Kate's Playground New 2009

I heard the Hope Concert Music Live - Villaricca, December 26, 2009 I

The Music of Hope Concert played, Dec. 26 at the Church of SS. Maria Arch located in Villaricca, the entire music project conceived and contained in the so-called " Procession of shock and .

This is so cool that anyone could understand, wondering - perhaps - who was staring the man who, on the manifest, lively hopped from the back, with a clarinet in hand.

Above could be finished as a band on the altar of a church.

Alla seconda domanda l'autore della recensione in essere risponde riportando le parole dell'amministratore per la cultura e lo spettacolo di Villaricca Enzo Palumbo che, intervenendo al termine dell'esibizione, pochi minuti prima che il pubblico accorresse ad abbracciare il Maestro Pino Ciccarelli e i musici dell'organico, ha ricordato che l'evento appena terminato faceva parte di un programma musicale predisposto dal Comune per l'intero periodo natalizio proprio nelle chiese.

Ma una banda , perché una banda seppur alimentata da un motore ritmico/stumentale ispirato a varie forme musicali e generi such as the tango, the milonga, the east west coast USA, jazz rock and even pop (Olare)?

The insistence with which the author of the review is heard asking this tricky question to answer makes the availability of time.

what the heck, Mick Jagger of the Rolling Stones would respond " is only rock'n'roll."

I, for my par, I tell you that this is tuneful 15 pieces, 15 modern songs, sometimes joyous and sad times (but then that means? Should be in the audience to take advantage the journey Pino e la banda ci hanno fatto fare su questo magico autobus) rielaborate e/o scritte ex novo da Pino sul materiale bandistico di cui l'autore è anfitrione d'e c c e z i o n e !!!

L'organico appariva così agli occhi dello scrivente: nell'area antistante e che precede lo spazio dell'altare, Pino Ciccarelli, al centro, al clarino e sassofono soprano.

Alla destra, il gruppo ritmico con Marco Caligiuri alla batteria,
Roberto Giangrande al basso acustico e Fabrizo Fedele alla chitarra acustica.

A sinistra, Mario Nappi al pianoforte e Massimo Capocotta alla fisarmonica.

stepped on one of honor, Pino behind the horns of the band. Ciccio Iacolare on trumpet, trombone Antonio Di Somma, and finally to tenor sax Davide De Gregorio.

not missing anyone, I think.

NO! Here the Virgin Mary from my point of view framed pine for the duration of the concert, during which, aided by the warmth of the public who has sung in more than one occasion and kept the rhythm with their hands, ran the entire project cd of the pieces of the lineup following a different but equally effective.

the way, you who are reading my blog or on other sites, run - not hurt - at c omprare this CD. Support the cause of the Hope Music Concert would like to do a tour as it should and also go Superbowl in America, right before the Carnegie Hall in New York . The band at the bottom of ambitions average coasters.

However, there is just something at least for the outward journey. Thanks

So, I said the concert that began precisely with the song's title to the project Ammore procession, followed by Friday.

Both pieces are reworkings of Pino on marches that were played on Good Friday in fact, in Chiaiano, a suburb of Naples.

The first begins with a singing fronn reminiscent of the father Pino Ciccarelli Natalucci which was clarinetist and band director Musical Concert of Hope Piscinola, Marianella the neighborhood where he grew up and Pino taken the first steps in the guise of clarinetist. After being dropped

metaphorically "in the streets", the band continued with a song Capricciosa by Luigi Ingo, melodically very strong band repertoire that Pino has reworked and rearranged in the form of tango as Friday.

The executions, which take on a live spontaneous sound that only the interaction between the public and can stir up this repertoire, they have blown the topical song, freeing themselves from the sources that come back to play today with the pleasure of their vitality.

The concert then continued with a musical sequence of photographs related to the places and people told in this diary: The feast of Santa Cecilia, Via De 'Liguori, 15, Bagni di Lucca, Musician, Gavuttella appassiunata and Ricciulella .

Very touching were the performances of Via De ' Liguori, Bagni di Lucca and Ricciulella , devoted mother of Pino and that the band has performed live only in the first version on the CD, which instead takes it in the end with a jazz standard form.

E 'was then the turn of Verde Luna, a beautiful song performed without the beautiful voice singing the Pina Cipriani on the CD.

The author of the review is a fan of this piece thanks to the fact that it was also the favorite of his father Pino (thanks Natalucci).

They made their appearance and then the mysterious march '74, the yearning for See you guys Pino deserves as an encounter with a great director type or Tornatore Pupi Avati or Gianni Amelio (here, I said it).

So the concert was launched at the end with the radiance of the almost danceable ammore Shadow of the plot jumping fiatistico of Safari Yellow and a tribute to St. Alphonsus de 'Liguori ie You come down from the stars, performed with the choir of the public.

The CD project, already remarkable for care, quality of sessions, and iconographic richness of the contributions of well known, is enhanced and running live the warm sound of acoustic instruments amplified and acquires immediacy and spontaneity, finally becoming Banda!

Greetings guys, I love you!

Confidentiality Clause Fax

heard "Brotherhood of wine by Fabrizio Fedele

I met and talked for several hours with Fabrizio Fedele Wednesday 9 December at the 'Association Illimitarte Villaricca to a guest's friend Lello Cardone.

We met an accomplice to the registration of the second episode of POPODCAST - FREE MINDS IN FREE PODCAST initiative web radio to download, just mode of podcasting,
Fabrizio said that he was inspired for the title "Brotherhood of wine," which means wine brotherhood, the novel "The Brotherhood of the Grape " the American author John Fante .
Fante is incidentally the only author of whom I have read twice in a row then wrote a well-known is the "Ask the Dust . I finished and I started to read it!

Fabrizio says it has completed the sequence of the cd taking into account the fact that the curve of ethyl hangover has on his followers: dall'ebrezza stunning erratic until the abandonment of Bacchus in favor of Morpheus, in the sense of sleep and start dreaming.

Whatever the inspiration for this work, I appreciated the energy that the group has managed to infuse in sessions and the expressive character of the guitar Fabrizio.

Registration is sound and not just well done.

Fabrizio is a professional in my words speak far better of his artistic contributions, ranging from the relationship with the new staff of Hosanna along the path developed with his trio.

So I thought to ask a few questions to know him better Fabrizio.

Here is the interview.

MB: What are your artistic inspirations più immediate, quelle che bene o male sono finite, opportunamente foltrate e metabolizzate, sul manico dela tua chitarra?
FF : per i chitarristi senz'altro Hendrix, Metheny, Van Halen, John Scofield e Mike Stern, SRV, John Williams, Jeff Beck... ma ce ne sarebbero almeno altri 100 da nominare. Per la musica in generale i Beatles, Ozzy Osbourne, Bach, Bartok, tutto il rock annii '60, '70, '80... e tanto, troppo altro.

MB : Quali sono stati i tuoi modelli musicali, gli album di riferimento, il sound che hai usato quando hai cominciato a suonare?
FF : I miei modelli al principio erano due: Pat Metheny e Eddy Van halen... amavo la vena melodica del primo acrobatics and the aesthetic of a second!
I did not do many calculations have to have a sound identity (as long as I have been able to have one). Perhaps all of this back ground me various formats as they are today ... always evolving!

MB: Give me two words that will allow me to understand what you want to express when you play-no matter how difficult.
FF: Two words: good music (I hope).

MB: What is your equipment?
FF: Using esclusivamete Fender Stratocaster, a possible model of Foreign '50s or the like. My favorite is a vintage '57, a '56 Relic, a Classic '50 and a Mexico da me customizata con Pick DS (Davide Sorrentino, mio caro amico bassista/liutaio che sta preparandomi un modello DS Signature che sarà pronta a marzo)
Ampli Twin Amp 100, Bassman 4x10, Laney VC 50... tutti profondamente valvolari.
Pedali per lo più BOSS... DS1, BD2, DD6, Wah Jim Dunlop.

Alternatives For Rosacea

Micocci, the artistic director of the music industry before the rot

Rileggendo il mio precedente post, trovo alcuni spunti utili al proseguimento della ricerca di vitalità nella musica se non proprio di senso che mi pare sia un obiettivo tramontato da tempo nell'ambito delle pretese di qualunque linguaggio artistico.

La discografia è defunta da parecchio tempo e i segnali di putrefazione si possono decifrare nei tanti patetici espedienti commercial i con cui vengono mantenute aperte le poche sedi dove i nuovi manager educati alla Bocconi o alla Luiss vestono con piglio arrogante le parti ma non le vesti dei primi noti direttori artistici delle case discografiche italiane.

Dicevo degli espedienti tra i quali spiccano due fenomeni dilaganti:

1. i cd di cover con ospitate e dvd dal vivo 
2. la rimasterizzazione del catalogo dei padri del rock/pop con esiti sovente ancorati al solo profitto, poche volte invece partoriti con un investimento e con la partecipazione degli artisti, se ancora residenti in terra coi piedi e la testa.

Dovrei aggiungere in realtà also the reunion tour which usually follows the digital reissue of Catalogue and rarely the publication of a new job.

The inspiration for this post was suggested by a recent reading of a book " Vincenzo, I kill you " on and written by known artistic director Vincent Micocci I appreciated the talent scout Roman generation of songwriters that emerged in the early seventies and still, sometimes with pain at the scene.

Sunday then I recently bought a book of Ernesto Assante that has collected, I believe, many of his writings and journalistic articles on the relationship between music e società sotto il titolo " Copio dunque sono ".

Due pubblicazioni che, uscite quasi coeve a livello di pubblicazione, osservano la Storia delle dinamiche socio/tecnologiche che hanno influenzato dapprima lo sviluppo del repertorio musicale italiano della seconda metà del 20° secolo e poi hanno contribuito ad indebolirne le fondamenta, concorrendo al degrado del prestigio precedentemente conquistato il tutto il mondo e rendendo di fatto impossibile il riconoscimento delle poche esigue forze espressive presenti sul territorio.

Micocci è stato un patron della musica pop d'autore che nella sua prosa dal sapore storico/deterministico trova stupefatto sé stesso come principale interprete balances of the Roman kingdom divided between American labels such as RCA publishing fortune and new proposals for the commitment and talent of a good risk by the same Micocci & friends.

Beyond the style a little too encomiastic and prudent to avoid spread of the many poisons too many memories, to the point of reading to be quite tricky for the excess of " cleansing", the text makes about commitment of a responsible man, stubborn, brave and with a talent scout from intuition. Apparently, not very common.

Micocci born in a certain period, after that of the second war was possible and after much time was allowed thanks to the extraordinary creative energy that the complaint means war and misery had come to leave like a river in flood.
But many were also the political constraints and the complaints that censorship imposed odious to those who today read as innocent manifestations of custom apparel in the text as in the few available media in the 60s.

yet .... and yet, such great writers and personalities who left the RCA and Ricordi, Milan vs Roma !
Vanoni, Paoli, Gaber, Whittaker, Morricone, Bacalov, Morandi, Peacock, Vianello, all the Italian beat . And then the Romans
songwriters, Naples, Milan, Calabria ....

For many there was an audition, a selection, at least two discs and then possibly HELLO!!
course at the time the discs were sold in the cassette also failed to affect too much the benefit of record companies.

But I maintain that if the technology and the network have disrupted the economies of scale, have failed other skills such Micocci editorial art directors who was a connoisseur of music, could take the talent in the grass and make it grow. And produce a hard time costs a lot, oh yes! Today
artistic directors want clones, only clones, high yields in the short and few original ideas. They want to
X-factor di sostituirsi al ruolo funzionale dell'azienda, per poi lamentarsi della puzza che la putrefazione del settore sparge ogniddove.

Tranne che nella voglia di ascoltare musica, della buona musica, di ogni genere e tipo.

Simplex Go Kart Frames

The Italian music venues - The network as a materialization of" No time, No space

Se penso a quando Eduardo De Filippo reinventò le sue commedie per il linguaggio televisivo, posso pensare al salto che ancora pochi hanno fatto cercando di vivere solo con e nella rete.
Provando quindi in ulitma istanza a produrre un linguaggio di rete.

Cosa sia non lo so neppure io esattamente e forse ci vorrebbe un novello Manuzio o un fantasioso Eduardo a permettersi il salto cognitivo a cui avrebbe diritto the only artistic repertoire we will not only criticize the principle of efficiency the network, the illusion of all-and-now and finally the replication bad habits of society, "real" the maneuver, and only , in part, inhabit it.

In the past we have tried many artists with cd rom where it was possible remixed songs.
Peter Gabriel was the first and the only one to try different paths in trying to match " EVE" in 1995 through the practice of mixing the confluence of visual and musical languages.

Jovanotti suggested in Drum to inhabit the nascente rete.

Ma io invece mi chiedo una cosa diversa: se il luogo dove vivere fosse proprio internet dove oggi si può lavorare, comprare, avere un conto bancario e trovare anche un'anima gemella, perché non potremmo pensare a realizzare un tipo d'arte nativa della rete, già multidisciplinare e di ispirazione collettiva?
Potrebbe essere un flusso espressivo svincolato dalla dicotomia tra produzioone e sua successiva rappresentazione perché già compresenti nella sua edizione.
Arte potrebbe cessare di essere una merce di scambio e potrebbe essere un linguaggio per coabitare le architetture della rete attraverso i volumi di flusso con cui vengono illustrati gli scambi tra le identità di questa realtà senza tempo e senza spazio.
Arte potrebbe essere espressione viva della vita, della relazione tra i performer del sistema.
Potrebbe assumere una funzione istituzionale, di guida normativa, così come potrebbe pilotare le trasformazioni geografiche della virtualità.
Un qualcosa di simile ad un trip di acido permanente in cui la performance si identifica con la realtà.

Se penso a questa domensione devo anche citare l'esperienza di Tasmin Little e anche quella dei R.E.M.
La prima ha messo il disco "The naked violin" in download  gratuito, raddoppiando le esibizioni dal vivo.
I secondi misero anche loro l'ultimo album in download gratuito con un'eventuale offerta. Poi sono passati alla vendita tradizionale.

But the problem is not the repeat mode marketing but the loss of interest in the music needs transferred to phenomenon which by its nature is temporary, short-lived, given birth by the media.

Tripod Head Difference

web, music and society

There was a month many years ago that was entitled "MAKING MUSIC". And until a few years ago the weekly "culture" Music of the Republic went boldly entitled "MUSIC". Both magazines
rode the attempt to serve as a useful information and on the other hand, the needs of the trends dictated by the markets.
Nothing new. Unless it is an initiative of a patron of the arts, generally a Editorial journalistic determines its feasibility as, for example, in agreements on distribution and advertising desumnibile proposal from the journal, the editorial staff by leading from the public that it intends to intercept.
A magazine, as well as a book or a CD in the same way products are designed to be marketed, to be sold with a sensibility more biased towards the support to the content conveyed.
E 'for qusto kind of reality that surround us are all about product / market, consumed by the market / product.
This means that customers, ie us, we became attracted to the value of the switch to performance "art" with which the companies urge consumers to buy the product.
If the media qualifies as a product from which to derive profits on an industrial scale, the proposal is excluded from the production process.
But the chain described above, from approx. two decades has shown all the weaknesses of the system and is paying the costs of its hard battles. Also because the culture industry rather than to assess the potential of the Internet, his avowed enemy, has tried and continues to fight, ignoring the roots compartamntali that the network has developed in society and in recent generations.
del'anno beginning immediately after the last edition of San Remo, thanks to the participation of the Afterworld event with the DC "The country is real," began a discussion among all stakeholders in the context of Italian music on the theme of crisis and record solutions to overcome it.
The debate was sponsored by at random "XL", the magazine that has replaced the "Music".
I say is no coincidence that the magazine protects the idea or rather the association between the concept of Music and the industrial product.
As if the effects of communication through performance art had a duty to be conveyed, organized, filtered entitled've authorized only by the culture industry.
deligittimare do not mean the meaning and weight, it is important in the history of publishing, but logical in the light of recent production and distribution of music making these claims sound anachronistic, if not arrogant.

offer computer technology and then the network broke the principles of addiction that forced the viewer to buy discs of recorded music.

The advent of software for sharing media files have introduced the habit to take music, movies and software as if the community involved in the process put "clear" a shelf of artistic license in his possession.

But the network with the most popular social network and low production costs associated with the multimedia PC introduced by the public, eager to get known through the artistic languages. the practice of independent production and distribution, quickly enough.

The network has also enabled more to those in the past has tried to promote it with live concerts and the promotion of the cd for free download.

must have been evidence, or even provocation, but they have made possible the alternative that some suffer from fiscal constraints and bureaucratic imposts of every kind.

Summing up, I can only say that the decline in venditw of recorded music in the so-called "popular music" (NNO are updated for the classical and opera) has not, however, many facts in the request for listening rather has increased thanks to the availability of portable electrical apparatus such as I-pod or I-phone.

The problem I believe lies in the skills crisis in the role of talent scout if this still exists in the structural crisis of Luigi in which to make music that is music nno evening entertainment including a beer and a sandwich plate.

Choices corporate culture real, that is. Type the 100/150 local deals in different areas of a city of one million people can sleep for a week or more groups of all kinds to gain experience on stage TRUE, moving away from the heinous rituals of TV.
development of access networks (transport and parking) with 24 to 24 hours, policies to encourage the opening up of local and cultural associations.
Development of local media and Internet culture among the citizens.
Museums / laboratories for the production of consciousness and knowledge.

The network is also just a real place, not just half.