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Friday, November 27, 2015

Telefunken M 15A and studio cart

At last... thanking Giorgio Foschi...

The Beast!

Luca Chiomenti's "The Joke" as an earphones amp

Some days ago, I undusted one of my three (yes, three, but;-) all different vintage and impedances;-))) classic, nicely kept Beyer DT-48 earphones - i.e. an 8 ohm sampler (thanking my pal Arnaldo).

I took from its shelf the Alps RK-50/The Joke 1,75W integrated-amp and an El Cheapo Philips CD-104 cd player, stuffs I had handy, just to give a listen to earphones sound, again.

It was a loooong time, since my last listening using an earphones... the Beyer DT-48 is a workhorse, widely used worldwide by professionals in cinema and television industry, using Nagra or Stellavox open-reels... but it's also one of the most natural sounding earspeakers ever made.

The aluminium ear domes, carved from a solid bullion, and the feather-like ultra-thin diaphragm are very, very much reminding a driver like the Altecs' or JBL's I used for years...

Sound is undistorted and untiring also if the monitor-like character and the vice-like pressure of the head-band would say "No, thanks!"... maybe the tube amp smoothed and made overall sound more gentle and silky sounding.

I placed some well known music into the old, trusty, vintage CD 104 and connected the Beyer's to The Joke with an adapter (bare wire to female 6,3 mm plug).

The dynamic was of exceptional quality, thundering low-end and shimmering, untiring, undistorted highs... I began from an excessive volume setting and after some minutes I found very natural to lower and lower the gain, obtaining a good compromise between explosiveness and comfort.

What I noticed, after a full disk (Keith Jarrett's, of course...) was that the gap between the earphones listening vs. the Gotorama isn't that wide - i.e. something I noticed years ago: the best my speakers/amps/system and ancillaries the less difference from the room resonances behavior and overall sound.

I called it a proof...

Now, please forgive me for being over-triumphant, maybe... Gotorama wins on virtually every aspect, now...

I mean: if bringing something like I above described at home, for intimate listening while seated on the sofa near my wife-watching-the-TV;-) earphones is a true, cheap winner.

... for the emotion, the full blossoming and beauty of the musical experience... now the Gotorama truly is completed, nothing is comparable to my large system.

Nothing, period.

Call me monsieur de Lapalisse;-)

Wednesday, November 25, 2015

... more about Hemiolia master-tapes...

… further considerations about Hemiolia master-tapes real-time dubs, folks…

As you’re possibly aware, I’m greatly enjoying my open-reel recorders and tapes, these days… it’s a long lasting love affaire, I must say… something which only occasionally remains sleepy to resurrect stronger than ever, from time to time, yet so strong and sincere… a love for life.

Some days ago, while picking up from Giorgio Foschi a pre-owned, original Telefunken studio cart for my M15A, I asked him if he had a tape for sale, an original pancake, not a sampler like I already had… and… YES!... he had the last copy of Hendrix played by Pannozzo…  my copy is # 225… and… my surprise was HUGE when I played the tape on my Gotorama!

The sound was even – to a large extent, I mean – better on many parameters – overall dynamic was impressive… almost painful vs. other media.

When I shared my findings and thoughts with Giorgio, he explained to me the RMG 900 Pyral tape has “this” improved dynamics character and behavior… yet, the sound is live, I measured SPL peaks of 108-110 db at 3,20 m from listening sweet spot on my IVIE IE-30 RTA… sound is undistorted, beefy, true-to-life, moving…

Hands automatically goes into invisible-guitar playing and some joyful yiiihaaaa! goes on, randomly…  my pal Arnaldo also experienced “this”, on last Saturday afternoon and, also if only playing the sampler copy, Pannozzo/Hendrix’ Hoochie Coochie Man track was giving shivers of joy, musical joy, to both of us.

This track alone is worth the tape cost!

The original full tape I recently got is as above and better… as a labour of love, I even undusted my editing skills and in half an hour  of careful work, I put Basf white tape among the tracks to further improve the pro-appearance of the tape and... to make things easier finding a track.  


Just kidding, but I will have to make a safe-copy of the tape for posterity as I cannot think being without this kind of awesome quality, anymore… as I really will be going to play this pancake more and more and more times…  the risk is wearing out the M15A heads;-(

Thanking Giorgio and Claudio of Hemiolia for their vision and good taste.

I wish to them the very best and success with their business.

Grab a copy of Pannozzo’s tape, pals… you won’t regret… by chance (or not…) it’s also the best seller in Hemiola’s catalogue!  

Friday, November 20, 2015

An Haiku

This morning, shortly before waking up, I fondly remembered my last evening reading, so enjoyable... sort-of realizing the miracle of reading, spreading of thoughts and things...

Silly me!

A short, haiku-like "thing" took form in my sleepy mind from the mists of the night...

I don't know why, yet after 52 years of reading and enjoying every page I read ever since, this early morning I felt blessed and grateful...

Reading: I'm sailing
the river of light
and knowledge.
In awe.

Feel better... also if Matsuo Basho, the Japanese master-poet, is someway angry and deluged in his graveyard;-)

Tuesday, November 17, 2015

Doubts and certainties

What can I say?

When I had the Le Classè A in my trunk (and some less bucks in my wallet…) I felt - one more time - ALL the weight of my music passion and audio passion… aehm: addiction;-)

I know people in their thirties who live like they are in their seventies+…  

I’m still perfecting my system and motorbike and… still buying new ties, taking care of my teeth and overall appearance.

I'm not an highlander, on the contrary...

... yet...

I’m still curious about life and learning and experiencing anew in every field of interest… buying and reading books and magazines… and surfing the WEB daily.

Why everyone is so different from each other?

Why something which is paramount for me is 100% crap for others?

Is music a food as important as a fruit-salad or a pizza?

Why I do feel different after listening to a record?

The ancient memories of a shiny past are still present in everyone's DNA... the trick is don't being deaf to the untold, always being curious about everything.

Why should I (sort-of) stopping to enjoy life and "toys" and having good time? In the name of what should I change my habits and tastes?

For my young nephews who only listen to iPhone?

Should I go for a self-defensing-mode life-style, thinking about an hopefully older me and different perspective and related needs and priorities?

Am I throwing away money or are stuffs money can buy (sort-of) salt to life?

Is living an interesting, always various, entertaining and worthwhile life the only way to justify everyone’s existence on Earth?

Is whole humankind a guinea-pigs stable for someone's large-scale experiments?

Is religion a necessary evil?

Isn't being kind, tolerant, emphatic and open to people and changes enough for a pacific living, without the redudant structure of virtually every religion?

Why waiting for after-death heaven instead of persuing it on earth?

... and hell?

Isn't it these days?

Doubts and certainties…

Sure living the now, the moment… 

… ‘til the last breathe.

Sunday, November 15, 2015

Hiraga Le Classe' A 30W amp - I today found a four leaf clover!

Yes, pals... searched for the fourth 30W golden face Hiraga Le Classe' A amp for at least five years... I mean FIVE years... already had three for multiamping my Gotorama - for low, mid and mid-high, while having to use a black 20W on high.

It was an obsession of mine... finding the fourth, last one to complete the multi-amping of my Gotorama's, I mean.

Sure I'm a middle-aged fussy kind of audiophile, yet really it wasn't only something aesthetic-related... the 30W 1,5 Farads caps amp is a beast and sounding very, I mean VERY different from its smaller brother... ahem, frere...

Ebay, Audiomarkt, Audiogon... nothing for years!

... and...

Thanking HiFiShark (great site!), I found - it was on last Friday, actually - a pristine, 100% original, unmodified, a truly sought-after piece of gear... years and years of search... also recently begging with a friend owning one, offering big money and... voilà, by chance, I found it.


A 727 km round-trip... this morning it was a 4 A.M. woke-up and for lunch I was back home... but everything was embarrassingly worthwhile, something so apparent when I installed the fourth 30W in my system.

My technical ignorance cannot explain... these amps own "the magic"... they're so smooth and relaxed and detailed.

Now... yes, now the Gotorama is truly complete.

The sense of cohesiveness is incredible... awesome... everything speaks such a common language... no amp is singing with a different voice... and the whole is - indeed - much more than the sum of the single parts!

Why such a change - i.e. putting the 30W on Goto SG 160 tweeters - is giving such a refinement... don't know... and most of all, I don't care.

I sort-of "knew" it was a good choice completing the quartet... something missing to my ears.

A tesseract... a green one ;-)

Had my four leaf clover... a very musical clover, indeed.

Tuesday, November 10, 2015

Keith Jarrett - Paris/London - Testament (ECM - 3 disks-set - 2009) - Naked Music

I suddenly noticed I recently changed my listening habits – i.e. from someway feverish changing records and music genres, randomly into a more relaxed, focused and self-conscious mood…

I recently completed the listening to the whole Stephan Micus’ catalogue, one after one after one, one a day… amazing experience I had, folks…

This kind of full-time dedication and immersion really makes me - the listener - to go deep into artist soul, appreciating his maturing in a decades long time hiatus… a true, veritable aural journey!

Yesterday, dedicated my attention to another artist: Keith Jarrett.

I own dozens of KJ recordings and maybe beginning from Facing You or even older recordings would have been wiser, yet I decided to begin from most recent ones backward.

I handled the cool 3-disks set of Paris/London – Testament on ECM, of course.

Mr. Jarrett’s piano solo represents a true mistery and not only music-wise, a veritable peak in human artistry.

The above mentioned disk booklet and liner notes gives an in-deep insight into both the man and the artist, a fragile, often naked, sincere individual who - to reach the extreme relaxation needed to afford his improvised tour-de-force concerts – needs a sum of conditions, friendly cohort, prescriptions to makes the music flowing.

Keith Jarrett talks and share this and more: personal eveniences like his wives names and leaving, his sadness and fragility, the tears after a concert, while bowing to the audience, his chemical connection with audience able to make a superb or just good concert.

His love for Japanese audience, so religiously silent and respectful of the effort and energies involved in these total happenings.

I still remember Jarrett and his trio at Arena in Verona, years ago… he was furious about people flashing their cameras and coughing… so furious to interrupt the concert abruptly…

Me and many others hated him…

After reading the a.m. Paris/London Testament 3-disks set I better, much better understood his uniqueness and deep involvement into his - I dare - mission, even better than after reading his superb biography, a long interview with Kinihiko Yamashita of (not by chance...) JazzLife  - Japan,  titled "Inner Views" (also if I love italian title “Il mio Desiderio Feroce”).

It’s like a gifted musician be himself, firsthand, surprised by the complexity of music flowing, always different, from his mind and fingers to the listener… he’s sure afraid and worried about eventually loosing The Gift, yet he cannot do nothing but rehearsing for hands dexterity and keeping his mind clean and quiet.

He really must protect his art and playing skills, ferociously, also.

Only at these conditions, after, as he points it out, 60+ years of music, something happens while seated at the grand-piano… puffing and sweating and humming and playing like in a trance.

I listened to the three disks in a row – i.e. Salle Pleyel in Paris, first, then Royal Albert Hall in London…  I read the liner notes, his confessions and feelings… and the music hitted me so deeply and intensely with its beauty.

Other adjectives could sound redundant… beauty is beauty, as universal as it can be.

No hypes needed, at all…

I feel that – these days – I couldn’t be less interested in audio, while I couldn’t be more into music as a total experience involving mind and body.

Imagine a chef… how many times is he talking about ovens and the like… ingredients, raw veggies and assorted are his world, but, even more, always, the dish - its aesthetic appearance and taste - is the goal.

I’ll never, ever waste my (precious) time left talking about “ovens”… music is soooo vastly much more important than audio gears to reproduce it, as it’s sharing it around.

My testament, as well?  


Wednesday, November 4, 2015

Frank Zappa - 200 Motels (The Suites)

"I would say that the outrageous aspects of Zappa are perhaps less important for today's audience," Salonen told Variety in an interview before the 2013 performance. "We're witnessing an historical moment where we can actually hear the other aspects of his music better because we are no longer stunned by the outrageousness. Reading this score now, there is a sheer richness of fantasy. He had such a vivid imagination in every way."
"The stars aligned in the Vault of All Ideas and in the canopy over the main stage at Disney Hall." Gail Zappa
"For those of us who were lucky enough to be at Disney Hall on the 23 rd of October, 2013, it will remain as defining an experience as Woodstock, or our first hearing of Bernstein's West Side Story, or Stravinsky's Rite of Spring." Frank Filipetti

"You all know 200 Motels from the record and the movie. Now you'll know it as a brand new, totally-different-yet-the-same record and the one-off performance you'll never get to see (unless you were there, of course)." Scott Thunes
"200 Motels and 1000 light years had passed and we left that once-in-a-lifetime moment with love in our hearts and deafening appreciation of Frank Zappa's monumental posthumous triumph ringing in our ears." Michael Des Barres
FRANK ZAPPA: 200 Motels (The Suites) [2-CD; digital]
1. Overture [2:17]
2. Went On The Road [1:41]
3. Centerville [2:24]
4. This Town Is A Sealed Tuna Sandwich [10:15]
5. The Restaurant Scene [4:23]
6. Touring Can Make You Crazy [2:06]
7. What's The Name Of Your Group? [11:46]
8. Can I Help You With This Dummy? [2:33]
9. The Pleated Gazelle [21:00]
1. I'm Stealing The Room [13:44]
2. Shove It Right In [7:26]
3. Penis Dimension [9:58]
4. Strictly Genteel [11:14]
SOURCE Zappa Records/UMe

Friday, October 30, 2015

Stephan Micus & the Art of Music Layers

Time warps going on in my head… every evening - since ten days ago - I’m taking a shot of Stephan Micus’ music, as I own every disc and disk he recorder on Virgin, Japo o ECM labels.

Not a couple tracks, then swapping to other discs… a full length disk, religiously placed in the Studer or Meridian disk-player and then listened to day after day after day in its completeness adds an incredible strength to the musical experience, like a puzzle takes shape.


I must say that music – every kind of music – has its moment: if you try to listen to a Micus’ disk and you’re not in the moods, you could get nervous in a few moments…

… but if your mood is right, well… you could be transported in different worlds and ages.

I’m listening to Stephan’s music since early ‘70s…

Even Bob Dylan, Tom Waits or Neil Young, also if I love them, are not on my top listenings list since a long time…  I admit I listen to this stellar artists very, very randomly… a Master of War, a Blue Valentine or a Cinnamon Girl may sound - someway - outdated also if -  I repeat  - I love them a lot.

... not with Stephan Micus: every Stephan's disc I enjoyed since early ‘70s is an unique timeless aural experience, layers and layers of exotic and weird instruments from the most fat away areas of the planet which Stephan brought back home from his years and years on the road in Asia and Africa.

His vocals are most of the times sounding wordless… his chanting is timeless, hinting to eternity, as watching in awe to the stars from the top of a mountain.

Yesterday evening, while listening to the SMDotD (Stephan Micus Disk of the Day) –  i.e. ”Life” on ECM (of course…), I really listened to this music relaxed and my mind was clear and empty like a winter blue sky.

The impression when the last track arrived and the Studer’s stopped was like I re-opened the eyes… not my conventional, physical eyes, but my inner eyes.

The tracks were so different one from the other…

A soundtrack for dreaming… a time machine, a tele-transportation tool to a Laddakh monastery.

Rock, jazz, folk, classical, ethnic… every term is both appropriate and unappropriate… world music, maybe is a good adjective, but not the pastiche seldom heard under this label.

It’s lounging and healing music… not, never ever boring… only mystic and religious as it can be.

When I briefly met him after a SUPERB concert in Bergamo, some years ago… I found a simple man, travelling light: a sho, a shakuachi, a ney and a duduk, plus his voice and some on-the-fly loops were enough for him… everything was contained in an old suitcase.

No limo, bodyguards, groupies… a very personal journey shared with the world: music & soul, soul & music, like a pagan prayer to an ancient god… maybe a spirit from eons ago.

The aural spaceship was easily ready to go…

In my tiny studio, listening to Stephan Micus’ music on a regular basis as I’m doing these days is like I’m adding – listen after listen – truth and knowledge to my real understanding.

Only caveat?

This seems to be the real, truest world vs. the everyday life… a world of beauty supersedes the conventional way of life, heart beating is slower and quieter, like breathing.

Only music, are you asking?

No, much more… a new way of life.

Thursday, October 29, 2015

Klaus Speth meets Gotorama

My pal Klaus, the Best Goto System on Earth's owner from Germany,  paid a long awaited visit to yours truly, last Saturday.

Shinichi Tanaka, Klaus Speth and Jean Hiraga

Klaus began playing with Goto, back then Royal Sound, in 1978... while I was still looking at Led-blinking gears and bookshelf speakers, he was already fiddling and dealing with Japanese commercial closeness and related hassles to get, first in whole Europe, those handmade driver.

These Goto's are still with him...

He built in recent years a 100 sqm auditorium to accomodate his impressive 5 ways Goto system!

When Klaus seated on my Eames Lounge chair, his first exclamation was: "Kleine!" - i.e. definitely yes! My studio is so tiny vs. Klaus' hangar-like room...

Yet, the precision and microdetailing of Gotorama, its being multiamped and the use of Thomas Mayer's preamps and crossover and analog playback, master-tapes and vinyl discs, made the German Goto Master to swing and enjoy my system and our listening session...

Me, Moni and Klaus

We agreed that every Goto's system we're aware of is different, according the owner/landlord tastes, yet keeping that sense of zesteness, unique lushiousness and overall trueness... a very Goto feature.

Thanks to Walter, Christine, Moni and Klaus for visiting.

Has been a true pleasure spending some time together... I was missing you since last time we gathered at your place, Klaus.

Tuesday, October 20, 2015

Ears and hearing - 432 hz, ears and soul best friend

“Music based on C=128hz (C note in concert A=432hz) will support humanity on its way towards spiritual freedom. The inner ear of the human being is built on C=128 hz.”

To return to the main thrust now. Maria Renold, in her book Intervals Scales Tones and the Concert Pitch C=128hz, claims conclusive evidence that A=440Hz tuning (above scientific “C” Prime=128/256/512 Hz, where A=432 Hz) “disassociates the connection of consciousness to the body and creates anti-social conditions in humanity.” Modern “Equal Temperament (ET)” tuning was supposedly the excuse for musicians to play consonance, but, according to researcher Brian T. Collins (who strongly endorses Renold’s book), it actually diminishes perception of tone and resonant harmony.[viii]
Interesting article about this VERY fascinating topic...

BTW... ALL my instruments, guitars and oud are tuned to A=432hz since 2006.

Sunday, October 18, 2015

Hemiolia open-reel tapes - super gasoline for my audio system

Yesterday early morning I went to Giorgio Foschi's man-cave to pick up my restored, up-to-specs Studer B-62 and to check my Telefunken M15-A master-recorder... only a faulty fuse, fortunately.

After checking the two machines and loading my car with their heftiness, it was time to rock!

Giorgio gave to me an Hemiolia demo-tape, an RMG900 1/4 inch pancake fully stuffed of 1:1 tracks taken from some of the best Hemiolia master-tapes dubs...

I thanked the Master recordist and tech-head and headed back to home.

Yesterday afternoon, after puffing and sweating and some backache, I had the 56 kilos M15-A on the shelf, again... like the cute Studer B-62, waiting for its new cabinet.

This morning, I finally had the opportunity to listen to the tape on my Gotorama...


There is NOTHING... N O T H I N G  which compares with a (good) master-tape played on a properly, carefully aligned studio open-reel tape-machine, period!

I have some dozens master-tapes I personally recorded with premium stuffs - i.e. Neumann's mikes (U67, USM69, STC 4038) and some superb master-dubs (Previn/Shankar's on EMI, Miles' Kind of Blue, Bill Evans' Village Vanguard,  Thelonius Monk's) I bought decades ago at Irvington Music for some bucks... so, YES!  true, 100% guaranteed second generation tapes from the hey days, not those (shit happens!) CDs mastered on open-reel tape I'm aware of!!!

Years ago, when a reviewer was going short of adjectives and hypes, he ended invoking the "master-tape-like quality"... sometimes, their open-reel recorders experience was an Akai DB-4000 and a 9,5 cm/s tape... sometime not, of course...

Now, these days as we're appreciating a sort-of renaissance of 1/4" tapes... while myself and many friends around never stopped using and cherishing those behemoths, others recently shopped for premium Studer, Lyrec, Nagra, Stellavox, Telefunken and Revox, Technics, Otari, Teac, etc.

Tapes are expensive and tedious to be made... 1:1 is THE way to go, of course... and this is a lengthy and costly process.

The prize for the hassle is quality... supreme quality!

I admit I am VERY tired to continue to buy the same title on every new or "best" format-of-the-day... so, getting a master-dub of Stan Getz or Nat King Cole or Bill Evans or... OK, OK you got the idea... the usual audiophile titles we all own.

So, enters Hemiolia and their master-tapes... they're using very best quality studio gears, premium recordists and recording venues and... young musicians and new music.

This is not a saving-sake choice - i.e. these artists aren't "expensive" (royalties-sake) as the most famous ones... nope!

It's a much wiser, deeper choice: new music, new atmospheres, moods, new names are keeping the flame burning.

The fire of enthusiasm, interest, passion for music and audio: let's do not forget that The Beatles, Tim Buckley, Bert Jansch... virtually ALL the top musicians were young and unknown when they recorded their first, best records.

Flavio Boltro, Daniele Mencarelli, Davide Pannozzo, Trio Correntezza, Trio Lazzeri aren't hit makers... BUT sure they're top, classy, skilled musicians who got something truly rare: they were recorded AND issued on tape, not over-produced, getting respect from industry and sure getting the most careful attention from the listeners of their music.

Not bad, I'd say... cannot resist in remembering the surprise when I heard The Beatles' songs naked, without the George Martin's arrangements...

Listening to the Hemiolia's demo tape, what's immediately apparent is the freedom, the joy of music making among friends.

The artists aren't guinea-pigs in the producer hands, under heavy control... they breathe freely.

The sound of Hemiolia's master tapes?


I would end here...

I read somewhere the F1 super cars do not use conventional gasoline like our cars use... it's an highest purity, octanes, super-filtered, magic gasoline which allows these engines to reach 10K+ revs and 300+ kmh speeds.

Well, this morning my 15A's got the above mentioned "super gasoline"... ahem, super tape!

You cannot, REALLY cannot imagine the emotion of listening to an distorted, fuzzed, yet undistorted, sublime electric guitar by Davide Pannozzo Trio on Hoochie Coochie Man, from "A Portrait of Jimi Hendrix" tape: ambient retrieval is superb... dynamics... well... unbelievable, at least.

The sense of easiness, untamed strength is really of rare uniqueness!

Daniele Mencarelli double-bass on Il Monello from "Originals" is also superb... Trio Correnteza's Chega de Saudade is so eerie, poetic... but all the tracks has this... this... sense of beauty, unfiltered beauty and musical freedom.

This sure is the Zenith of my listening experience...

Humbly said, to my surprise, blah, blah...

Will shop for some full Hemiolia tapes, soon.

Cannot ride F1 races without this gasoline.... ahem, tapes!

Thanks, deepest thanks to Hemiolia's Claudio Valeri and Giorgio Foschi for Hemiolia (both) and for cocooning my tape-recorders (Giorgio alone;-))

Friday, October 16, 2015

Rob Mazurek - Calma Gente (2010)

Such an elusive disk, but i Got it!


2010 - Rob Mazurek

Submarine Records/Catune SUB-017
  1. Mula Sem Cabeca
  2. Obliqua
  3. The Passion of Yang Kwei-Fe
  4. Three Reasons Not to Blow Up the World
  5. Purple Sunrise
  6. Car Chase
  7. Flow My Tears and Last Forever
  8. Barriga Da Baleia
  9. Flamingos Dancing on the Rings of Saturn
Japanese and Brazilian release.
Thanking my pal Edo.

Thursday, October 15, 2015

John Renbourn - The Attic Tapes (2015)

A vintage collection of previously unreleased recordings of amazing quality!

Lovingly remastered from a series of long lost tapes dating back to the early 1960s, The Attic Tapes, is a vintage collection of previously unreleased recordings and early works by John Renbourn, one of guitar music’s truly great innovators. Due for release by Riverboat Records on 16th October 2015, The Attic Tapes  represents in John’s own words, “what was happening to me at the time and a reflection of the general scene”  These recordings were made in the two or three years before his first ever official release for Transatlantic Records, released in February 1966.

The 20 tracks include many true classics, all brilliantly performed and with particular care taken over the sound quality despite the rudimentary sources. There are a number of songs written by Renbourn (‘Judy’, ‘Plainsong’) alongside his unique interpretations of classic tracks which remained in his set throughout his life (‘Candyman’, ‘Can’t Keep From Crying’, ‘Come Back Baby’) plus others written by his contemporaries including Jackson C Frank’s ‘Blues Run the Game’ and Davy Graham’s ‘Anji’. This latter is a particular find: “What’s curious is that the date on the tape box is 1962,” says Renbourn in his notes, “which would make it a very early recording of Davy Graham’s classic….”  Renbourn had first heard ‘Anji’ via his friend and guitarist Mac MacLeod; it was MacLeod who discovered the tape box in his attic, which began the chain of events and further discoveries that led to this invaluable new collection.

John Renbourn is accompanied on two tracks by MacLeod and by others on the scene at the time including Davy Graham and Beverley Martyn whose two tracks were recorded at a gig they shared with visiting American Spider John Koerner (one third of Koerner, Ray & Glover). Beverly Kutner, as she was at the time, was a powerful blues singer, then playing folk clubs usually as part of The Levee Breakers and several years before meeting John Martyn. Another unique track on The Attic Tapes captures John Renbourn performing with one his most inspirational heroes, Davy Graham, on a version of ‘Nobody Knows You When You’re Down and Out’, sung by Davy and recorded at an arts centre in Stamford. “It was a treasured moment for me,” writes Renbourn in the notes.

His wonderful reminiscences provide another highlight of this album, written only very shortly before his death in March 2015. They capture the times brilliantly, written in John’s warm, self-deprecating way. “Mostly it’s me plunking – occasionally in the company of friends from way back.” He had put a lot of time into this project and over the last couple of years had carefully selected tracks, cleaned them and was looking forward to the release with great enthusiasm.

John Renbourn: The Attic Tapes

‘Unfortunately we were due to send over the finished artwork to him the day after he passed away, so it’s really sad that he never got to see the finished product... He was also going to do some further digging to see if he could find out the dates, so unfortunately we will never know exactly when most of these recording were made’. – Neil Record and Brad Haynes from Riverboat Records

Available from tomorrow, Oct. 16th, 2015.

I got it.

Tuesday, October 13, 2015

Bertoncello meets Bertoncelli

Unfortunately, also if Riccardo Bertoncelli has been my musical mentor – himself and his books and records reviews since early ‘70s introduced me to John Fahey, Ogun and British jazz, Robert Wyatt and many, many more artists and records – as he continues to be up today, we never met.

In pre-Web days, magazines were the source for infos and trivia… Ciao 2001 was the very first: I was a teenager and reading about concertas ion London… The Grateful Dead playing for six… SIX hours in London or Shawn Philips, a full article and pixies after I listened to his "Steel Eyes" at the radio, one afternoon, thanking the late, deeply missed Claudio Rocchi… or dreaming about the vintage Martins’ of David Crosby and Neil Young, again after listening to the newly – at the time – issued Crosby & Nash.

Those were the days, back in the ‘70s… discs were expensive stuffs and radio and radio taping was the only method a student, poor as a church mouse, was able to expand his musical background and knowledge.

When I began working during the summer(s) between school-years, I had some pocket money and every disc was a goal by itself… my first very own 12” was a Christmas' gift I got from my Dad… Le Orme – Collage, second only a couple months after, was Claudio Rocchi’s Volo Magico n. 1, third one was Emerson, Lake and Palmer’s – Picture at  an Exhibition… me and my younger brothers were mostly enjoying the first and the latter, while Rocchi’s was my own private obsession as my mom was worried about those weird atmospheres and I had to listen to it at a lower volume setting… she was asking to me on a daily basis if I was using some dope!

The above mentioned discs were the only I had for the first months of 1971… 

After reading for some years Ciao 2001 mag, I began to read Muzak and Gong magazines…  with Supersonic radio program, Per Voi Giovani, with Claudio Rocchi and Popoff, I began reading Riccardo's discs reviews: he was using a writing style which reminded to me some Gregory Corso, Lawrence Ferlinghetti or Jack Kerouak’s proses…

I was deeply into the common ground readings of my generation - i.e. Hesse’s Siddharta and the Beat Generation and Fernanda Pivano’s translations.

Riccardo Bertoncelli’s reviews intrigued a younger me a lot: his style wasn’t conventional as the music he reviewed… thanking the elusiveness of some – most I’d say – records, I had to contact Carù Dischi in Gallarate, Nannucci in Bologna and Buscemi in Milan to get my hands on these records… orders were made at the phone and delivery was by snail-mail, some 15 o more days were the delivery time, so you can imagine my joy when getting a discs parcel!

Riccardo was a close friend of Paolo Carù and a really good customer for the classic import-shop in Gallarate, Northern Italy… so, most of the time, when ordering a disc, no one knew Bertoncello, but everyone knew Bertoncelli…    

Amusing that for years, I was greeted with a… ciao Riccardo!, followed by a… aehm, I’m Stefano and Bertoncello it’s with final “o”, not “I” on my part… ahhhh, OK, ciao Stefano…  only then this cute ceremony my orders followed…

Later, during my high school days, I had to work for five great summers at “Il 23 Dischi” in Padua to get, first hand, all the import discs I was looking for…

Riccardo Bertoncello… aehm, Bertoncelli was and still is today, an inspiration and a lighthouse to me… I’m reading every evening his last book and from Jefferson Airplane to Tim Buckley to Bob Dylan to The Grateful Dead and many, many, many others, his short essays are always enriching and informative and intriguing.

A chapter on the above mentioned book is dedicated to “L’Avvelenata”, a song by Francesco Guccini, a famous Italian author and singer who got a really bad review of a newly issued disc by Riccardo, decades ago…

Shortly after, Guccini dedicated to Bertoncelli a song where something like that was saying “ … e ci sarà sempre un Bertoncelli o un prete, a sparare cazzate!” (transl. “and we’ll always find a Bertoncelli or a priest to say/write some bullshit”).

This amused me, at first… then, you would say?

My family name, very similar to Riccardo’s, well… for some months, while Guccini’s song got some radio airplay, my friends were fooling at me with the very same above mentioned phrase or so…  “… un Bertoncello un prete a sparare cazzate!”.

It wasn’t amusing.

Fortunately, this only lasted an eye-blinking, life-wise… but, BUT… a few years ago, I met Francesco Guccini at a “Festival della Letteratura” in Mantua… I stopped Guccini – yes! - and introduced me, wishing to thanks him for the long years of great songs which also introduced me to guitar playing … when I told him “Nice to meet you, I’m Stefano”, then, with a “coup de theatre”,  I added : “Please ask me about my family name, Francesco!”

When I told him… well: he stood silent for a long instant and then exclaimed “Ohh, shit!”…

We ended up laughing and laughing at the old “L’Avvelenata” song and Bertoncelli/Bertoncello… and… and…

This memory-lane trip began remembering about the latter, almost forgotten evenience…  due to the book I’m reading these days.

To a much more serious extent, I’d really wish Riccardo Bertoncelli’s book "Paesaggi Immaginari - trent'anni di rock e oltre" - ed. Giunti Bizarre 1998 which is and will remain ‘til the last page on my bedside table, would be translated into English and made available to more and more music lovers, worldwide.

My deepest thanks to Riccardo Bertoncelli for being Riccardo Bertoncelli…

… and… no, I’m not angry for the Guccini-affaire;-)

Saturday, October 10, 2015

Norman Blake - Wood, Wire & Words (2015)

Norman Blake is an original and a very fave of mine.

I own many of his classic records and, shame on me, I bought something his own many years ago...  BUT, I today got his last disk - a superb, great, humble, little masterpiece, both musically and sound-wise - and didn't resist on sharing the cover, where Norman is shown with his superb vintage Martin 00-45... also if - to my regret - he used in the recording a recent Martin's.

Here is Jordan Tice's nice essay about him... for the few among us who don't know him.

"Norman Blake is a legend, plain and simple. He's been a fixture in the bluegrass and folk worlds for almost five decades, penned some of its most cherished songs, and is widely considered a founding father and deity-type figure of the flatpicking guitar style. But, to his legion of admirers, he is more than simply the sum of his career accomplishments. His merits defy quantification."
I agree...

Buy this disk, folks... you won't regret!

Saturday's Disc - Elliot Moss - Highspeeds (2014)

I feel - like many others around - Saturday to be the most musical day of the week - audio and music gatherings are usually taken on Saturday afternoons, buying records at the local shop is usually a Saturday morning activity... sure for me it is so...

This morning I visited the only record shop left in town... yes... was lazily looking for something... browsed and found... nothing... yet, some music going as background was OK... hey, what's going on, now?

Elliot Moss' debut disc reminds me some Chemical Bros. or some Piers Faccini with a beat... bought the 180 grams transparent vinyl with complimentary (or so...) disk and I listened to the CD in loop-mode while cooking and having lunch... nice lounging, energizing music... well spaced slow and up-tempo tracks...

A nice find... got the vinyl disc later in the afternoon and... hey, it's even better.




Thursday, October 8, 2015

Histapkhuth Hanefesh - a Satori

Audio Samsara and Satori, folks!

I was recently reading about Borobudur temple in Indonesia, a FANTASTIC site and holy building dating about 2.000 years ago, which only resurrected from volcano ashes and jungle around mid-'800 something…

Siddharta and Gautama Buddha-related tales are covered in thousands of stone bassorilievi … I visited it in awe with my wife in early 2000, with Bali, Lombok, Kalimantan and Gili Islands… Ubud, Borobudur, Bromo volcano, diving at Gilis’ and Kalimantan’s orangoutangs being the highlights of our journey.

So what?

The Wikipedia chapter concerning Borobudur gives a lot of very, very interesting hintings and tips to feed my curiousity: at the time, when visiting the amazing Indonesian temple, I wasn’t aware of its building holiness and how to read its architecture.

Ten terraces corresponding to ten phases of spiritual path, in three groups, representing the three Samsara realms:

  • First level being life in the realm of wishes (Kamadhatu)
  • Five levels representing the progressive emancipation from senses (realm of Pure Form or Rupadhatu)
  • Last three circular terraces/levels represent the progressive path to reach the Definitive Nirvana (realm of formless or Arupyadhatu)

When reaching the very top of the Borubudur, the structure evolves in some empty, open spaces and several stupas… the very center is only slightly larger and higher than the others around, almost unassuming considering such an huge temple.

This means that the top is not the goal of the journey, but the journey itself is itself the goal.

I sure had a Satori, one of the several micro-satori I had in my life!

I read in the above my very life and my musical and audio path, folks.

When younger, I dreamed of this and that, wishing to buy gears after gears, swapping, always nervous, almost feverish…  how to better call this if not Kamadhatu?

Then, learning to better buying and listening, honing my musical tastes… isn’t it the path of Rupadhatu?

The random pleasures from my several blissful experiences while listening to music, both at concerts or in my studio, feeling blessed and with tears of joy pouring, sometimes… aren’t these a Nirvana, the pure joy of Arupyadhatu?

… and now, getting older, hopefully wiser and - really and proudly, yet humbly - being emantipated from wishes of new audio gears or more and more discs, quietly enjoying my Gotorama and ancillaries… isn’t this the emptiness of a high mountain lake whose waters stand still?

… where a small, slightly higher one-of-a-kind peak is only more perfect than other peaks around… a very personal Kailash of mine, maybe?

I feel blessed… did I reach my goal, as I walked the path?

Feel so...

The void of wishes (not to be confused with being tired of something), the pure enjoyment and pleasure when listening to music is the humble, personal gift I got after walking the path, the Holy Path of Music.

… only Naked Music, its beauty and Truest Holiness, remain.

My Satori - not kidding, pals - continues to impress me, as the Ancients knew it all from eons and eons ago: the Zohar talks about “Histapkuth Hanefesh” – i.e. the language of ineffable… and about music and musicians being “the instrument of God”.

So what?

‘nuff said!

Thanking נחמן מברסלב