LIVING BLUES - THE ITALIAN RECORDINGS (LP 180 GR + CD + FILE HD)

€ 49,00

LIVING BLUES - THE ITALIAN RECORDINGS (LP 180 GR + CD* + FILE HD*) *CD (NO JEWEL BOX) and HD files are inside the vinyl. “Living Blues or “Playing the Blues? Without a doubt, Max belongs to the first category, and for this reason playing and sharing time becomes an out of the ordinary experience. Despite having a large territory in common - the Land of the Blues - our musical goals appear apparently distant, however, each encounter generates a unique alchemy, which surprises us first. This record tells of life, of its joys and sorrows, of love and resignation, but never of defeat. The first side of the LP expresses the essence of the Blues, its roots and its evolution. The second is a journey through time and space, between the difficulties of life, hope and acceptance, although the solo that dissolves the tonality and rhythm in the first of the bonus tracks is the metaphor that “We still haven’t found what we’re looking for; and so we continue to seek. Enrico Merlin Enrico Merlin plays through Tony D’angelo amplifiers and Fattoria Mendoza stomp boxes. Digital / Analog recording made strictly live-in-studio at Main Hall, Villa Masiero e Centanin, Arquà Petrarca, Italy, on May 3, 4, 2023. Analog Mix and mastering made at VL Studio, Naquera, Spain, on May 11, 12, 2023, using Rupert Neve Design Summing Mixing Console, Maselec MLA-2 / MEA-2 / MPL-2 and Studer A810. Production: Marco Lincetto and Massimo Corvino Consulting Executive producer: Marco Lincetto Musical producer: Enrico Merlin Balance, recording, mix and mastering engineer: Marco Lincetto Photo: Marco Lincetto Graphics and layout: L’Image

PROJECT ONE (LP 180 GR + CD + FILE HD)

€ 59,00

PROJECT ONE (LP 180 GR + CD*  + FILE HD*) Marco Lo Muscio, David Jackson, John Hackett, Steve Hackett *CD (NO JEWEL BOX) and HD files are inside the vinyl.   "Project One": a recording project Velut Luna that was born thanks to the friendship and the long musical and artistic collaboration of the M, Marco Lo Muscio. with three iconic names of progressive and contemporary music: David Jackson, John Hackett and Steve Hackett. The project is a great tribute, with totally acoustic arrangements, to the various styles of the great music of the '900 and contemporary. The basic system sees the gothic and symphonic sound of the pipe organ amalgamated with the power of the saxophones of David Jackson. The guitar of Steve Hackett and the flute of John Hackett add the final touch in some special arrangements created specifically for this recording project. The composers chosen come from the world of music of the '900 and contemporary (Benjamin Britten, György Ligeti, Aaron Copland, George Martin and Marco Lo Muscio), soundtracks (Wojciech Kilar), Modern Jazz (Jan Garbarek) and Progressive (King Crimson, Genesis, Van Der Graaf Generator, Emerson Lake & Palmer, Pink Floyd, David Jackson and Steve Hackett). Listening acoustically to this music will reveal new nuances and details; you will also understand how progressive music interpreted in this key is actually very close and influenced by classical music of the '900. Finally, the well-known high quality of Velut Luna recordings by Marco Lincetto will offer an incredible sound range in listening to this original and unique recording project!

Two For The Road

€ 49,00

Two For The Road (LP 180 GR + CD* + FILE HD*) Chiara Pastò, Francesco Pollon *CD (NO JEWEL BOX) and HD files are inside the vinyl. THE BEST YOUTH by Marco Lincetto Chiara Pastò finally arrives to make a Jazz record. At the fourth album, all made with my label Velut Luna and with me as a producer, the young, brilliant singer from Padova now faces in the height of his artistic and vocal maturity his "territory of choice" to which he has worked throughout his academic career and has practiced on many concert occasions. The repertoire of this record presents some famous standards, such as the title track or Round Midnight, but also a very original excursion in the famous song of Astor Piazzolla, Libertango, to which Chiara herself gives a fascinating new text. And then his original song, written with Enrico Santacatterina, Just A Smile, which is a workhorse of his pop area, so to speak, today reinterpreted in a jazz standard style. A complete and mature album, which is exalted by the pianistic wisdom, by the refined taste, seasoned by an admirable technique of Francesco Pollon, perhaps the most representative Italian jazz pianist of the young generation, who currently lives and works in New York, after earning a prestigious master’s degree there at the Manhattan School of Music - Jazz Arts. In short... The young, great musicians, still exist, and more than ever, in Italy: just give them the space they deserve!  

The Velut Luna's Reference Vinyl Vol. 2

€ 69,00

The Velut Luna's Reference Vinyl Vol. 2 Limited Edition - 180gr AUDIOPHILE PRESSING (2 LP + FILE HD) The child in the cover image is me. At the age of two. It was 1963. I’ve always loved listening to records. Certainly because of my family history, with my father who was an illustrious classical pianist and refined composer, and my mother an opera singer. But certainly in those early years of childhood was great charm that aroused in me those black pavilions that ran on the old family turntable and from which came out my favorite fairy tales, narrated by great voices of great actors (I remember for example, Nando Gazzolo and his Little Red Riding Hood, and Hansel and Grethel, and Thumbelino, whose records I literally consumed...). Around the age of eight or nine, the Beatles' transition from fairy tales to singles at the end of their career (Obladì, Obladà), or to the unusual and unknown sound of the Theremin used in Beach Boys' Good Vibrations, was a very natural fact. And when I was 13 years old I started to discover Santana, Pink Floyd, Genesis, etc.etc.etc. , together with the reading of Suono and Stereoplay, it was just as natural to get involved with the images of the great reel recorders of the time, suitable for the then rare home studios. My first love, long dreamed and never owned, was the Tascam 80-8, eight tracks on half-inch tape. And the dream microphones were the Sennheiser, the MD441 and the MD421... But the real dream was "to study me"... which will remain for a long time only, in fact, a dream. When I finally got to know the music of Jim Croce at 19 and I realized that... "Si-Can-Do!" (cit.) It was the moment when it became clear to me that sooner or later, I would do that work, I would "make records". And the rest is history...

The Velut Luna's Reference Vinyl Vol. 2 GOLDEN BOX

€ 75,00

The Velut Luna's Reference Vinyl Vol. 2 Exclusive version only 100 pcs. in version GOLDEN BOX Velut Luna: a precious box to hold The Velut Luna’s Reference Vinyl Limited Edition - 180gr AUDIOPHILE PRESSING (2 LP + FILE HD) The child in the cover image is me. At the age of two. It was 1963. I’ve always loved listening to records. Certainly because of my family history, with my father who was an illustrious classical pianist and refined composer, and my mother an opera singer. But certainly in those early years of childhood was great charm that aroused in me those black pavilions that ran on the old family turntable and from which came out my favorite fairy tales, narrated by great voices of great actors (I remember for example, Nando Gazzolo and his Little Red Riding Hood, and Hansel and Grethel, and Thumbelino, whose records I literally consumed...). Around the age of eight or nine, the Beatles' transition from fairy tales to singles at the end of their career (Obladì, Obladà), or to the unusual and unknown sound of the Theremin used in Beach Boys' Good Vibrations, was a very natural fact. And when I was 13 years old I started to discover Santana, Pink Floyd, Genesis, etc.etc.etc. , together with the reading of Suono and Stereoplay, it was just as natural to get involved with the images of the great reel recorders of the time, suitable for the then rare home studios. My first love, long dreamed and never owned, was the Tascam 80-8, eight tracks on half-inch tape. And the dream microphones were the Sennheiser, the MD441 and the MD421... But the real dream was "to study me"... which will remain for a long time only, in fact, a dream. When I finally got to know the music of Jim Croce at 19 and I realized that... "Si-Can-Do!" (cit.) It was the moment when it became clear to me that sooner or later, I would do that work, I would "make records". And the rest is history...

Papier-Maché (LP 180gr. su Top Clear Vinyl)

€ 49,00

UNA STORIA MISTERIOSA “Don Antonio, non dovete portare nella tomba il segreto delle vostre chitarre…” “…mi è impossibile tramandarlo ai posteri” Quello della Papier-Mâché di Torres è stato un caso unico nella storia della liuteria non solo chitarristica: Antonio de Torres (1817-1892), considerato oggi lo Stradivari delle sei corde, fu il primo e, che si sappia, l’unico a costruire nel 1862 un esemplare di strumento Papier-Mâché. Questa chitarra, paradossalmente, a dispetto della sua apparente umiltà, restituisce un mondo sonoro affascinante, misterioso e unico. Dal momento che l’originale, conservato al Museo della Musica di Barcellona, non e’ più in grado di esprimere la propria voce, l’album ha lo scopo di far riscoprire e rivivere le peculiari caratteristiche timbriche e sonore di questo interessante strumento attraverso l’utilizzo di due copie ad esso ispirate. Il liutaio Fabio Zontini ha raccolto la sfida lanciata da Torres e da quasi vent’anni si occupa della costruzione di copie Papier-Mâché. I due esemplari utilizzati da Federica Artuso per la registrazione sono stati realizzati tra aprile e settembre 2023 e pesano entrambi (incredibilmente) appena 995 grammi. Montano inoltre corde in budello naturale. Zontini ha quindi tracciato una sorta di collegamento con il grande Torres, cogliendo una specie di esperimento-prototipo del liutaio andaluso, e provando con successo a diffonderlo ai giorni nostri. La Papier-Mâché è una sorta di contraddizione vivente proprio per la contrapposizione tra il materiale povero di cui è fatta e il risultato sonoro artisticamente sorprendente. E ispirandosi a questa contrapposizione, è stato registrato un programma emblematico di quel paradosso che incarna l’identità della chitarra, sempre in bilico tra l’anima povera, autentica e popolare da un lato e l’Olimpo della musica colta dall’altro. Le musiche qui registrate sono tutte di chitarristi-compositori che sono vissuti all’epoca della chitarra di cartone o che hanno avuto a che fare con gli strumenti di Torres. Questi chitarristi sono parte di quella tradizione esecutiva e di quella poetica sonora di cui la Papier-Mâché è emblema. Alcuni dei brani, pur essendo stati scritti da compositori non chitarristi, fanno parte di quel repertorio in cui più si identificano le sei corde. Arcas e Parga* tentarono di elevare la chitarra a strumento colto, senza riuscire ad emanciparsi totalmente dalle reminiscenze flamenche. Il loro stile si adatta perfettamente all’essenzialità arcaica del suono della Papier-Mâché e le loro musiche, pur fortemente radicate nel linguaggio popolare, ci conducono poco per volta allo stile borghese e salottiero di Garcia Tolsa* e di Tarrega, allievi di Arcas. La loro musica non è più soltanto per coloro a cui scorre nelle vene sangue flamenco o per quelli che ritengono l’opera lirica l’unica musica colta. È musica che piace agli intellettuali e, se ammette qualche danza, lo fa a patto che sia da salotto. Dal punto di vista dei musicisti, a differenza dei suoi predecessori, Tarrega riesce a confezionare gli slanci espressivi in forme totalmente compiute. Miguel Llobet, allievo di Tarrega, è noto come compositore soprattutto per la sua versione chitarristica delle Canciones populares catalanas. Nella parte di programma che lo riguarda si propone anche un repertorio di cui non è autore, ma che lo rappresenta fedelmente e dove si colgono tutte le novità portate dal suo estro creativo, che fanno emergere ciò che della chitarra è più caratteristico. Maria Luisa Anido fu allieva di Llobet, nonché sua partner in duo di chitarre. La musicista argentina fu una tra gli ultimi chitarristi negli anni ’50 ad utilizzare le corde in budello -ormai difficilmente reperibili- e, tra l’altro, fu proprietaria proprio della Torres di Tarrega (1864, FE17). Anido è l’emblema dell’immagine della chitarra come spartiacque tra il mondo della musica folklorica e quella della musica colta, contrapposizione che probabilmente non si risolverà mai completamente. Ce lo dimostrano le sue irresistibili trascrizioni dai grandi classici come Bach, Mozart, Tchaikowsky e i suoi brani sudamericani, pulsanti di energia indigena. I brani di Parga e Garcia Tolsa non sono contenuti nella versione in vinile. Leggi tutto sul nostro blog DISPONIBILE ANCHE IN:  GOLD CD - BUNDLE

Stop At The Devil’s Crossroad - AUDIOPHILE PRESSING

€ 39,00

Stop At The Devil’s Crossroad Nik Lee & The Jingle Fellas La schiavitù, la negazione dei diritti fondamentali e la nulla considerazione del singolo individuo afroamericano, hanno contribuito alla nascita del Blues, una musica popolare, sintesi e prodotto di un percorso difficile, affrontato dalla popolazione africana sul suolo americano, un mezzo di espressione potente capace di arrivare all'orecchio dell'ascoltatore in maniera semplice e diretta. I classici suonati dai grandi padri storici, Blind Blake, Blind Boy Fuller, Robert Johnson e Charley Patton vengono completamente ri-arrangiati in una veste più moderna attraverso la diversità stilistica e timbrica di ogni singolo individuo del gruppo, permettendo così di dare carattere e trasmettere gli elementi tipici che rendono unico, nella sua semplicità, il Blues. Stop At The Devil's Crossroad più che una semplice playlist, è un insieme di atmosfere che mettono in luce con diverse sfumature sonore, dal più classico Delta-Blues con chitarra acustica resofonica, armonica e voce, al suono elettrico del tradizionale trio Blues, fino ad una line-up più allargata, composta da sezione ritmica, voce e sezione fiati. Stop At The Devil's Crossroad è un lavoro di riscoperta, un coinvolgente tributo di Nik Lee and The Jingle Fellas a questa semplice ma grande musica. --- The Blues trace their roots to North American slavery, with its complete negation of basic human rights and the resulting loss of consideration for the individual among generations of AfroAmericans. A direct result of this terrible dehumanizing experience, the blues have evolved as an extremely expressive music form which goes right to the heart and the ear of the listener in a simple and direct manner. This album features cIassic titles from such historical blues giants as Blind Blake, Blind Boy Fuller, Robert Johnson and Charley Patton. The styles and sound of the individual members of the group are reflected in these fresh new arrangements, giving new character while also retaining the original simplicity of the blues. Stop At The Devil’s Crossroad is more than a simple playlist of standards, it is an atmospheric collection which brings to light various sonic shadings, from classics like Delta-Blues with acoustic resonator guitar, harmonica and voice, to the electric sound of traditional blues trio, to a fuller line up with expanded rhythm section, voice and winds. Stop At The Devil’s Crossroad is a journey of rediscovery, as Nik Lee and The Jingle Fellas pay tribute to this simple yet vastly expressive music. NIK LEE & THE JINGLE FELLAS Stefano Nicli, electric / acoustic / dobro, guitar & voice Christian Stanchina, trumpet Marco Pisoni, tenor sax Giorgio Beberi, baritone sax Marco Stagni, double bass Andrea Polato, drums special guest: Marco Pandolfi, harmonica 24bit/88.2kHz original digital recording made at Magister Recording Area Studio, Preganziol (Italy) on April 17 - 19, 2015 |  Analog mix and mastering made at MLStudio, Naquera (Spain) on May 16, 2024  

SE POTESSI AVERE... (LP 180gr. su Top Clear Vinyl + File HD)

€ 49,00

Patrick Trentini conductor / Giuliana Beberi vocal / alto, tenor saxes / Luca Merlini vocal 24 Bit / 96 kHz / 24 tracks Original Recording: Studio Magister Sala A on April 8, 9 - 2004 Preganziol, Treviso (Italy) "Se potessi avere" an orchestra of the 40s still playing today. Songs from our italian memories: Mille lire al mese, Parlami d'Amore Mariù, Ba Ba Baciami Piccina, Ma l'Amore No, La Strada nel Bosco and many others presented exactly like they were by Giuliana Beberi and Luca Merlini with the New Project Orchestra directed by Patrick Trentini.