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
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
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".
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