{"title":"VINYLS","description":"","products":[{"product_id":"miles-davis-quintet-complete-cafe-bohemia-bandstand-u-s-a-1956-58-radio-broadcasts-volume-1","title":"Miles Davis Quintet • Complete Café Bohemia Bandstand USA 1956-58 Radio Broadcasts • Volume 1","description":"\u003ch2\u003e\n\n \u003cstrong\u003eMiles Davis Quintet • Complete Café Bohemia Bandstand USA 1956-58 Radio Broadcasts • Volume 1\u003c\/strong\u003e (GBR00124) - \u003cspan style=\"text-decoration: underline;\"\u003e2nd Printing\u003c\/span\u003e\n\n\u003c\/h2\u003e\n\n\u003ch3\u003e LP AUDIOPHILE PRESSING\u003c\/h3\u003e\n\n \u003cp\u003e\u003cem\u003eYou have in your hands the first of three volumes dedicated to the recordings made by Miles Davis between 1956 and 1958 at the Café Bohemia, located at 15 Barrow Street, in Greenwich Village, New York.\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cem\u003eThe restaurant (which bore a glaring spelling error in its sign—Restraurnt) was run by Italian-American Jimmy Garofalo and opened in 1955. Café Bohemia quickly became a mecca for jazz modernists, and several albums were recorded there by some of the most interesting artists of the time (Art Blakey, Charles Mingus, Kenny Dorham, George Wallington). Furthermore, Oscar Pettiford (who in the early days served as artistic director of the Jazz Club) even dedicated a composition to it, entitled \"Bohemia After Dark.\"\u003c\/em\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cem\u003eCafé Bohemia was also one of the venues from which the programme was broadcast.\u003c\/em\u003e\u003cem\u003e\u003cspan\u003e \u003c\/span\u003eBandstand USA aired on Mutual Network Radio Broadcasts. Each week, host Guy Wallace, often accompanied by guests, recorded and broadcast incredible live performances directly from Bohemia. Miles Davis appeared on these broadcasts eight times between September 15, 1956, and May 17, 1958.\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cem\u003eHere you will find, for the first time in history, the complete recordings of Miles (about 120 minutes), once broadcast by the Mutual Network.\u003c\/em\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cem\u003eSome of this material has been released over the years on unofficial records, but most is appearing on vinyl for the first time, or is actually completely unreleased. In all cases, the material is released here in the best possible sound quality and at the correct speed (most previous releases were played at the wrong speed, meaning they were out of tune with the original performance key).\u003c\/em\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cem\u003eThis is a true machine that travels through time and space, as we have tried to reproduce the sound of that era as faithfully as possible. To enhance and philologically respect that world of sound\u003c\/em\u003e \u003cem\u003e, we have also decided to publish all the announcements (by Guy Wallace and his guests) in their full version.\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cem\u003eSome very interesting and unexpected aspects emerge from these announcements, which will help the listener to better experience that era, both from a social and historical perspective.\u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cem\u003eSo, turn on the radio and immerse yourself in the atmosphere of the second half of the 1950s with the previously unreleased music of the Miles Davis Quintet at its finest.\u003c\/em\u003e \u003c\/p\u003e\n\n\u003cdiv class=\"page\" title=\"Page 1\"\u003e\n\n\u003cdiv class=\"section\"\u003e\n\n\u003cdiv class=\"layoutArea\"\u003e\n\n\u003cdiv class=\"column\"\u003e\n\n\u003cp\u003e Miles Davis (tp); John Coltrane (ts); Red Garland (p); Paul Chambers (b); Philly Joe Jones (d)\u003cbr\u003e Guy Wallace (Radio Broadcast announcer)\u003c\/p\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003ch3\u003e \u003cstrong\u003eTrack List:\u003c\/strong\u003e\n\u003c\/h3\u003e\n\n\u003cp\u003e \u003cstrong\u003eSide A\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003col\u003e\n\n\u003cli\u003e Announcement by Guy Wallace 2:01\u003c\/li\u003e\n\n\u003cli\u003e Well You Needn't 5:48\u003c\/li\u003e\n\n \u003cli\u003eIt Never Entered My Mind 5:02\u003c\/li\u003e\n\n\u003cli\u003e A Gal in Calico 4:43\u003c\/li\u003e\n\n\u003cli\u003e Stablemates 3:48\u003c\/li\u003e\n\n\n\u003c\/ol\u003e\n\n\u003cp\u003e \u003cstrong\u003eSide B\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003col\u003e\n\n\u003cli\u003e How Am I to Know? 3:03\u003c\/li\u003e\n\n\u003cli\u003e The Theme 1:34\u003c\/li\u003e\n\n\u003cli\u003e Woody'n You 3:58\u003c\/li\u003e\n\n\u003cli\u003e Walkin' [Gravy] 7:10\u003c\/li\u003e\n\n\u003cli\u003e All of You 2:25\u003c\/li\u003e\n\n\n\u003c\/ol\u003e\n\n\u003cp\u003e \u003cstrong\u003eTechnical note:\u003c\/strong\u003e \u003c\/p\u003e\n\n\u003cdiv class=\"page\" title=\"Page 2\"\u003e\n\n\u003cdiv class=\"layoutArea\"\u003e\n\n\u003cdiv class=\"column\"\u003e\n\n\u003cp\u003e Unfortunately, the sole surviving (obviously) mono tape transcriptions of these recordings were not always in good shape, but we improved the quality with state-of-the-art equipment and remastering tools.\u003cbr\u003e To present the complete performances we have used the best available sources, considering that the material was recorded through a period of three years by different technical crews and completely different miking techniques and positioning. This resulted in a slight change in audio quality. This is the best and most complete collection of the legendary Café Bohemia recordings aired by the Mutual Network for Bandstand USA Radio Broadcast.\u003c\/p\u003e\n\n \u003cp\u003eThanks to Piergiorgio Cupellini, Elisa Gabrielli, Paola Giordano, Igor Ebuli Poletti, and Fabio Sala. Special thanks to Bob Belden, Jan Lohmann, Peter Losin, and Teo Macero.\u003c\/p\u003e\n\n\u003cp\u003e Speed ​​corrected and remastered by Enrico Merlin\u003cbr\u003e Executive producer, Massimo Corvino for Groove Back Records\u003cbr\u003e Liner notes by Enrico Merlin, with special help from Giovanni Principe and Ginger Minneman\u003cbr\u003e Cover picture by Marvin Koner, shot between May 25 and June 10, 1956, outside the Café Bohemia\u003cbr\u003e Artwork concept and album design by Roberto Mares\u003c\/p\u003e\n\n\u003cp\u003e Complete recordings with radio speaker announcements and voiceovers included.\u003c\/p\u003e\n\n\u003cp\u003e In issue no. 1 of GRooVE back Magazine you will find the story and the genesis of this album (the digital version of the magazine is available for free on this site in the magazine section)\u003c\/p\u003e\n\n\u003cp\u003e \u003cstrong\u003eReviews: \u003ca href=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/articolo_andrea_bin_su_Miles_Davis_vol.1.pdf?v=1747243073\" title=\"Review AudioReview April25\" rel=\"noopener\" target=\"_blank\"\u003eAudioReview\u003c\/a\u003e\u003c\/strong\u003e \u003c\/p\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003c!----\u003e","brand":"GRooVE back records","offers":[{"title":"LP 33 rpm","offer_id":52895195988235,"sku":"GBR00124","price":39.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0647\/4294\/9131\/files\/MilesDavis5thCafeBohemiaLP.png?v=1770833286"},{"product_id":"il-cantante-al-microfono-eugenio-finardi","title":"The Singer at the Microphone - Eugenio Finardi","description":"\u003cp lang=\"en-US\" class=\"western\"\u003e \u003cspan style=\"font-family: 'Arial Narrow', sans-serif;\" face=\"Arial Narrow, sans-serif\"\u003e\u003cspan style=\"font-size: large;\" size=\"4\"\u003e\u003cb\u003eThe Singer at the Microphone - Eugenio Finardi\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp lang=\"en-US\" class=\"western\"\u003e \u003cspan style=\"font-family: 'Arial Narrow', sans-serif;\" face=\"Arial Narrow, sans-serif\"\u003e\u003cspan style=\"font-size: large;\" size=\"4\"\u003e( \u003cspan\u003eCVLD162\u003c\/span\u003e ) CD and HD - ORIGINAL VERSION 2007\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp lang=\"en-US\" class=\"western\"\u003e \u003cspan style=\"font-family: 'Arial Narrow', sans-serif;\" face=\"Arial Narrow, sans-serif\"\u003e\u003cspan style=\"font-size: large;\" size=\"4\"\u003e(CVLD386) LP and HD - REMASTERED VERSION 2024\u003c\/span\u003e\u003c\/span\u003e \u003cspan style=\"font-family: 'Arial Narrow', sans-serif;\" face=\"Arial Narrow, sans-serif\"\u003e\u003cspan style=\"font-size: large;\" size=\"4\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan size=\"2\" style=\"font-size: small;\"\u003e\u003ciframe border=\"0\" height=\"370\" src=\"https:\/\/velutluna.lnk.to\/Il-Cantante-Al-Microfono\" width=\"100%\" style=\"border-radius: 20px; border-color: white;\"\u003e\u003c\/iframe\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cstrong\u003eTraces\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e 01 - The Horizon\u003cbr\u003e 02 - He never returned from the front\u003cbr\u003e 03 - Morning exercises\u003cbr\u003e 04 - The interrupted flight\u003cbr\u003e 05 - The Wolf Hunt\u003cbr\u003e 06 - The Song of the Earth\u003cbr\u003e 07 - The singer at the microphone \u003cbr\u003e08 - Wild horses\u003cbr\u003e 09 - The sentimental boxer\u003cbr\u003e 10 - The white bath\u003cbr\u003e 11 - Variations on gypsy themes\u003c\/p\u003e\n\n\u003cp\u003e \u003cstrong\u003eNotes\u003c\/strong\u003e\u003c\/p\u003e\n\n \u003cp\u003eThe recording project Il Cantante Al Microfono builds a bridge between singer-songwriter music and contemporary classical music, starting with the great Russian actor, poet, and singer-songwriter Vysotsky, who tragically passed away in 1980. He understood and sang the true soul of his people, and was therefore harshly opposed by the Soviet regime. His music accompanies his piercing and scathing lyrics with intriguing melodies—some with Balkan flavors, some with oriental overtones, some harking back to ancient waltz tempos. From his corpus of over 500 songs, Eugenio Finardi and Filippo Del Corno have selected a dozen titles that powerfully represent the ethical, spiritual, and political tension and corrosive irony that animates Vysotsky's work. The songs, already translated into Italian by Sergio Secondiano Sacchi, were orchestrated for the instrumental ensemble Sentieri Selvaggi by Del Corno himself, in a version that highlights the extremely high poetic and musical quality of Vysotsky's verses and allows the full deployment of Eugenio Finardi's extraordinary interpretative power. \u003cbr\u003eFor some time now, Finardi has been combining his work as a leading figure in Italian rock with in-depth and rigorous vocal research, which will astonish those unfamiliar with the journey that took him from fado, to his beloved blues, to contemporary classical music. The refined artwork, curated by Studio Convertino, is a perfect fit with Velut Luna's longstanding production philosophy: originality in artistically and technically top-quality offerings.\u003c\/p\u003e\n\n\u003cp align=\"justify\"\u003e \u003cspan size=\"2\"\u003e\u003cb\u003eEugenio Finardi\u003c\/b\u003e\u003c\/span\u003e \u003cspan size=\"2\"\u003evoice\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp align=\"justify\"\u003e\u003cspan size=\"2\"\u003e\u003cb\u003eWild Paths\u003c\/b\u003e\u003c\/span\u003e \u003cspan size=\"2\"\u003e:\u003c\/span\u003e \u003cspan size=\"2\"\u003e\u003cb\u003ePaola Fre\u003c\/b\u003e\u003c\/span\u003e \u003cspan size=\"2\"\u003eflute\u003c\/span\u003e \u003cspan size=\"2\"\u003e\u003cb\u003eMirco Ghirardini\u003c\/b\u003e\u003c\/span\u003e \u003cspan size=\"2\"\u003eclarinet\u003c\/span\u003e \u003cspan size=\"2\"\u003e\u003cb\u003ePaolo Pasqualin\u003c\/b\u003e\u003c\/span\u003e \u003cspan size=\"2\"\u003evibraphone\u003c\/span\u003e \u003cspan size=\"2\"\u003e\u003cb\u003eAndrea Rebaudengo\u003c\/b\u003e\u003c\/span\u003e \u003cspan size=\"2\"\u003epiano\u003c\/span\u003e \u003cspan size=\"2\"\u003e\u003cb\u003ePiercarlo Sacco\u003c\/b\u003e\u003c\/span\u003e \u003cspan size=\"2\"\u003eviolin\u003c\/span\u003e \u003cspan size=\"2\"\u003e\u003cb\u003ePaola Perardi\u003c\/b\u003e\u003c\/span\u003e \u003cspan size=\"2\"\u003ecello\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp align=\"justify\"\u003e \u003cspan size=\"2\"\u003e\u003cb\u003eCarlo Boccadoro\u003c\/b\u003e\u003c\/span\u003e \u003cspan size=\"2\"\u003edirection\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp align=\"justify\"\u003e \u003cspan size=\"2\"\u003e\u003cb\u003eSergio Secondiano Sacchi\u003c\/b\u003e\u003c\/span\u003e \u003cspan size=\"2\"\u003eItalian translation\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp align=\"justify\"\u003e \u003cspan size=\"2\"\u003e\u003cb\u003eFilippo Del Corno\u003c\/b\u003e\u003c\/span\u003e \u003cspan size=\"2\"\u003eorchestration\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\n\u003cul\u003e\n\n\u003cli\u003e \u003cspan\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan size=\"2\"\u003eThe work won the 2008 Targa Tenco award, in the section for performers of songs not of their own.\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\u003cdiv\u003e\n\n \u003cp\u003e\u003ci\u003eLive-In-Studio Analog Recording, mix and original mastering made at Magister Recording Area studio, Preganziol, Italy on December, 18 - 22, 2007\u003c\/i\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003ci\u003eAnalog re-mastering made at VLS Studio, Naquera, Spain, on November, 4, 2024\u003c\/i\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cu\u003eANALOG RECORDING\u003c\/u\u003e : \u003cb\u003eRTR Soundcraft Saturn 24 tracks \/ 2\" tape at 76cm\/sec recording speed\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cu\u003eANALOG MIX \u0026amp; MASTERING\u003c\/u\u003e : \u003cb\u003eRTR Studer A820, 2 tracks, using 1\/4\" tape at 38 cm\/sec recording speed\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cu\u003eANALOG RE-MASTERING\u003c\/u\u003e : \u003cb\u003eMaselec Analog Mastering Suite (MLA-2 \/ MEA-2 \/ MPL-2) to RTR Studer A810\u003c\/b\u003e\u003c\/p\u003e\n\n\n\u003c\/div\u003e","brand":"Velut Luna","offers":[{"title":"DOUBLE LP 45 RPM","offer_id":52895196021003,"sku":"CVLD386LP","price":69.0,"currency_code":"EUR","in_stock":true},{"title":"CD (2007)","offer_id":52895196053771,"sku":"CVLD162CD","price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0647\/4294\/9131\/files\/VELUT_LUNA_CVLD386_-_cover.jpg?v=1770833287"},{"product_id":"miles-davis-miles-davis-in-berlin","title":"MILES DAVIS - Miles Davis In Berlin","description":"\u003ch2\u003e\n\n \u003cstrong\u003eMILES DAVIS - Miles Davis In Berlin\u003c\/strong\u003e ( \u003cb\u003eSPC62976\u003c\/b\u003e )\u003c\/h2\u003e\n\n\u003ch2\u003e\n\n \u003cspan\u003eSpeakers Corner -\u003c\/span\u003e LP AUDIOPHILE PRESSING \u003cspan class=\"contentAndConfiguration\"\u003e180g\u003c\/span\u003e\n\n\u003c\/h2\u003e\n\n\u003cp class=\"title_and_interpreter\"\u003e \u003cstrong\u003e\"Miles In Berlin\" - Miles Davis (tp); Wayne Shorter (ts); Herbie Hancock (p); Ron Carter (b); Tony Williams (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cspan\u003eIt's 1964, and the first Berlin Jazz Festival is about to reach its absolute pinnacle: Miles Davis's final concert on the evening of Friday, September 25th. And Columbia Records' European subsidiary, CBS, couldn't wait to release this legendary event on LP.\u003c\/span\u003e \u003cbr\u003e\u003cspan\u003eThe new quintet, featuring Wayne Shorter on tenor saxophone for the first time (and not yet as a composer), thrilled and captivated the Philharmonie audience from the first minute to the last. The classics \"Miles(tones),\" \"So What,\" and \"Walkin'\" were performed at a surprisingly fast pace, while the ballads were tender and dreamy. Such a magical atmosphere was rarely evoked in subsequent concerts, probably thanks to the excellent acoustics of the large concert hall. The audience was seated behind the stage, so Miles could not provocatively turn his back; sometimes he simply crouched on the stage. However, this did not prevent him from performing his solos with lyricism and tenderness, most of them finely nuanced, soft and delicate, yet audible to the furthest corner. The rhythmic structure created by the young drummer Anthony Williams provided the necessary excitement.\u003c\/span\u003e \u003cbr\u003e\u003cspan\u003eMiles in top form, an enthusiastic audience, impressive acoustics, and, to top it all, excellent recording technology and a fantastic virgin vinyl pressing: what more could a jazz fan ask for? Now's the time to break out the credit card!\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e \u003cspan\u003eThis Speakers Corner LP has been remastered using only analog components, from the masters to the cutting head ( \u003ca href=\"https:\/\/pure-analogue.com\/\" rel=\"noopener\" target=\"_blank\"\u003ehttps:\/\/pure-analogue.com\u003c\/a\u003e )\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"production_info\"\u003e \u003cspan\u003eRecording: September 1964 live at the Philharmonic Hall in Berlin, from SFB Radio in mono\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eProduction: Rudy Wolpert\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cul\u003e\n\n\u003cli\u003e Columbia 62976\u003c\/li\u003e\n\n\u003cli\u003e Format: 1LP 180g 33rpm \/ standard sleeve\u003c\/li\u003e\n\n\u003cli\u003e Original label: Columbia\u003c\/li\u003e\n\n\u003cli\u003e Barcode: 4260019715418\u003c\/li\u003e\n\n\u003cli\u003e Release Date: 2017-09-21\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\u003c!----\u003e","brand":"Speakers Corner","offers":[{"title":"LP 33 rpm","offer_id":52895196348683,"sku":"SPC62976","price":39.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0647\/4294\/9131\/files\/71REKUYAi4L._AC_SL1200.jpg?v=1770833290"},{"product_id":"miles-davis-quintet-round-about-midnight","title":"MILES DAVIS QUINTET - Round About Midnight","description":"\u003ch2\u003e\n\n \u003cstrong\u003eMILES DAVIS QUINTET - Round About Midnight\u003c\/strong\u003e ( \u003cb\u003eSPC949\u003c\/b\u003e )\u003c\/h2\u003e\n\n\u003ch2\u003e \n\u003cspan\u003eSpeakers Corner -\u003c\/span\u003e LP AUDIOPHILE PRESSING \u003cspan class=\"contentAndConfiguration\"\u003e180g\u003c\/span\u003e\n\n\u003c\/h2\u003e\n\n\u003cp class=\"title_and_interpreter\"\u003e \u003cstrong\u003e\"'Round About Midnight\" - Miles Davis (tr); John Coltrane (ts); Red Garland (p); Paul Chambers (b); Philly Joe Jones (dr)\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003eThese early recordings, which Miles Davis made for the Columbia label in 1955 and 1956, are finally available on LP again. And, even more importantly, they were made without alternate takes or second takes, as is customary these days.\u003c\/span\u003e \u003cbr\u003e\u003cspan\u003eYou can sit back and enjoy the six tracks in the order the producer, presumably in collaboration with Davis, decided. Sure, all the titles are well-known and have been performed thousands of times in many different versions. But what this Quintet (and here we mean every single player!) produces in terms of inventiveness, thrilling improvisations, and mastery is absolutely first-rate. Davis's vibrato-free sound is flawlessly captured by John Coltrane—wonderfully demonstrated in the middle of \"Bye, Bye Blackbird,\" while Paul Chambers's highlight is \"Ack Värmeland du sköna\" (aka \"Dear Old Stockholm\"). In 1955\/56, bebop was all the rage, as evidenced by Tadd Dameron's classics \"Tadd's Delight\" and Charlie Parker's \"Ah-Leu-Cha.\" Here, however, the improvised melodic veins are more moderate, paving the way for the style that would later become known as modal jazz.\u003c\/span\u003e \u003cbr\u003e\u003cspan\u003eWhile 'Round About Midnight' as an album doesn't enjoy the reputation of 'Kind Of Blue,' this Columbia recording contains many gems worth listening to.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e \u003cspan\u003eThis Speakers Corner LP has been remastered using only analog components, from the masters to the cutting head ( \u003ca rel=\"noopener\" href=\"https:\/\/pure-analogue.com\/\" target=\"_blank\"\u003ehttps:\/\/pure-analogue.com\u003c\/a\u003e )\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"production_info\"\u003e \u003cspan\u003eRecorded: October 1955, June and September 1956 at Columbia's 30th Street Studio, New York in mono\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eProduction: George Avakian\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cul\u003e\n\n\u003cli\u003e \u003cspan class=\"catalog_number\"\u003eColumbia CL 949\u003c\/span\u003e\n\u003c\/li\u003e\n\n\u003cli\u003e Format:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"contentAndConfiguration\"\u003e1LP 180g 33rpm \/ standard sleeve\u003c\/span\u003e\n\n\u003c\/li\u003e\n\n\u003cli\u003e Original label:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"label\"\u003eColumbia\u003c\/span\u003e\n\n\u003c\/li\u003e\n\n\u003cli\u003e Barcode:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"barcode\"\u003e4260019713353\u003c\/span\u003e\n\n\u003c\/li\u003e\n\n\u003cli\u003e Release Date:\u003cspan\u003e \u003c\/span\u003e\u003cspan class=\"release-date\"\u003e2008-07-22\u003c\/span\u003e\n\n\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\u003c!----\u003e","brand":"Speakers Corner","offers":[{"title":"LP 33 rpm","offer_id":52895196414219,"sku":"SPC949","price":39.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0647\/4294\/9131\/files\/81Na6ZqVckL._AC_SL1500.jpg?v=1770833292"},{"product_id":"miles-davis-quintet-miles-smiles","title":"MILES DAVIS QUINTET - Miles Smiles","description":"\u003ch2\u003e \n\u003cstrong\u003eMILES DAVIS QUINTET - Miles Smiles\u003c\/strong\u003e ( \u003cb\u003eSPC9401\u003c\/b\u003e )\u003c\/h2\u003e\n\n\u003ch2\u003e\n\n \u003cspan\u003eSpeakers Corner -\u003c\/span\u003e LP AUDIOPHILE PRESSING \u003cspan class=\"contentAndConfiguration\"\u003e180g\u003c\/span\u003e\n\n\u003c\/h2\u003e\n\n\u003cp class=\"title_and_interpreter\"\u003e \u003cstrong\u003e\"\u003c\/strong\u003e \u003cstrong\u003eMiles Smiles\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e \u003cstrong\u003eMiles\u003c\/strong\u003e \u003cstrong\u003e\u003cspan\u003eDavis (tr); Wayne Shorter (ts); Herbie Hancock (p); Ron Carter (b); Tony Williams (dr)\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003eAside from a recording of a live performance at the Portland Festival, Miles Davis's 1966 discography lists only the recordings made for the LP \"Miles Smiles\"! How odd, considering Miles and his ensembles' usual extensive output for Columbia Records in the 1960s.\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eBassist Ron Carter was best suited to the complex rhythm part and remained Miles' \"number one\" in a quintet that covered Wayne Shorter compositions and jazz hits such as Eddie Harris's \"Freedom Jazz Dance\" and Jimmy Heath's \"Gingerbread Boy.\"\u003c\/span\u003e \u003cbr\u003e\u003cspan\u003eEvery second of Shorter's nine-minute \"Footprints\" is an absolute highlight, while young Tony Williams's drumming on \"Freedom Jazz Dance\" is vibrant, with a tight tempo, and even described as \"menacing\" in the liner notes. This music is neither \"new wave\" nor \"old guard,\" but good modern jazz, according to Anthony Tuttle. That's exactly what \"Miles Smiles\" represented when it was released 40 years ago, and it still does today! And the fact that Miles Davis smiled for once thanks to the splendid musical understanding between the five musicians is certainly not mere hearsay.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e \u003cspan\u003eThis Speakers Corner LP has been remastered using only analog components, from the masters to the cutting head ( \u003ca rel=\"noopener\" href=\"https:\/\/pure-analogue.com\/\" target=\"_blank\"\u003ehttps:\/\/pure-analogue.com\u003c\/a\u003e )\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"production_info\"\u003e \u003cspan\u003eRecorded: October 1966 at Columbia Records Studios, New York, by Frank Laico\u003c\/span\u003e \u003cbr\u003e\u003cspan\u003eProduction: Teo Macero\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cul\u003e\n\n\u003cli\u003e Columbia CS 9401\u003c\/li\u003e\n\n\u003cli\u003e Format: 1LP 180g 33 rpm \/ standard case\u003c\/li\u003e\n\n\u003cli\u003e Original label: Columbia\u003c\/li\u003e\n\n\u003cli\u003e Barcode: 4260019713292\u003c\/li\u003e\n\n\u003cli\u003e Release date: 2008-03-11\u003c\/li\u003e\n\n\n\u003c\/ul\u003e\n\n\u003c!----\u003e","brand":"Speakers Corner","offers":[{"title":"LP 33 rpm","offer_id":52895197200651,"sku":"SPC9401","price":39.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0647\/4294\/9131\/files\/miles-smiles-459-900x900.jpg?v=1772731229"},{"product_id":"project-one-marco-lo-muscio-david-jackson","title":"PROJECT ONE - Marco Lo Muscio David Jackson","description":"\u003cp lang=\"en-US\" class=\"western\"\u003e\u003cspan style=\"font-family: 'Arial Narrow', sans-serif;\" face=\"Arial Narrow, sans-serif\"\u003e\u003cspan style=\"font-size: large;\" size=\"4\"\u003e\u003cb\u003eROJECT ONE\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp lang=\"en-US\" class=\"western\"\u003e\u003cspan\u003e\u003cb\u003eMarco Lo Muscio\u003c\/b\u003e,\u003ci\u003e \u003c\/i\u003e\u003cb\u003eDavid Jackson, John Hackett,\u003ci\u003e \u003c\/i\u003eSteve Hackett\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp lang=\"en-US\" class=\"western\"\u003e\u003cspan\u003e\u003cb\u003eSupporti: \u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli lang=\"en-US\" class=\"western\"\u003e\u003cspan\u003e\u003cb\u003eCVLD362A - VINYL\u003c\/b\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli lang=\"en-US\" class=\"western\"\u003e\u003cspan\u003e\u003cb\u003eCVLD362B - CD\u003c\/b\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli lang=\"en-US\" class=\"western\"\u003e\u003cspan\u003e\u003cb\u003eCVLD362   - FILE HD\u003c\/b\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e01. \u003c\/span\u003e\u003cspan style=\"font-size: small;\" size=\"2\"\u003e\u003cb\u003eTheme One\u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e \u003c\/span\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e\u003ci\u003eGeorge Martin 3:13\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e02. \u003c\/span\u003e\u003cb\u003eVocalise n.3\u003c\/b\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e \u003c\/span\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e\u003ci\u003eMarco Lo Muscio 3:07\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e03. \u003c\/span\u003e\u003cb\u003eHammer in the Sand\u003c\/b\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e \u003c\/span\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e\u003ci\u003eSteve Hackett 3:07\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e04. \u003c\/span\u003e\u003cb\u003eHairless Heart\u003c\/b\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e \u003c\/span\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e\u003ci\u003ePhil Collins, Steve Hackett, Tony Banks, Mike Rutherford, Peter Gabriel 3:47\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e05. \u003c\/span\u003e\u003cb\u003eCorpus Christi Carol\u003c\/b\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e \u003c\/span\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e\u003ci\u003eBenjamin Britten 3:08\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e06. \u003c\/span\u003e\u003cb\u003eHills Of The North Rejoice\u003c\/b\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e \u003c\/span\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e\u003ci\u003eMartin Shaw 2:30\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e07. \u003c\/span\u003e\u003cb\u003eMolde Canticle Part I\u003c\/b\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e \u003c\/span\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e\u003ci\u003eJan Garbarek 4:40\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e08. \u003c\/span\u003e\u003cb\u003eThe Great Gig In The Sky\u003c\/b\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e \u003c\/span\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e\u003ci\u003eRichard Wright, Clare Torry 6:15\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e09. \u003c\/span\u003e\u003cb\u003eRed Pedal Solo\u003c\/b\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e \u003c\/span\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e\u003ci\u003eMarco Lo Muscio 2:38\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e10. \u003c\/span\u003e\u003cb\u003eMoonchild\u003c\/b\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e \u003c\/span\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e\u003ci\u003eGreg Lake, Peter Sinfield 2:29\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e11. \u003c\/span\u003e\u003cb\u003ePrelude and Ostinato \"Homage to Keith Emerson\"\u003c\/b\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e \u003c\/span\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e\u003ci\u003eMarco Lo Muscio 5:20\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e12. \u003c\/span\u003e\u003cb\u003eMusica Ricercata n.7 (Ostinato)\u003c\/b\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e \u003c\/span\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e\u003ci\u003eGyörgy Ligeti 4:18\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e13. \u003c\/span\u003e\u003cb\u003eVocalise from \"The Ninth Gate\"\u003c\/b\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e \u003c\/span\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e\u003ci\u003eVojciech Kilar 3:29\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e14. \u003c\/span\u003e\u003cb\u003eVocalise n.1 \"To my mother\"\u003c\/b\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e \u003c\/span\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e\u003ci\u003eMarco Lo Muscio 3:00\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e15. \u003c\/span\u003e\u003cb\u003eIn Memoriam\u003c\/b\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e \u003c\/span\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e\u003ci\u003eMarco Lo Muscio 3:29\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e16. \u003c\/span\u003e\u003cb\u003ePilgrims\u003c\/b\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e \u003c\/span\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e\u003ci\u003ePeter Hammil, David Jackson 5:44\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e17. \u003c\/span\u003e\u003cb\u003eThe Hermit \u003c\/b\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e \u003c\/span\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e\u003ci\u003eSteve Hackett 5:41\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e18. \u003c\/span\u003e\u003cb\u003eFanfare for the Common Man\u003c\/b\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e \u003c\/span\u003e\u003cspan style=\"font-size: xx-small;\" size=\"1\"\u003e\u003ci\u003eAaron Copland, Keith Emerson 8:01\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\" size=\"2\"\u003e\u003ci\u003e\u003cb\u003eTotal Time: 74:05\u003c\/b\u003e\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\" size=\"2\"\u003e\u003ciframe style=\"border-radius: 20px;\" width=\"100%\" src=\"https:\/\/velutluna.lnk.to\/ProjectOne\" height=\"370\" border=\"0\"\u003e\u003c\/iframe\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\" size=\"2\"\u003e\u003cb\u003eMarco Lo Muscio\u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\" size=\"2\"\u003e,\u003c\/span\u003e\u003cspan style=\"font-size: small;\" size=\"2\"\u003e\u003ci\u003e church organ and piano\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\" size=\"2\"\u003e\u003cb\u003eDavid Jackson\u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\" size=\"2\"\u003e,\u003c\/span\u003e\u003cspan style=\"font-size: small;\" size=\"2\"\u003e\u003ci\u003e saxophones and flutes \u003c\/i\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\" size=\"2\"\u003e\u003ci\u003every special guests:\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\" size=\"2\"\u003e\u003cb\u003eJohn Hackett\u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\" size=\"2\"\u003e,\u003c\/span\u003e\u003cspan style=\"font-size: small;\" size=\"2\"\u003e\u003ci\u003e flute on \"The Hermit\"\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\" size=\"2\"\u003e\u003cb\u003eSteve Hackett\u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\" size=\"2\"\u003e,\u003ci\u003e electric guitar on \"Hammer In The sand\"\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\" size=\"2\"\u003e\u003cb\u003e24bit\/88.2kHz original recording made at San Gregorio VII Church, Rome, on July 24, 25, 26, 2023. \u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\" size=\"2\"\u003e\u003cb\u003eAnalog mix and mastering made at MLStudio, Naquera, Spain on August 5, 2023\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\" size=\"2\"\u003eProduction:\u003c\/span\u003e\u003cspan style=\"font-size: small;\" size=\"2\"\u003e\u003cb\u003e Marco Lincetto\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\" size=\"2\"\u003eMusical production:\u003c\/span\u003e\u003cspan style=\"font-size: small;\" size=\"2\"\u003e\u003cb\u003e Marco Lo Muscio \u0026amp; David Jackson\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\" size=\"2\"\u003eRecording, mix and mastering engineer:\u003c\/span\u003e\u003cspan style=\"font-size: small;\" size=\"2\"\u003e\u003cb\u003e Marco Lincetto\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\" size=\"2\"\u003eRecording assistant:\u003c\/span\u003e\u003cspan style=\"font-size: small;\" size=\"2\"\u003e\u003cb\u003e Marco Rosanova\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\" size=\"2\"\u003eDesign \u0026amp; Layout:\u003c\/span\u003e\u003cspan style=\"font-size: small;\" size=\"2\"\u003e\u003cb\u003e L'Image\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\" size=\"2\"\u003e\u003cb\u003e\"Project One\"\u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\" size=\"2\"\u003e: un progetto discografico \u003c\/span\u003e\u003cspan style=\"font-size: small;\" size=\"2\"\u003e\u003ci\u003eVelut Luna\u003c\/i\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\" size=\"2\"\u003e che nasce grazie all'amicizia ed alla lunga collaborazione musicale ed artistica del M° Marco Lo Muscio con tre nomi iconici della musica Progressive e contemporanea: David Jackson, John Hackett e Steve Hackett.\u003cbr\u003eIl progetto è un grande omaggio, con arrangiamenti totalmente acustici, ai vari stili della grande musica del '900 e contemporanea. L'impianto base vede il suono gotico e sinfonico dell'organo a canne amalgamato insieme alla potenza dei sassofoni di David Jackson. La chitarra di Steve Hackett ed il flauto di John Hackett aggiungono il tocco finale in alcuni speciali arrangiamenti nati appositamente per questo progetto discografico.\u003cbr\u003eI compositori scelti provengono dal mondo della musica del '900 e contemporanea (Benjamin Britten, György Ligeti, Aaron Copland, George Martin e Marco Lo Muscio), delle colonne sonore (Wojciech Kilar), del Jazz moderno (Jan Garbarek) e del Progressive (King Crimson, Genesis, Van Der Graaf Generator, Emerson Lake \u0026amp; Palmer, Pink Floyd, David Jackson e Steve Hackett). L'ascolto in chiave acustica di queste musiche farà scoprire nuove sfumature e dettagli; si potrà capire anche quanto la musica Progressive interpretata in questa chiave sia effettivamente molto vicina ed influenzata dalla musica classica del '900.\u003cbr\u003eInfine la risaputa grande qualità delle registrazioni \u003c\/span\u003e\u003cspan style=\"font-size: small;\" size=\"2\"\u003e\u003ci\u003eVelut Luna\u003c\/i\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\" size=\"2\"\u003e di Marco Lincetto offriranno un'incredibile gamma sonora nell'ascolto di questo originale ed unico progetto discografico!\u003c\/span\u003e\u003c\/p\u003e","brand":"Velut Luna","offers":[{"title":"LP 33 rpm","offer_id":52899350413579,"sku":"CVLD362A","price":49.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0647\/4294\/9131\/files\/folder_f89b9213-0ca3-454a-adce-b807d1d5eeaf.jpg?v=1771020131"},{"product_id":"se-potessi-avere-new-project-classical-orchestra","title":"SE POTESSI AVERE... - New Project Classical Orchestra","description":"\u003cp lang=\"en-US\" class=\"western\"\u003e\u003cspan style=\"font-family: 'Arial Narrow', sans-serif;\" face=\"Arial Narrow, sans-serif\"\u003e\u003cspan style=\"font-size: large;\" size=\"4\"\u003e\u003cb\u003eSE POTESSI AVERE... - New Project Classical Orchestra \u003c\/b\u003e(CVLD374)\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp lang=\"en-US\" class=\"western\"\u003e\u003cspan style=\"font-family: 'Arial Narrow', sans-serif;\" face=\"Arial Narrow, sans-serif\"\u003e\u003cspan style=\"font-size: large;\" size=\"4\"\u003eNEW REMASTERED FROM ORIGINAL ANALOG TAPE\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp lang=\"en-US\" class=\"western\"\u003e\u003cem\u003eDisponibile in: File HD, \u003cspan\u003eLP 180gr. su Top Clear Vinyl + FILE HD\u003c\/span\u003e\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp lang=\"en-US\" class=\"western\"\u003e\u003cspan\u003e1 - \u003c\/span\u003e\u003cstrong\u003eMille lire al mese\u003c\/strong\u003e\u003cspan\u003e (Innocenzi, Sopranzi \/ arr. P.Trentini) 2:35\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eLuca Merlini, voce\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2 - \u003c\/span\u003e\u003cstrong\u003eMa l'amore no\u003c\/strong\u003e\u003cspan\u003e (D'Anzi, Galdieri \/ arr. F.Castania) 2:29\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eGiuliana Beberi, voce\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e3 - \u003c\/span\u003e\u003cstrong\u003eParlami d'amore Mariù\u003c\/strong\u003e\u003cspan\u003e (Neri, Bixio \/ arr. P.Trentini) 3:39\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eLuca Merlini, voce\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e4 - \u003c\/span\u003e\u003cstrong\u003eMotivetto\u003c\/strong\u003e\u003cspan\u003e (Merlini, Caniato \/ arr. S.Caniato) 4:35\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eGiuliana Beberi, voce\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e5 - \u003c\/span\u003e\u003cstrong\u003eBa-ba baciami piccina\u003c\/strong\u003e\u003cspan\u003e (Morbelli, Astore \/ arr. S.Caniato) 3:20\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eLuca Merlini, voce\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e6 - \u003c\/span\u003e\u003cstrong\u003eAmore baciami\u003c\/strong\u003e\u003cspan\u003e (Rossi, Testoni \/ arr. F.Castania) 3:02\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eGiuliana Beberi, voce\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e7 - \u003c\/span\u003e\u003cstrong\u003eHo un sassolino nella scarpa\u003c\/strong\u003e\u003cspan\u003e (Valci, Fernando \/ arr. F.Castania) 3:15\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eLuca Merlini, voce\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e8 - \u003c\/span\u003e\u003cstrong\u003eNon dimenticar le mie parole\u003c\/strong\u003e\u003cspan\u003e (D'Anzi, Bracchi \/ arr. F.Castania) 3:04\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eLuca Merlini, voce\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e9 - \u003c\/span\u003e\u003cstrong\u003ePiccola radio\u003c\/strong\u003e\u003cspan\u003e (Merlini, Castania \/ arr. F.Castania) 2:56\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eGiuliana Beberi, voce\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e10 - \u003c\/span\u003e\u003cstrong\u003eTi parlerò d'amor\u003c\/strong\u003e\u003cspan\u003e (Martinelli, Bracchi \/ arr. S.Caniato) 3:35\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eGiuliana Beberi, voce\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e11 - \u003c\/span\u003e\u003cstrong\u003eLa strada nel bosco\u003c\/strong\u003e\u003cspan\u003e (Nisa, Bixio \/ arr. F.Castania) 3:50\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eLuca Merlini, voce\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e12 - \u003c\/span\u003e\u003cstrong\u003eCanta ancora marinaio\u003c\/strong\u003e\u003cspan\u003e (Merlini, Trentini \/ arr. P.Trentini) 2:54\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eGiuliana Beberi e Luca Merlini, voce\u003c\/span\u003e\u003c\/p\u003e\n\u003cp lang=\"en-US\" class=\"western\"\u003e\u003cstrong\u003eTotal time\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e38:20\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eNew Project Classical Orchestra\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eAndrea Ferroni\u003c\/strong\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cstrong\u003eIvo Crepaldi\u003c\/strong\u003e\u003cspan\u003e, violin I\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eStefano Roveda\u003c\/strong\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cstrong\u003eSilvia Avitabile\u003c\/strong\u003e\u003cspan\u003e, violin II\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eLuigi Azzolina\u003c\/strong\u003e\u003cspan\u003e, viola\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eLorenzo Corbolini\u003c\/strong\u003e\u003cspan\u003e, cello\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eStefano Colpi\u003c\/strong\u003e\u003cspan\u003e, double bass\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eStefano Chesini\u003c\/strong\u003e\u003cspan\u003e, flute\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eMarco Milelli\u003c\/strong\u003e\u003cspan\u003e, clarinet, alto and tenor sax\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eGiorgio Beberi\u003c\/strong\u003e\u003cspan\u003e, baritone sax, bass clarinet\u003c\/span\u003e\u003c\/p\u003e\n\u003cp lang=\"en-US\" class=\"western\"\u003e\u003cspan\u003e\u003cstrong\u003e\"...Se potessi avere\"\u003c\/strong\u003e\u003cbr\u003eè un affettuoso ed accorato omaggio alla grande canzone leggera italiana degli anni '30 e '40 e, in definitiva, a quell'epoca, pur tanto tormentata e sofferta, ma ancora pregna di positività, sguardo verso il futuro e valori che forse oggi un po' si sono perduti (per non parlare della \"qualità\" delle canzoni leggere italiane di oggi...). Desidero sottolineare che si tratta di un omaggio e non, come negli ultimi anni è spesso capitato di riscontrare in operazioni analoghe, di una caricatura o di una rilettura in chiave più o meno ironica, più o meno contaminata.\u003cbr\u003eFin dalla realizzazione degli arrangiamenti si è optato per una scelta strumentale rigorosamente filologica rispettando l'organico tipico delle compagini orchestrali dell'epoca (vedi ad esempio le orchestre dirette da Cinico Angelini); per proseguire poi con le scelte squisitamente interpretative dei due cantanti solisti (Luca Merlini e Giuliana Beberi), che hanno dedicato lunghi mesi allo studio dei grandi protagonisti dell'epoca e del loro stile, non tanto per \"copiarlo\", ma per farlo proprio. E lo straordinario risultato alla fine è lì, evidente: non viene imitato nessuno dei cantanti dell'epoca, ma Luca e Giuliana sembrano provenire direttamente da quegli anni.\u003cbr\u003eUn ulteriore motivo di interesse, testimone dello sforzo d'amore compiuto, è la realizzazione di tre nuovi brani, composti nello stile dell'epoca, dai tre arrangiatori di tutto il progetto, che sono i maestri Stefano Caniato, Fabrizio Castania e Patrik Trentini (quest'ultimo anche direttore dell'orchestra, sul podio).\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e96kHz \/ 24bit \/ 24 tracks original recording made at Magister Recording Area, preganziol (Italy), April, 8,9, 2004\u003cbr\u003eReal time analog remix and remastering made at VLS Studio, Naquera (Espana), March 23, 2024 \/ Workflow:\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eREMIX:\u003c\/strong\u003e\u003cbr\u003e96\/24 DAW player: \u003cstrong\u003eMAGIX SEQUOIA\u003c\/strong\u003e\u003cbr\u003e96kHz \/ 24bit \/ 24 tracks DA: \u003cstrong\u003eLYNX AURORA \"n\"\u003c\/strong\u003e\u003cbr\u003eanalog mix: \u003cstrong\u003eRUPERT NEVE DESIGN 5059 + NEVE 8816\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eREMASTERING:\u003c\/strong\u003e\u003cbr\u003ecompressor: \u003cstrong\u003eMASELEC MLA-2\u003c\/strong\u003e\u003cbr\u003eeq: \u003cstrong\u003eMASELEC MEA-2\u003c\/strong\u003e\u003cbr\u003elimiter: \u003cstrong\u003eMASELEC MPL-2\u003c\/strong\u003e\u003cbr\u003eRTR: \u003cstrong\u003eSTUDER A810 \u003c\/strong\u003e---\u0026gt; \u003cstrong\u003eanalog master\u003c\/strong\u003e\u003cbr\u003e88.2kHz \/ 24bit AD: \u003cstrong\u003ePRISM SOUND AD2 DREAM\u003c\/strong\u003e ---\u0026gt; \u003cstrong\u003eHD digital master\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eStefano Caniato plays BORGATO L 282 Concert Grandpiano, tuned by Luigi Borgato\u003c\/strong\u003e\u003cbr\u003eProduction: \u003cstrong\u003eMarco Lincetto\u003c\/strong\u003e (Velut 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Muscio, Steve Hackett, John Hackett (Vinyl)","description":"\u003cp lang=\"en-US\" class=\"western\"\u003e\u003cspan style=\"font-family: 'Arial Narrow', sans-serif;\" face=\"Arial Narrow, sans-serif\"\u003e\u003cspan style=\"font-size: large;\" size=\"4\"\u003e\u003cb\u003ePROJECT TWO - A GENESIS RHAPSODY\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp lang=\"en-US\" class=\"western\"\u003e\u003cspan style=\"font-family: 'Arial Narrow', sans-serif;\" face=\"Arial Narrow, sans-serif\"\u003e\u003cspan style=\"font-size: large;\" size=\"4\"\u003e\u003cb\u003e\u003cspan\u003eMarco Lo Muscio,\u003ci\u003e \u003c\/i\u003eSteve Hackett, John Hackett\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp lang=\"en-US\" class=\"western\"\u003e\u003cspan\u003e\u003cb\u003eSupporti disponibili: \u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli lang=\"en-US\" class=\"western\"\u003e\n\u003cspan\u003e\u003cb\u003eCVLD387C - \u003c\/b\u003e\u003c\/span\u003e\u003cb\u003eDMM-\u003cspan\u003eONE STEP \u003c\/span\u003e\u003c\/b\u003e\u003cb\u003eVINYL\u003c\/b\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan\u003e\u003cb\u003eCVLD387A - CLASSIC VINYL \u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan lang=\"en-US\"\u003e\u003cu\u003e\u003cb\u003eA SIDE \u003c\/b\u003e\u003c\/u\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan lang=\"en-US\"\u003e\u003ci\u003e\u003cu\u003e19:55\u003c\/u\u003e\u003c\/i\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan lang=\"en-US\"\u003e\u003cu\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/u\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan lang=\"en-US\"\u003e\u003cb\u003eEntangled\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e \u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan lang=\"en-US\"\u003e4:47\u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cbr\u003eS.Hackett, T.Banks\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan lang=\"en-US\"\u003e\u003cu\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/u\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan lang=\"en-US\"\u003e\u003cb\u003ePreludio in G Major BWV1007\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e \u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan lang=\"en-US\"\u003e2:27\u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cbr\u003eJ.S.Bach \u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan lang=\"en-US\"\u003e\u003cu\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/u\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan lang=\"en-US\"\u003e\u003cb\u003eHorizons\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e \u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan lang=\"en-US\"\u003e3:32\u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cbr\u003eS.Hackett\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan lang=\"en-US\"\u003e\u003cu\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/u\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan lang=\"en-US\"\u003e\u003cb\u003eMeditations On Horizons\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e \u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan lang=\"en-US\"\u003e4:10\u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cbr\u003eM.Lo Muscio\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan lang=\"en-US\"\u003e\u003cu\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/u\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan lang=\"en-US\"\u003e\u003cb\u003eAfter The Ordeal\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e \u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan lang=\"en-US\"\u003e4:59\u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cbr\u003eS.Hackett, \u003cbr\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003ci\u003ewith Steve Hackett, guitar and John Hackett, flute\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan lang=\"en-US\"\u003e\u003cu\u003e\u003cb\u003eB SIDE \u003c\/b\u003e\u003c\/u\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan lang=\"en-US\"\u003e\u003ci\u003e\u003cu\u003e21:03\u003c\/u\u003e\u003c\/i\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan lang=\"en-US\"\u003e\u003cu\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/u\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan lang=\"en-US\"\u003e\u003cb\u003eWatcher Of The Skies\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e \u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan lang=\"en-US\"\u003e2:27\u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cbr\u003eP.Collins, T.Banks, S.Hackett, M.Rutherford, P.Gabriel\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan lang=\"en-US\"\u003e\u003cu\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/u\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan lang=\"en-US\"\u003e\u003cb\u003ePreludio on Firth Of Fifth\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e \u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan lang=\"en-US\"\u003e1:13\u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cbr\u003eM.Lo Muscio\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan lang=\"en-US\"\u003e\u003cu\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/u\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan lang=\"en-US\"\u003e\u003cb\u003eFirth Of Fifth\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e \u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan lang=\"en-US\"\u003e4:15\u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cbr\u003eP.Collins, T.Banks, S.Hackett, M.Rutherford, P.Gabriel\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan lang=\"en-US\"\u003e\u003cu\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/u\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan lang=\"en-US\"\u003e\u003cb\u003eHairless Hearth\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e \u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan lang=\"en-US\"\u003e3:40\u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cbr\u003eP.Collins, T.Banks, S.Hackett, M.Rutherford, P.Gabriel\u003cbr\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003ci\u003ewith Steve Hackett, guitar and John Hackett, flute\u003c\/i\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan lang=\"en-US\"\u003e\u003cu\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/u\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan lang=\"en-US\"\u003e\u003cb\u003eThe Cinema Show\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e \u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan lang=\"en-US\"\u003e9:28\u003c\/span\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cbr\u003eP.Collins, T.Banks, S.Hackett, M.Rutherford, P.Gabriel\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ch1 style=\"text-align: center;\"\u003eDirect Metal Mastering (DMM\u003cspan\u003eONE STEP\u003c\/span\u003e)\u003c\/h1\u003e\n\u003cp align=\"left\"\u003eIl \u003cb\u003eDirect Metal Mastering\u003c\/b\u003e (DMM\u003cspan\u003e-ONE STEP\u003c\/span\u003e) è una tecnica di masterizzazione audio analogica dei dischi in vinile sviluppata da due aziende tedesche: la Telefunken-Decca (Teldec) e la Georg Neumann GmbH, verso la fine del XX secolo.\u003cbr\u003eA differenza dei tradizionali processi di masterizzazione dei dischi, in cui il suono viene inciso meccanicamente su un disco di acetato, utilizzando tipicamente 5 passaggi di pre mastering (lacca vinilica \u003cspan style=\"font-family: Wingdings, serif;\"\u003e\u003c\/span\u003e Padre\/negativo \u003cspan style=\"font-family: Wingdings, serif;\"\u003e\u003c\/span\u003e Madre\/positivo \u003cspan style=\"font-family: Wingdings, serif;\"\u003e\u003c\/span\u003e Stamper galvanico\/negativo \u003cspan style=\"font-family: Wingdings, serif;\"\u003e\u003c\/span\u003e vinile finale), con il processo DMM l'audio viene inciso direttamente nel metallo (rame) utilizzando un sistema portante ad alta frequenza e delle particolari puntine in diamante, vibranti a più di 40kHz, per facilitare l'incisione (Padre\/positivo \u003cspan style=\"font-family: Wingdings, serif;\"\u003e\u003c\/span\u003e Stamper galvanico\/negativo \u003cspan style=\"font-family: Wingdings, serif;\"\u003e\u003c\/span\u003e Vinile finale) \u003cbr\u003eCiò consente un miglioramento della precisione nei solchi prodotti, con un conseguente miglioramento della resa sonora (in particolare con una riduzione del rumore di fondo e maggiore risposta alle alte frequenze).\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cb\u003eLe differenze tra PET e PVC. \u003c\/b\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003eIl PET, o polietilene tereftalato, sta sempre più sostituendo il PVC, o cloruro di polivinile, anche negli usi comuni delle plastiche nella vita quotidiana, per una serie di vantaggi, fra cui la possibilità di riciclo perfetto e integrale al 100%, utile soprattutto negli utilizzi come materiale di imballaggio. \u003cbr\u003eMa Vediamo le principali differenze e considerazioni di queste due materie plastiche:\u003c\/p\u003e\n\u003cp align=\"left\"\u003eIl PET è più costoso del PVC ma risulta decisamente più interessante nell’uso audio, considerando le sue qualità:\u003c\/p\u003e\n\u003cp align=\"left\"\u003e- Il PET è resistente alla abrasione e alla elettricità statica\u003c\/p\u003e\n\u003cp align=\"left\"\u003e- Il PET è resistente alla temperatura e quindi molto meno sensibile a problemi di deformazione, e quindi è anche più stabile nel tempo\u003c\/p\u003e\n\u003cp align=\"left\"\u003e- Il PET è molto meno tossico del normale PVC\u003c\/p\u003e\n\u003cp align=\"left\"\u003e \u003cb\u003eVantaggi effettivi dell’utilizzo del PET nella stampa dei vinili audio\u003c\/b\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli align=\"left\"\u003eCentraggio perfetto (eccentricità) verticale e orizzontale, garantisce wow \u0026amp; flutter significativamente ridotti durante la riproduzione.\u003c\/li\u003e\n\u003cli align=\"left\"\u003eLa superficie scanalata risulta ultra liscia, da cui un rumore di fondo molto basso, che garantisce maggiore dinamica effettiva, con risposta ai transienti molto migliore.\u003c\/li\u003e\n\u003cli align=\"left\"\u003eCome abbiamo visto il PET garantisce minore deformazione della scanalatura durante il contatto con lo stilo, da che ne deriva maggiore durata nel tempo, e maggiore estensione e stabilità delle alte frequenze.\u003c\/li\u003e\n\u003cli align=\"left\"\u003eL’insensibilità alla elettricità statica, fa sì che sia molto meno sensibile all’accumulo di polvere ed a estemporanei rumori impulsivi (tic-toc)\u003c\/li\u003e\n\u003cli align=\"left\"\u003eLo stampaggio a iniezione, poi, è molto più preciso e quindi provoca una minore distorsione delle scanalature, da cui un’immagine stereofonica più stabile, ampia e profonda migliorate e profondità spaziale.\u003c\/li\u003e\n\u003cli align=\"left\"\u003eSempre in virtù delle caratteristiche del PET e nel nostro caso dello stampaggio a iniezione, consente un utilizzo di due passaggi di mastering in meno (One Step), garantendo così una stabilità e uniformità di resa dalla prima all’ultima copia stampata: iniezione su \u003cb\u003ePadre (positivo) \u003c\/b\u003e\u003cspan style=\"font-family: Wingdings, serif;\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cb\u003e Stamper (negativo) \u003c\/b\u003e\u003cspan style=\"font-family: Wingdings, serif;\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cb\u003e Vinile finale\u003c\/b\u003e.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cspan lang=\"en-US\"\u003e\u003ci\u003eAll arrangements by Marco Lo Muscio, except for THE CINEMA SHOW, by David Myers, Eric Johnsen and Marco Lo Muscio\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"en-US\"\u003e\u003cstrong\u003eMarco Lo Muscio\u003c\/strong\u003e, \u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003ci\u003egrandpiano\u003c\/i\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cbr\u003e\u003cstrong\u003eJohn Hackett\u003c\/strong\u003e, \u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003ci\u003eflute\u003c\/i\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e and \u003cstrong\u003eSteve Hackett\u003c\/strong\u003e, \u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003ci\u003eacoustic and electric guitar\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"en-US\"\u003e88.2kHz\/24bit original live-in-studio recording made at Magister Recording Area, Preganziol (Italy), \u003cbr\u003eon December 2024. Analog mix and mastering made at VLS Studio, Naquera (Spain), on January 2025\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"en-US\"\u003eProduction: \u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cb\u003eMARCO LINCETTO for VELUT LUNA\u003c\/b\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cbr\u003eMusical producer: \u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cb\u003eMarco Lo Muscio and Marco Lincetto\u003c\/b\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cbr\u003eRecording, mix and mastering engineer: \u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cb\u003eMarco Lincetto\u003c\/b\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cbr\u003eDesign and layout: \u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cb\u003eL’Image\u003c\/b\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cbr\u003eInside photos: \u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e\u003cb\u003eMarco lo Muscio\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan lang=\"en-US\"\u003e\u003cb\u003e\"Project Two\"\u003c\/b\u003e\u003c\/span\u003e\u003cspan lang=\"en-US\"\u003e: il seguito ideale a “Project One”. \u003c\/span\u003eNel primo album avevamo quasi un concerto live registratato in chiesa e dedicato alla musica contemporanea e Prog in generale. In “Project Two” abbiamo invece un vero e proprio \u003ci\u003econcept\u003c\/i\u003e dedicato al mondo dei Genesis: “A Genesis Rhapsody”.\u003c\/p\u003e\n\u003cp\u003eIl progetto discografico \u003ci\u003eVelut Luna \u003c\/i\u003equesta volta è stato realizzato totalmente in studio e si avvale dello splendido Steynway \u0026amp; Sons D274 Concert Grand residente nello studio Magister Recording Area di Preganziol. In due brani John e Steve Hackett tornano a collaborare da protagonisti con il M° Lo Muscio.\u003c\/p\u003e\n\u003cp\u003eIl focus del disco consiste nella reinterpretazione in stile classico ed interamente acustico del mondo dei Genesis.\u003c\/p\u003e\n\u003cp\u003eIl disco si apre con \u003ci\u003eEntangled\u003c\/i\u003e una gemma dei Genesis post Gabriel e poi si prosegue con tre brani legati fra di loro da un sottile filo: il Preludio dalla Suite per violoncello di Bach (arrangiato per piano dal M° Lo Muscio) che sarà la base di Horizons; a seguire le \u003ci\u003eMeditations on Horizons\u003c\/i\u003e una composizione di Lo Muscio stesso che si basa su Horizons inserita però nel ritmo dell'Habanera spagnola molto amata da Hackett (Bay o Kings ad esempio) e finalmente la versione pianistica di Horizons. La prima parte si conclude con \u003ci\u003eAfter the Ordeal\u003c\/i\u003e in trio con i fratelli Hackett!\u003c\/p\u003e\n\u003cp\u003eIl lato B si apre con l'introduzione e la coda di \u003ci\u003eWatcher of the Skyes; \u003c\/i\u003esi prosegue con un Preludio fugato di Lo Muscio basato sulla parte melodica di \u003ci\u003eFirth of Fifth\u003c\/i\u003e che fa da introduzione vera e propria al capolavoro classico dei Genesis. Si prosegue con la versione in trio con i fratelli Hackett di \u003ci\u003eHairless Heart\u003c\/i\u003e per finire in maniera grandiosa con quel capolavoro sontuoso e raffinato di \u003ci\u003eCinema Show\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003eInfine la grande qualità delle registrazioni \u003ci\u003eVelut Luna \u003c\/i\u003eoffriranno un'incredibile tavolozza sonora nell'ascolto di tutte le sfumature del grande pianoforte Steinway, ripreso con una nuovissima tecnica microfonica elaborata da Marco Lincetto che garantisce un suono del pianoforte realmente “sinfonico”: pieno, dettagliato, imperiale!\u003c\/p\u003e\n\u003cp lang=\"en-US\"\u003e---\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #0070c0;\"\u003e\u003cspan lang=\"en-US\"\u003e\"Project Two\": the ideal follow-up to \"Project One\". In the first album we had almost a live concert recorded in church and dedicated to contemporary music and Prog in general. In this \"Project Two\" we have a real concept dedicated to the world of Genesis: \"A Genesis Rhapsody\".\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #0070c0;\"\u003e\u003cspan lang=\"en-US\"\u003eThe Velut Luna recording project this time has been realized entirely in the studio and makes use of the splendid Steynway \u0026amp; Sons D274 Concert Grand resident in the Magister Recording Area of Preganziol. In two tracks \u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #0070c0;\"\u003e\u003cspan lang=\"en-US\"\u003e\u003cb\u003eJohn and Steve Hackett\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #0070c0;\"\u003e\u003cspan lang=\"en-US\"\u003e return to collaborate as protagonists with \u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #0070c0;\"\u003e\u003cspan lang=\"en-US\"\u003e\u003cb\u003eM° Lo Muscio\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"color: #0070c0;\"\u003e\u003cspan lang=\"en-US\"\u003e. \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #0070c0;\"\u003e\u003cspan lang=\"en-US\"\u003eThe focus of the album is on the classical and entirely acoustic reinterpretation of the world of Genesis. \u003cbr\u003eThe disc opens with Entangled a gem of Genesis post Gabriel and then continues with three pieces linked together by a thin thread: the Prelude from Bach’s Cello Suite (arranged for piano by M° Lo Muscio) that will be the basis of Horizons; to follow the Meditations on Horizons a composition by Lo Muscio itself that is based on Horizons but inserted in the rhythm of the Spanish Habanera much loved by Hackett (Bay or Kings for example) and finally the piano version of Horizons. The first part ends with After the Ordeal in trio with the Hackett brothers! \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #0070c0;\"\u003e\u003cspan lang=\"en-US\"\u003eThe B-side opens with the introduction and the tail of Watcher of the Skyes; it continues with a fuged Prelude by Lo Muscio based on the melodic part of Firth of Fifth that is the real introduction to the classic masterpiece of Genesis. We continue with the trio version with the Hackett brothers of Hairless Heart to finish in a grand way with that sumptuous and refined masterpiece of Cinema Show.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #0070c0;\"\u003e\u003cspan lang=\"en-US\"\u003eFinally, the great quality of the Velut Luna recordings will offer an incredible sound palette in listening to all the nuances of the grand piano Steinway, recorded with a brand new microphone technique elaborated by Marco Lincetto that guarantees a real piano \"symphonic sound\": full, detailed, imperial!\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Velut Luna","offers":[{"title":"LP 33 DMM (crystal)","offer_id":52899350937867,"sku":"CVLD387C","price":59.0,"currency_code":"EUR","in_stock":true},{"title":"LP 33 rpm (black)","offer_id":52899392061707,"sku":"CVLD387A","price":49.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0647\/4294\/9131\/files\/CVLD387-COVERPETDMM.jpg?v=1771022814"}],"url":"https:\/\/www.jellyblackcircle.com\/en-int\/collections\/vinili.oembed","provider":"JELLY BLACK CIRCLE","version":"1.0","type":"link"}