hear on "Void".

ES : for me it is the other side of the coin we have worked because "Void" is a much immediately, and I consider it as a fresh live album! To which we say that these considerations are the various facets of the same reality.

Staying on the theme "live". What kind of relationship can you establish with your audience during concerts?

RL : we're not yet climbed on stage as RedZen I hope that the reception will be very positive.

ES : I can say that it alone, other projects, to me, and maybe all of us, has always been interested in the "Game" live. What we want to communicate is conveyed the best have the dynamics right, and work in this direction. The audience immediately returns its feedback from this point of view, and listen is essential. When you are having fun all, both the musicians on stage and the audience, here the goal is reached!

I read the name of Ettore Salati album "In The Sanctuary", by Alex Carpani. The music business is something lacking the pure, able to go where no other form of communication does not arrive. There friendship in your "world", or should necessarily prevail professionalism?

RL : there, even though it is often "betrayed", this is achieved, when there's business (not in our case) is difficult to combine the two. Hector and I know something.

ES : actually not easy to combine the two, but it is possible. As for the RedZen, we are all professionals, we work in music, playing live, we must also consider the professional side and unfortunately not always coincide with that art. I played in "Sanctuary" and follow Alex live since 2006, and before I worked for seven years with The Watch recording two studio albums, and doing a live tour across Europe and North America. Roby is a founding member of the same watch, with whom he recorded three albums and one live in the studio, and he played in half the world for nine years. Angelo and Nick are significant shift workers in the Italian scene. We are not sure the first coat and try to maintain the professional standard that we have always been single. On the other hand, fortunately, the human aspect and the approach that underlies the democratic RedZen The project contributes a lot to join professional and reward creativity.

listening to your album (for now ... deliberately briefly), I received some images of popular musicians. What are your points of reference in terms of instrumental technique?

RL : Gavin Harrison, and I said it all ...

ES : Jeff Beck! But Hackett, Page, Hendrix, Fripp say ... the great rock guitarists of the '70s.

usual final question. Which way would you like traveling over the next five years?

RL ES & : A couple of other studio albums, many interests in various international festivals and ... and not as a stylistic evolution that reflects our personality, as has already been to "Void".

Eat And Then Diarrhea, Lose Calories?

He completed two days 66 years ago " Robin Trower, born March 9, 1945 in Catford, South East London. His name is mainly linked to the group Procol Harum , but his intense activity that unfolds between " Robin Trower Band, Bryan Ferry and, lately, Jack Bruce .

I borrowed some curiosity from the network .

"... is one of the few British guitarists absolute lords of touch and expression. Not only has made them his own, with an instinctive awareness of their power, but they are to have chosen to live in his fingers. Is criticized for his influences (Hendrix): I do not care. I turned to America in 1974 with Ten Years After as the main attraction, my second King Crimson and his group at the beginning and almost every evening I found myself listening to this man who lives for things that are considered by many Details: quality of sound, nuances of every single note and misrepresented, leaving the constant feeling of the moment. I know it has saved my life. Back in England, I thought good to take guitar lessons from him. "

words issued by this admirable Robert Frip p , guitarist dall'approccio Music at odds with Trower and perhaps that is more informed and aware of the kind of talent in possession of his colleague, condense the best of what's special responsibility in this elusive master of the Fender Stratocaster.

http://www.trowerpower.com/

I have a personal memory, having seen one of his concerts a year and a half ago when she performed in Savona in trio with Jack Bruce and Gary Husband:

http://athosenrile.blogspot.com/2009/07/concerto-savonabruce-trower-and-husband.html

Half of that concert I saw him practically on the stage and to closely observe players of that value is really a thrill. I was a few feet from them, almost in a dark corner, waiting for a fall ... and who would never imagined could happen!

Eventually Trower was the kindest, a sample ... also simplicity.