Listen kc and jojo all my life

James McCarthy e' an historical name of music rock, being be one of the original members of the Yardbirds, the English complex that in the years Sixty contese to the Rolling Stones and the Animals the palm of better complex. Today we find again it in the composer garments new age. What succeeded after the issolution of that mythical formation. "the singer Keith Relf and I (than to those times played the battery) I continued. We had decided to abandon the rock, that it was always becoming piu' noisy, and to return to make music folk. We formed thus the Renaissance, than, for the unusual instrumentation, they came soon inglobati in the phenomenon of the rock classicheggiante. tires to make tour and things similar, for which they were thinking to leave the others the role of strumentisti and to reserve commando roles us: I would have written the songs and it would have produced to them. After a album with the Shoot, you will succeed to reform the Renaissance like Illusion, of which exited two album. For how much we felt the vanguard of a new kind, the outbreak of the new wave and the punkrock left us without job: the record house decided that the young people wanted to listen. I continued to write songs finche' I did not reform with Jeff Beck the Yardbirds under the pseudonym of Box Of Frogs. two album and then I was of new without group. "To that point I met Louie Cennamo, that it had been the bassista of i. We had a problem in common: we had need to replace to us in sixth after one life of excesses. During the age of the Yardbirds I had accumulated much stress, nonche' many drugs, and was hasty little little. Both we had ended in order to turn to us to the groups of the idea to make music for that scope under the pseudonym of Stairway. If it had worked on we, had to work also on the others. We recorded four album, beginning from "Aquamarine", riscuotendo a discreet one happening in atmospheres new age. Stairway e' never truly not existed like group from the alive one, for which e' difficult to say if today it exists still or less. I can only say that to a sure point it came wants to alone make something to me, something that arranged my roots blues and the new age, and was thus that I recorded the first solista album of my career, "Out Of Dark". Sure it has a reference: e' music of a person who e' last end of the body and exits from a had other in the arc of my career (blues, folk, classic music). I wanted to say something that it was positive, I wanted to say something of encouraging. To the very fine, not e' then thus badly: something of the sort. "I do not know what exactly constitutes music new age, not e' a lot a kind. If new age it means to be aware of. They said that for meta' my music e' instinctive expression and for meta' e' in relation with the atmosphere that me. I do not hide that living to Richmond, on these splendid hills from which a mozzafiato panorama is embraced, has exercised one sure infuence on. The natural beauty puo' to be transformed in. "You know, blues e' the pain, but when people want to forget the pain, the blues puo' to become glad music piu' that us cia. Therefore its music now has one social scope beyond that artistic. They are exited from one be deprived of hope thanks to "spiritual healing" and now always piu' they are been involved some, until the point from wanting to make it to my time to others. Of music it puts into effect them what thinks. "I do not listen to a lot, but cio' that I listen to it leaves me perplexed. the things better are making them the old ones, not the young people. Me dispiace a lot that not is good singers new age. I listen to classic music (Beethoven, Bach above all)."I have many ideas for a album similar to" Out Of Dark ", but I do not know when. I would want to remain legacy to this kind of orecchiabile music, but not too much not too much eterea. Songs that I can still sing benche' are much atmospheric. Me e' always piaciuta atmospheric music, perche' concurs to associate a melodia to things that regard to me personally. In so far as my music e' always be autobiographic. "I had thus read often the wonders of Boulder and of the Colorado sin that snows so much, perche' it is preventing to me to enjoy them to me for entire. Here, then, I have of the friends whom they are making "music healing" and of it I have been useful. the group of Don Campbell, than standard to recover itself through the use of the own one. In England I am beginning to complete experiments with Spero that my music can be useful to someone. According to important me e' that music gives a benefit to people, than the aids in some way to living. William Aura e' from piu' of ten years one of the protagonists of the new age. its discs are sure between that they have coined the modern way to integrate sonorita' exotic in the electronic shapes of western popular music considered one of piu' "honest" the revisers of the other people's musical patrimony, in the sense that is not limited "to steal" to a stamp or one instrument, but of. Like nacque the love for ethnic musics. "I arrived to world music in possible the natural way piu' years Seventy, like many boys of that age, played the rock and roll deafening that was fashionable to Detroit, what today they call heavymetal. Al time same me capitava every a lot to play or to feel to play other kinds of music that were in circulation in mine citta': the rhythm and. Naturally they were all kinds Africans."feeling" of that music, I began to become account that was something deeply various between western music and that African. Piu' or less in the same period to scopersi Paul Horn, the Canadian flautista that had gone to play in the pyramids. in contact with those cultures, we became friends. I became account that it was "finding" a sound that he had tried to along, for which he would have been. It was thus that I gave myself to the study of Indiana music, leaving from the classics, and that I learned to play their instruments. Slowly slowly in my repertorio of musician ethnic rhythms were insinuated always piu', until the last disc that represents one of the radical examples piu' of fusion between various musical cultures ". Perche' the western musicians must "travel" in order to find the sound. "Perche' the America does not have a its rhythm: we use those that we have imported. The only rhythms originate them of the America are those that soppresso, those of the pellerossa. We do not have rhythm perche' not. But as all the human beings we have need of the rhythm. And then we must return to our ancestors in order to find again the primordiale rhythm that e' gone lost in all these migrations towards the New World to cover the opposite road to that we have completed in order to colonize. However we would not have to never consider Americans, but from the other cultures, perche' it gives energy to us, perche' us bringings back to the essence of the human existence, perche' us transports in other ages and other places. World music e' not become a too much generic term. Cos' e' that it is not world music. For the aware medium listener cio' that the world music it has indeed carried of new e' the being that exists music elsewhere, played with one spirit. The fact that today ethnic musics are penetrating in our music of consumption does not make that to re-establish that one verita': all. Popular music e' always piu' "popular world music". With this I do not want to say that the identita' is getting lost that ethnic music: e' senz' important other that every culture attends to conserve the own one. But not e' true that the world music is a recent fact: e' always be thus, always we have used ancient musics and integrated between of they. If we are believed, e' piu' clearly what is not new, other that the way in which we introduce cio' that e' old. I know what is of new care the new age: if us tasks, e' "old age". We do not make other that to remember something that happened much time ago. Not e' that this boom of the world music is piu' that other a fact trades them. "the consumismo has its part, not there e' doubt senses: I have produced a group of the Gambia, that they were much pure, and recently their minister of the culture has asked they to incorporate western kinds for being piu' "vendibili" to the foreign country that these operations trades does not make them that to evidence the power of other musics, the power to use many musics instead that one single. All then are not thus available to the grafts. Alive close to a singer pellerossa that it always goes to pow-wow the anniversary. they have left me to record their music, but they have tax to me not to use it never for samplings or however in order to include it in a disc of their music, like if it were a religious fact. in all the operations of world music a noble intention is hidden always piu'. All an added entire new age e' intention: the intention to make something of nobleman behind the music that is listened to. Music new age e' always something of piu' of a simple entertainment (rilassarsi, exciting themselves, to think). total scope e' that one to make si' that people feel themselves better, lives better. In so far as world music e' music new age for excellence, perche' great part of ethnic musics has from always "the taumaturgica" connotation. From millenia they come used for "medical" scopes, succeed to recover, to complete. If this becomes a product for the mass consumption, sincerely I do not see what is badly. Qual' e' be after all the main contribution of the world music to our society. "it is carrying people to being piu' near, reduces the differences between aliens, it leads back them all to the same essence percussions in a sure way in Africa and a person that sound percussions in an other way in Indonesia play in various way, but play both. Account helps to become that we can be various, but to. It helps to defeat racism, to make to cohabit in. "In future this large" melting pot "musical one it could makes us to lose the roots of the kinds that we listen we will end in order not to render piu' account us that we are listening to music African. Insomma we will return behind to years Fifty, when ascoltavam. Today the boys think in way much various one from the adults: they said that the boys feel themselves piu' city of the world of as we felt. They are Americans soltato to 50% and perhaps of. They would dispiacerebbe to me if the purity of the origins came lost and if ancient music came despised to favor of the fusion modern. I hope that the boys always remain in a position to recognizing that that sure rhythm e' a rhythm of tribu' the Africans, that they live from millenia migliaia of kilometers from and have a various culture from ours here, but is beings. I hope that this is only the beginning of communicating together. In front of the tragedies that they tear to pieces the world today I can only hope that world music the aids to construct a better world. Perche' the countries of the third world are to they time thus obsess from music ours to you. Wherever you go you are they to wanting something of the culture American, T-shirt with two words was also only one in. The problem e' that their average has said that this to it e' the Promised Earth, that all e' here perfect, and thus they are still become to you piu' fanati us of the western world of how much it are we sometimes do not make that to reward the western ones who take advantage of them. "I have as soon as ended the new album, Third Force. career and e' also piu' radical in absolute partner thanks to which I have been able to integrate the hip-hop with the new age, beyond to Latin inflessioni, Africans and jazz. musician was the Africans Soto Koto, with which I worked two years ago. From then I have understood the importance to instead put the emphasis on the space between the battered ones, that on the struck ones as we make western. The new disc applies my new vision of music: to move spirit, that excitation induces, that creates the altered state of the conscience of which we have need in order to recover ours in this way identita'. strongly ritmate songs with the accompanyment of guitar, keyboards, flauto, one section of breaths and my Craig friend. E' piu' world of all the my album, in how much e' what conserve the percussivo aspect of musics to which me. "In order to conclude, I would want to be able ringraziare every culture that has inspired to me I feel like if same completing along travel, of culture in culture they are not even sure of wanting to complete the travel before dying: I hope to continue fiuno to the end to discover to new musics, that they continue to ignite sparkes of creativita' within of me day after day. With the people that sound with me settles down a cohabitation, friendship relationship, and in my small I try to exceed the barriers that they cause. I would want ringraziare all those who have concurred to me of. Perhaps but I would have ringraziare the entire world. Jon Hassell must be considered between the inventors of the world music. its discs of the end of years Seventy have coined a language to which e' inspired an entire generation, nonche' santoni of the sort like David Byrne and Brian Eno. Its only style to the bugle of it has made one of the collaborators piu' appreciates to you from personages like Peter Gabriel. Recently, with its last discs, Hassell has ulteriorly widened the horizons of its music, incorporating also the hip-hop, and tracing in such a way of new the way for imitatori innumerevoli. Qual' e' its relation with the world music today. "I have always had a strange relation with world music. the those that have launch it, I cannot say of being disappointed from the situation. Obviously they are much happy one that has become a phenomenon thus. From simply wonderful an ideological Africa or point of view e' that thus much people come to contact with musics like that one of Giava that until vent' years ago was notes only to one narrow cerchia of. Of other song, pero', this phenomenon always piu' trades them is losing po' its connotes originates you them, that they were above all of discovery and approach to those far cultures, of internalization of their social roots, and of reflection on the human condition simply becoming a fashion in which all are thrown po', in way. The mass medium of it they speak to the stregua about an nth exploitation trades them, losing sight all the authentic aspects piu'. They have arrived to the point to bore thus as well as to read and to listen to always the same things to me, than in the last years I have stopped to play world music like it I played vent' years ago and I have begun to watch to me around. E' be to greet: I have in fact uncovered that world music the not e' only that one that we find in the far countries, is born and grows also in just. Here in the USA we are today witnesses of a phenomenon that durera' in the decades, we are witnesses of the birth of one new popular culture, whose roots are not less "terzomondiste" than those of Giava and Africa. For some shape of reaction to the happened one of the world music traditional, today I find myself very piu' to my comfort with the hip-hop, with a music shape. Me it seems paradoxical to run nearly with the breathlessness riscoprire musics that are old of thousand years, when this kind, the hip-hop, comes invented here, today, behind house mine, under my eyes. And draft exactly of the same phenomenon: music of a sure country simbiosi African had origin from one between its inhabitants and the natural atmosphere, one simbiosi that produced able instruments to imitate the sounds of the nature. Today black the city ones do not make other that to complete the same operation in an ecosystem that unfortunately e' piu' not defined from the sounds of birds, wind, rain, but from the neurotic sounds of the metropoli, from the jungla city. Mutatis mutandis draft pero' of the same phenomenon: to change they are above all the means, perche' today the black ones have to disposition. All the added world music contemporary, the hip-hop, it renders also piu'. But as its maturation like musician of world happened music. While nacqui and I grew to Memphis, in the Tennessee, one be that not e' particularly famous for artistic farsightedness, but, like all the South American, it has the fortune to be a melting pot in miniatura, in which the cultures are met and intersected. For as far as my times they still existed of the powerful barriers razzialli, and therefore me it was nearly impossible to interact with black in way directed, I came since exposed small to their music. Years after I tried to discover from where their culture came, thus various. To grow in Tennessee was therefore a lot important in order to provoke the spark of my interest for the cultures of the Third World. They were many small episodes, apparently does not correlate to you between of they, than. To nine years my father, that he had played the cornetta to the college, me porto' in an exotic premises, of which absolutely null memory, but that me it did not remain impresso in order always an other time me left alone in the car with the ignited radio, and was thus that I listened for before turns the orchestra of. From sound Latin and caraibico of these and from the my fantasy exotic nacque passion that still today pushes out me to the new search. And the true and own musical formation as it happened. "I studied composition and bugle to the Eastman School of Music, in the citta' of Rochester (be of the New York). I composed various orchestrali pieces that are remained unknown, then (to those times the military service was obligatory) I came accepted in the military band and of it he is useful to you in order to study Musicologia. to transcribe gregoriani songs from medieval manuscripts, but in the meantime I listened to Miles Davis and the composers of the European vanguard, two areas that were in full outbreak, and, for how much clearly separated one from the other, captured the attention of we young musicians white men. To Washington I wrote various pieces for collage of tapes. In the 1965 decided then to go to complete my studies to Cologne. the occasion to study with Stockhausen and Berio. Two years and means after I returned in the USA and I entered then endured in contact with our vanguard: in particular I knew Terry Riley (I played on "In C", the first recording in absolute of a minimalista job) and LaMonte Young, nonche' the Pandit Pran Naht, from which taken lessons of Indian song that I began to ask to me perche' to the classic cultures and those popular ones thus were separated in the West, while in East always they have been the same thing a lot piu' that the classic vanguard and that one jazz were discovering the same thing: the value of the improvisation. "I developed thus the notion of the" fourth world ", a world that joins the instinctive impulses of the Third World and the impulses rations them of First World (three piu' one equal four). I recorded "Vernal Equinox", that it made fuss fuss nel 1977 and me segnalo' on the credit side attention of Brian Eno. worked with the Talking Heads and the new wave in general. It came to a my concert to the Kitchen and ascolto' a new piece, "Charm", that it would have become the second part of "Possible Musics". Since that disc I was not much satisfying. On one side I was proud that my music served to introduce the world music in the world of music rock, but the other I had to endure one risen of ostilita' from part of means of information that. It was naturally a lot piu' famous and. Also today I have problems with the record houses that put Brian Eno before my name, also when I have composed nearly all music. The myth that Eno invento' all and we were only its collaborators. He was however fundamental in order to make si' that the world music it was diffused capillary in the world of the rock. I exited with Eno and David Byrne and I made they to listen to ethnic discs of. It was thus that Byrne inizio' the phase "African" of its career. We had also in program a disc entirety, that we would have had to record in solitudine in the desert of California with one technical similar to that one of. A month after to have some spoken to mine two friends I received instead a cassette that contained their recordings, what then it would have become "My Life In The Bush Of Ghosts". to be dealt like the wheel of the wagon, when the idea originates them was mine. But, once again, their famous names were a lot piu' of mine, for which the press of all the world it made it to become an historical phenomenon, when instead the press was simply deriving of my searches has today not pardoned ne' those two getlteman ne' point that some critic, listening to me, me accuso' of being a epigono of. "It was just that situation, in a sure sense, to push to me to remove to me. I tried the impulse to make something various nacquero "Dream Theory in Malaya" and "Magic Realism completely". but above all nacque my "cosmological" program, in which esplicitavo all the spiritual and philosophical infuences on my job, from "the futuro/primitivo" model of the fourth world of which over to the fines-culturalismo to sociological level. These dichotomies "antico/moderno", "to religioso/secolare", "nord/sud", "naturale/tecnologico", "piacere/dolore" are all that fascinate to me. Today I would add also the realta' virtual, the computer science techniques in order to recreate real or imaginary worlds within your world. Today the relationships with Eno as they am are quite the godfather of its two daughters. Like nacque the love for the bugle. "When I was small, there was nearly always one cornetta in turn for house. Capito' to the return from Europe, when I replaced in argument the classic and popular dichotomy between, and when the Pandit Pran Nath me insegno' to use the voice like one instrument. I began to lose faith in the abstraction to write music on the paper in contrast with the action to play one indeed instrument in order, from the alive one. Thus I began to play of new the bugle. I tried to play the raga with the bugle, that is without the pauses of western music, producing instead a continuous flow, like when you play one shell. Little to the time I began to understand as to use the valves of the instrument in order to produce such continuous flow. the stamp that e' turned out some e' nearly accidental: I was not trying the stamp, I was trying a way to play the raga with the bugle. Only later on I began to employ also the electronics, in order to ulteriorly exalt the qualita' spiritual of my music. In this last disc I have rinunciato to the electronics and probably sara'. "In 1987 I moved myself from New York to Los Angeles, originally in order to work with the work director Peter Sellars. Thanks to the participation of Riccardo Squaldini, that I knew during a concert in Italy, decided also to make a disc with the Farafina, a group of the High. In the 1989 usci' thus "Flash Of The Spirit". But sincerely my phase to Los begun Angeles e' with "City", an inspired disc that e' from tantissimi made cultural: "the citta' invisibili" of Calvin, the vision of Jean Baudrillard of the America like "the primitiva society of the future", the Reggiolo di Fellini, the mythical London of Rushdie, the Los fantacatastrofica Angeles of "Blade Runner", the "psicogeografia" of the Situazionisti, and thus via they integrate in a concept only, difficult to define to words, "citta' of. And which citta' better than Los Angeles puo' to represent the citta'. To this point my passion for the city folklore was gia'. That disc had truly reassumed my career, from the avanguardistici beginnings until the discovery of the hip-hop. "In the last years account is rendered me that I had exausted the topic of the world. I concentrated myself on the literature and the technology: while I read every risen of books, I learned to play computer and sampler. BLK Lion, a musician of Oakland that was mine fan and that e' become my "window" on the world of the hip-hop. "Dressing For Pleasure", the disc puts into effect them, e' the fruit of these years of. In retrospettiva which it thinks it has been the contribution of the world music to our society. "Piu' you become account of how many ways exist to think next to music, piu' yours possibilita' to compose new music become rich. If you always live in a small village, you will have one vision much limiting of cio' that the life puo' being. if you live in a large one citta', you will enter in contact with thus many common history, that to the end your vision of. Thanks to the world music and the interest in a generalized manner for the cultures of the other worlds today we can living in the "total village" and to become complex account how much piu' the life puo' to be of like we considered it, nonche' of all the aspects that compose it, from the painful facts to those edonistici. E' a speech that is worth to all the levels psychological level of every characterizes them, the world music helps to understand you like six same you, making you to see as they are the others. Today thanks to the introduction of total communicazioni we have the only occasion of being able to enter geographically in local the ambient small of the isolated village, to penetrate this social microcosm, to establish logons with many other villages and to create an ecosystem piu'. The side negative of this phenomenon e' perhaps that this e' the last time that we can appreciate those cultures in their shape originates them: the total village, unavoidablly, distruggera' something, those something that had had to their isolation. "the future piu' always total task that sara'. but it begins to interest to me. Aging one it understands better what appeals to to it indeed. Now I would want to record a disc in the style of the big band, a disc with. I would want to play the bugle in romantica way, the sense. Fellini said: "Aging, I want to forget who are". Bruce Becvar e' one of piu' the chitarristi shining new age in circulation. To one technical virtuosistica joins a sensibilita' nearly mystical that transforms its pieces in traboccanti romantiche miniature of pathos. Of the previous ones they go above all remembers the first one, "Take It To Heart", and that "Forever to you Blue Sky" that the lancio'. "Natures Of Things", "Rhythms Of Life", "Samadhi" and "Tibetan Sacred Temple. As its career had origin. "They are original of the Kentucky, one of the states of the musical center-south much, but also much traditional that also on my style it has exercised one sure influences national music of the Kentucky, the bluegrass, a shape of country much fast one. They have grown handling guitars, violini, mandolini, and going to make the tifo for this or for that one to the competitions for "picking", in which the greater strumentisti they are defied in abilita' technical I was fascinated from the chitarristi, a po' like elsewhere the children they dream instruments, on behalf of one society of the place. Thanks to that trade I knew numerous musicians, than me. The style was gia' that one today. Gia' then pero' was worth the rule that still today dominates my method of composition: to trust itself the intuito one. I close put the ear to the guitar and left that the fingers went. My idoli in effects were the great jazzisti Django Rheinardt and Pat Martino, that they knew to improvise. I still inspire to the chitarrista classic John Williams, that I estimate also. I must add that in the Kentucky, beyond to the bluegrass, much classic music is listened to, and I listened to Vivaldi and Mozart until. Perche' determined to make the musician rather than other. "First of all, I confess that I have not never learned to play music for which I do not know if I can define a musician. In 1984 I recorded the first songs, not memory. A day determined that I felt myself enough sure of same me to abandon the trade to construct instruments for they give me to. My motivation e' pero' never be that one of to have been that one to catch up people, to transmit to positive messages you, to communicate with persons who you never do not know and you will not know, but. From flamenco of "Arriba" to Indiana music of "Samadhi" me it seems that a chitarrista has explored an impressive phantom of music styles "has the advantage that the guitar e' used in order to make. The determining carried out one was sure when I knew my partner, Nada Shakti, that it sings in sanscrito and it worked gia' in order to recover with the sounds, second the tradition yoga, is in USA is to Praga. With she I have realized two of my album, than me they have deeply marked. They are jobs are piu' spiritual regarding that I make alone, are devozionali prayers piu' that album. some of the wireless stations of music rock want to program them. "I do not listen to a lot, I listen distrattamente a little all: POP-JAZZ, rock. If not I make much meditation and a lot yoga, every. "Perche' the Hawaii is like a magnetic pole for me. Then the past year I have uncovered this island that has many elements of various zones of California, but al encircled same time e' from the ocean, e' calm, e' dipped in the nature. And, obviously, we are not speaking about a submergeeed tourist island of tourists. "the nature e' the important thing piu' of the constantly inspired universe from the nature, there e' a constant relationship between of we that it comes renewed with every song. "there are a pair of ways in which puo' being born one song. In a generalized manner understood that I am based to caress the ropes, without to try. I only leave that the guitar you play from if through my fingers, and to unexpected a reason stretches to repeat itself, always piu' strongly, finche' takes body, begins to expand itself and becomes one song. Other times I begin instead from the rhythm, a rhythm whichever, with one instrument to just E' to call its music "new age". "they are not much content of being classified in one particular current. Task that my music is various from every other music, but that to. "neo-classical space POP-JAZZ". Creed to have esporato many kinds of music, and I hope that us sara' always a public for something of cio' that I have made. That then it is new age or to less seems me insignificant. "They are much enthusiastic one of my next plan, to which I am dedicating a lot. The Dr Deepak Chopra, author of bestseller "the Ageless Body Timeless Mind" and divulgatore of the Indian techniques of guarizione, that it tries to fuse to the western medicine, have complementary need of musics for its method. In its practical doctor music serves to balance the personalita' of the patients. Therefore I today find myself specifically to compose music for the reason for which in past (unconsciously) I have always made music. Also from banal the technical point of view not e': I must make music for everyone of the three states of the body that are recognized in this theory, that they can be identifies from one diagnosis to you. "Take It To Heart", that it goes listened on vinile perche' only has sense in. Creed that the analogic one you carry piu' information of the digitalis them. The CD cuts the frequencies, is those high ones is those lowlands came recorded making lever just on the extreme frequencies. Naturally they are become attached also to "Forever Blue Sky", than it has given to me. Of "Arriba" me piacciono above all "Spanish Roses" and "Forever In My Heart". What expects now from music. People understand who are from my music. Not there e' need to make some effort. on me e' within the vibrations of my music. Suzanne Ciani e' musician of classic formation, than inizio' attending new electronic musics of the years the Sixty above all curiosita' and propensione to the uncovered experiment a human and comunicativo use piu' of the electronics and has given life to one of the careers piu' admired of new age. an obliged point of reference for the young generations: draft substantially of one review in modern key of the format of the fantasy. Its fort e' the counterpoint, that it amplifies to excess the happy melodiche intuitions, the classicheggianti airs that compose the skeleton. Its "technological" hinterland them concurs spectacular escapes in ahead in the field of the agreement, than they are translate in elegant and majestic harmonies, in a formal perfection that borders on the manierismo. The strongly ipnotico effect of these the windward beginning from "Velocity Of Love" taken compositions, the album that has revealed the great public. Its sonorous flows of conscience give origin to relaxant and orecchiabili musics, al same time erudite and of easy consumption. The melodici topics for pianoforte of this schiusero disc to they time new horizons, launch Ciani in the fiabesco world piu' of "Neverland", a album cured to maniacali levels as well as in the composition how much in the execution. With passing of the time music of CIani has endured a natural evolution, from the emotional esibizionismo of the first times to the submitted impressionismo. Far as well as from the apocalyptic scenes of the new age electronic how much from the acquarelli festosi of the solisti pianisti, Ciani has tax one style private and bewitched to analyze the own ones. Suzanne Ciani e' today one of the greater pianiste new age. shiningly in race with a album that seems to open one new phase in long its gia' and luminous career. Of Italian origins, it grew in one city of the Massuchussetts, near Boston. "ours was a family much united and much traditional one of those giganteschi pianoforte to Steinman tail (giganteschi for a child), but frankly to the beginning I did not try a great interest for. The problem was teaching, than for mysterious reasons it wanted. Thus to seven years I began to play alone, nearly secretly, my preferred pieces, Bach, Chopin, Rachmaninoff, Grieg, and piu' late the great Russian composers, the jazz and thus via. I had learned to read music and for me it was like reading books: I tried to read of how many piu' I could, all cio' that I succeeded to find. During the years of the grammar school I passed great part of my time to study slowly. To the Wesley College, a school for sun girls (where it has studied also Hillary Clinton), taken one bachelor in music in 1964. "music puo' to be approciata from various interested points of view to learn like appreciating a brano of music. to dip to you in the mathematics of music. You can make music for trade. I preferred I was that one of the counterpoint, above all in music of the 1500's and the 1600's, until Bach, its miracles of harmony. My apprenticeship was much technician, in a sure sense. they obligated to us to write music for other musicians. Thus I had to write a little all, and I could in such a way. To understand what the instruments know to make and what does not know to make e' fundamental where taken mine master in composition gia' leaving the shoulders the academic world, that I found narrow rather. "I had uncovered music electronic, an exciting world that was being born. It had not been concurred to add it to me to my studies, and this did not make other that to sharpen my intolerance in the comparisons of the academic approach to music, than, not being guided from the emotion, e' a evident one controsenso in the comparisons of music, the piu' personal of. It was thus that I met Don Buchla, one of the first engineers to construct sintetizzatori, and I entered to work in its "laboratory", assembling its electronic instruments and dandogli of the feedback. On one side cio' me consenti' to become a vituous one of the instrument, and from the other it made me to become attached to the electronics. For ten years of fact I did not play piu' the pianoforte. I made mine first perfomance from alive galleries of art and the museums of the zone of Saint Francisco, accompanying also dance companies. it came offered to me to play in a gallery of art to New York. I went to New York for giving the concert and you I remained for nineteen years. I remained in fact fascinated from the energy, the lack of a clock, a time: the citta' it was always alive, not was difference between day and night, lunedi' and Sunday. me innamorai of the atmosphere of the artists of New York, of the cultural outbreak that was in course to SoHo (before that it became the Disneyland that e' today), and divenni friend of Philip Glass, Steve Reich, Ornette Coleman, Dicky Landry, and many visual artists one of important the cultural transformations piu' of the century and I was some. "He was to that point that I am decided to make the musician full time. I succeeded in to touch the bottom, to level of i. To school never I had not been rich, but I had some financing perche' I was one good student. To New beautiful York e' not to be poor. the climate not e' that one of California. With my great surprise the sound of my Buchla divenne soon demanded, and I found again myself from the today to tomorrow gettonatissima for mine capacita' playing it. I worked very hardly, I composed music for pubblicita' of Cola Coke and Divenni a businesswoman with ribbons, I had mine that one to make moneies, was that one of being able to allow one what to me that never I could otherwise not have made: to realize album. a something of mine, without the constrictions of the record houses, but to record a album for me meant to be able to decide of a sure sum of money, perche' to those times high technology was beloved, too much beloved for an individual whichever, above all in a period in which no house Lira in music was disposed to invest one electronic. I had need to find the moneies in order to produce from independent mine two. And finally in 1982 in Japan it came published "Seven Waves". "Waves" perche' always have been inspired from the sea. "Waves" also perche' the shape of the brani e' that one to the waves, from a structural point of view: they begin sweetly, grow until a climax. Finally "waves" perche' always I had been fascinated from the idea to recreate in way electronic the sound of the waves. I even used a vocoder in order to incorporate. It was an other magical invention in which I had been been involved from Harold Bode, a German who lived to New York and adatto' the instrument on purpose for me so that you could use it even if you was not one singer and I did not want to use lyric was that to the end I obtained I record organic and sensuale, soft and strong. That album e' in effects an only piece. "For the verita' I thought that it would have been the only and last album of my life. All cio' that I wanted it was only to make that album. I was not to the current of no other making that music, inspired from classic but wide, colorful, powerful, the thus thus thus thus popular one. It was classic perche' had one structure and one development much rigorous. But he was popular perche' was made in order to be listened also from who did not have. Removed that satisfaction to me, pero', I did not have living with my sintetizzatore, that it continually made music to house mine. I programmed in order to play something for me, and it appealed to to me to have that sound around me all the time, divenne one nearly physical presence in my life. Instead a day the inspiration came me for according to album and, strongly of my reputation, I obtained a contract with the RCA. All think that "Velocity Of Love" has been my blow R-di.fortuna: in realta' it was a disaster, perche' the RCA came sold to the BMG and the new one manager we did not take to me minimally in. I came relegated in some angle of their archives. It was thus that the album divenne a hit to the beginning of the boom of the new age, but in the storees not was discs to buy. The thing better than those contracted e' that after five years it decayed and the rights. "Neverland" usci' for the Private ones perche' of it I knew the founder, also Peter Baumann, former Tangerine Dream was a fan of technology (). We met ourselves to Manhattan: it was interested in sure new drum machine of which I gia' had become an expert. For before the time I trusted myself to sign a record contract in the long term."Neverland" usci' to the apex of the new age, and even came name for a Grammy Award in that category. My life was pero' complicating a po' too much. I had my study to New York, and had decided not but me I could not allow perche' Ciani/Musica agency was too much large: I had people who worked for me, too many costs and fine complications decided to break off, but us four years wanted in order to exit some. In the meantime they exited "History Of My" the Most flat "Heart" and. "When I composed" History Of My Heart "I still lived in New York, but I dreammed of. Thus I moved myself in the north of California to write. I had great hopes for the album, appealed to just a lot to me. Private it was being moved to Los Angeles and something ando' storto. did not have the promotion kind that would have deserved felt to make an other album, had not never made a album in order to make some. But Peter incoraggio' to make something me of piu' simple, playing. With the collaboration of the Yamaha, than me he put to disposition average and time, I made "Most flat", than, been strange, it was insperato happening. me rappacificai finally after many years with the instrument of mine. To that point I was of new without a scope, pero'. it could be inspired, it had to be Italy. Italy always had been in mine. I had always wished living in Italy. I oed thus for six months, to visit my family and to learn the Italian. Leaving from Milan, I continued to turn for Italy to the search of the just place for cio' that it was being born within of me, in order give birth the new period of my life. As I came down towards south I felt myself always better, finche' I arrived to Mirabella, neighbor to Avellino, the country of which my ancestors of my ancestors were original were still there, from the bed in which mori' my grandfather to the written ones of mine bis and trisnonni. Affittai one villa to Goats and the Yamaha me mando' a pianoforte. It was thus that Hotel had origin "Moon". Perche' now you have tried the need to found your record house. "the things went well, but I was not of all the happy one: traditionally to the artist it does not come granted to be interested of the marketing, but for me these. E' like having a child and giving it via in adoption. The record house does not want to feel to you: "they give the child to us and goes to make one." I had thus put a lot of same me in this album. I could not be happy for seeing them attended to from others, and sometimes even. I had been a wandering one for some year, I had been operated of a tumor to the breast. To this point I lived for the piu' to Los Angeles. The contract previewed others two album with the Private ones, but in 1992 I met what now e' my husband, than e' lawyer, and he trovo' the way of. I was changed and I was changed the Private ones, than he was dedicating himself to the rap. In "Dream Suite" I have given priorita' to the artistic direction for orchestra and pianoforte, one what that next to the Private ones thought was one. Now alive to north of Saint Francisco, I have one study on the ocean. In these intense and adventurous years I have found the way to work with this Russian orchestra and e' be an exceptional experience this disc can reassume all cio' that I have learned in my life. Nth product of Paul Winter Consort, the violoncellista David Darling e' be and e' still one of the protagonists of the revolution that is carrying the instruments to arc to the center of the attention of music new age. David Darling e' indeed the man who has tax the violoncello to the attention of the public of the new age. Also it e' a disciple of the Consort di Paul Winter, and to Winter renders in fact homage in nearly all its discs. After a series of collaborations of high level, Darling trovo' the courage and the space in order to record its first solista album, "Journal October", on which the some improvisations for violoncello shine and electronics that have been important for the evolution of the risaltano vituous instrument particularly in the brani entitles "Single Cello to you": contrarily to how much they made the jazzisti of vanguard in that period, the assoli of Darling escape again from the cold stilistica elucubrazione in order to dip themselves without containment in one cornucopia of exotic accents and melodie. The chromatic suggestion of "songs" like "Minor the highest Blue" e', benche' the architecture of the partitura is between piu' audacious of the period (a trio of violoncelli). The album "Cycles" taken the cue from these innovations, but giovandosi of a ensemble of all care, in which they detach Jan Garbarek to the sassofono, Steve Kuhn to pianoforte and the Collin Walcott to the sitar and the percussions. Obvious the infuence of school ECM, uncontrollable the estetismo, nearly. Darling coins a danced shape of popjazz with accents. Its struggenti topics infervorano also the successive "Eos" and the album with Eric Tingstad (guitar) and Nancy Rumbel (Oboe). The mature experience of Darling e' that one in the Radiance, an other ensemble (like the Oregon) formed from disciples of Paul piu' hardly ethnic Winter., but e' the execution to constitute the saliente fact, to the standard of one pulizia formal worthy of the austera chamber music piu'. The return to the solista album e' happened two years ago, with a work that has made fuss fuss, continuation from a "Eight String Religion" that e' from many considered one of important discs piu' of the last years. Which are your musical origins. "To Elkhart, the country of Indiana where they have grown, had a program. Thanks to the average puttinges to disposition from the local school it was much easy one for a child to come to contact with the instruments piu'. I discovered the violoncello from child and learned to play it in one. I grew in an atmosphere I saturate of enthusiasm for the music, for which I did not notice until to eta' adult having chosen one unusual instrument. "All cio' that it truly appeals to to make to you e' easy to make. I have not never found difficult to play an instrument, any instrument came to me proposed, perche' appeals to low music to me in a complex of rock and roll, sassofono high and the that baritone. I have played even the tuba in one of the marching bands. Never not understood that I have too much music around me, indeed, I do not have any never. It makes me to play a glass with one stuzzicadente and will see that. E' clearly that there e' some difficolta' technical in playing the violoncello. Compared to the other instruments, only the Oboe and the French horn are. But second me this e' a detail: cio' that it counts e'. Cos' has of special the sound of the violoncello. "the deep, thus rich sound of the violoncello e', male. To school I was a in love boy of basket, football, athletics, insomma. those simple and elementary values, but al same time universal. Its emotional and dramatic sound e' become so common for me that I do not become piu' account which ropes does not touch in my mind. E' be only with the years that I have uncovered as the violoncello it is the piu' poured them of all arches it. You can play like a guitar or an ARPA, bottom like contrabbasso or a high as violino. Perche' is thus little violoncellisti. Many do not want to play the violoncello for trivial reasons: , perche' e' as an example difficult to carry itself behind. Then it demands however a sure physical energy, not all the women, as an example, have want to make arena in order to succeed to play one. But creed that the serious reason is an other. and ' 70 to play instruments classics e' always become piu' difficult, perlomeno. Music e' be progressively abandoned from the autorita', relegated to the schools for fanati to us. Not e' piu' thus easy for a child of the little that if they can allow it. By now all the average are focus to you on music POP, in which the violoncello puo' to be to the maximum a vezzo. a boy who puts itself to play the violoncello today. Finally not there are literally places where to play it and to earn themselves. Insomma, from a political point of view the violoncello e' nearly. Now that, after the ulterior cuts to the budget of the public education, many schools will not be able piu' to be allowed to teach music for null, diventera' improbable even that a child "sees" this. Perhaps crescera' without knowing what literally it is catastrophic consequence of the cecita' of governing ours. Which are the great violoncellisti of the past that admires of piu'. "the enfant prodige for excellence e' Jo Jo But, obviously. They are personages whom they have of dedicated fact. Violoncellisti we form nearly a religious cult: little succeed to appreciate the beauty of the violoncello and little know that an immense and wonderful repertorio of brani exists thus for. To the point that me vergogno same I to compose music they originates when ce n' e' gia' thus much to execute staff I would put the concert for violoncello of Dvorak and "Shelomo" of Bloch. Between the new generations of violoncellisti I would cite Eugene Friesen, that taken to my place in Paul Winter Consort, a musician of classic formation, a great professional who is experimenting like me, that she uses the voice like. In the world of the new one jazz I cite senz' other Hank Roberts and Tom Cora. "E' be fundamental for my formation. Playing with Winter I had the only occasion to listen to coming from music. It was a laboratory in which I could pass all the time. You keep in mind that if you had not played with Winter probably I would have had to take some other job for living and could have only played the instrument in the free time made that they change your life, that they make the difference between being able to become a vituous one and to be relegated to the formation of the amateurs decisive in order to decide like my music had svilupparsi. way to listen to Brazilian music, folk African, percussions hindu. Moreover Winter grants every evening a little space to everyone of the members of the Consort, and when it touched me I had my occasion for. Those assoli acted as from incubatrice for my career. Indeed, I can cite the specific episode that me trasformo' from gregario to protagonist: before the time that taken Winter a microphone and placed it. That one was before the time that public a much large one pote' to listen to the sound of the ropes of I give ago and of a violoncello, to perceive that thus deep sound and moving that normally only the experts. "In my album solisti creed to have demonstrated a great love for. True E' that I experience always something of new, but is not a "avantegarde artist" to which it appeals to the fine technique to if same that I know make things interesting, but many techniques, than generally consist simply in trying to produce to sounds always various ritmiche innovations or harmonic they can also be spectacular, but only. I am piu' traditional, I appeal to the classic beauty to me, I try to continue the tradition of violoncello the classic. To the maximum I feel myself conditioned from jazz the soft contemporary. Also nei mine experiments piu' audacious of etno-jazz is not never a technician del sound, is not studying a style in profondita', but only the emotivita', the stamp, the feeling, that they serve better to express my emotions. All cio' that I incorporate he comes imitated in a way much staff. All the compositions and improvisations of my discs before come from my mind and then from this or that technique. "They are a great friend of Jim Scott, a chitarrista also grown he to. I consider one of the best "ears" that it never has. It knows to write music without not to think next to the ropes of the guitar. Its misfortune e' that its voice e' that one of James Taylor, for which nobody it takes it in consideration, but its songs is exceptional. to Winter also ideologically, in the sense that are taken care of he and Nancy Rumbel, other veteran of the Consort, and of nacquero those discs. "Eight String Religion" e' that one to which piu' they are become attached, perche'. We nearly did not hope piu' to publish it and are recognizing to pays that it has classified the critic to us. "Cello" e' entire dedicated to the movement called classic "slowly". All the compositions are of adages, indeed they are of adages inspires to what I think the adage to you for excellence, the "Adagio for Arches" of Samuel Barber. To this it must add the fascination for the electronics (with which I have played since 1972, before with a pedal wah-wah and then with the digital delay), thanks to which I obtain a sound always piu' spaces them. The objective e' that one to extend the sound of the violoncello, to find a great definition piu' of what represents for me that instrument. Violoncello e' one instrument for its nature discharged, difficult to feel. E' a voice that is stirred in natural way to the rest. a assolo of violoncello e' nearly a controsenso, perche' it obligates the orchestra to play to meta' of its dynamics. "To a new album for the ECM, than intolera'" Dark Wood "and uscira' to I have also in yard various collaborations, comprised some sonorous columns for Wim Wenders and Jean-Luc Godard. initiatives with Norwegian musicians and I am meditanto to give a continuation to. The violinista Darol Anger, grown to the school of David Grisman, esordisce in just with the album "Fiddlisticks" to the end of years ' 70, plays those that will remain its preferred amici/collaboratori: the Barbarian pianista Higbie, the mandolinista Mike Marshall and the violinista Dave Balakrishnan, all musicians of the area of Grisman. With they Anger later on forms one of first ensemble of acoustic music. In the following years Anger records discs with Balakrishnan ("Jazz Violin Celebration"), Marshall ("The Pair", "Gator Strut" and above all "Chiaroscuro"). With Higbie, Marshall and Michael Manrig da' life in 1984 to the Montreaux, of i. That quartet constitutes one of the fundamental events in the history of acoustic music new age. "Sign Language" e' still one of the capolavori of the entire kind, a work in which topics country, jazz, classics and POP they are melted in natural way. E' the spirit above all to distinguish this acoustic music from that one of classic music, the simple, genuine and enthusiastic spirit of the civilta' rural, transplanted in an elegance and one compostezza typically city. The virtuosismo of the four musicians not ago that to add emotion. Their method of collective improvisation rilassata ago school, and ovazioni come paid to the successive "Let Them Say", the satori of Marshall. The exquisite elegance of the agreements e' by now their brand of factory. The Turtle Island String Quartet, formed from Anger and Balakrishnan with the violoncellista Mark Summer and the violista Irene Sazer, is still pushed piu' to bottom in that operation of reformulation of the acoustic paradigm. This time the spirit e' a lot piu' erudite, formal, classic. Balakrishnan e' in fact a composer of prestige, and with its musics ambisce to place the Quartet in the history of modern music. Perhaps its first quartet (on the first album) remains theirs capolavoro. "I began playing the guitar, in order to imitate the Beatles. a terrible, monstrous object, for a child: too much large, too much. A day in a restaurant I saw a violinista wandering. Obviously was not thus easy, but a lot basto' in order to make of. Us ten years wanted indeed in order to begin to understand that. With the guitar you can learn two three. With violino want much practical and a lot to us. I always say my students who the first ten years are get worse. Only the coordination in order to move the fingers demands one remarkable effort. Ricompensa e' pero' also much greater one. Task that this is the reason for which it often does not come used piu'. The regimen to try and to study e' a lot piu' intense of that one of whichever other instrument, except perhaps some instrument to breath. The only exception e' naturally the country, a kind in which violino e' always be a lot used, but obviously the qualita' technical of "fiddle". There are other reasons that render violino less appealing to the young generations. "Not e' sure one thus deafening instrument like other instruments. Of fact violino e' an instrument that is only lend. To what it must instead its fascination. "violino divenne cio' that e' through an evolution millenarian music folk e' always be they centers, in realta', from the Ireland to Africa. E' the much recent phenomenon that has carried to ribalta the other instruments, like the guitar in western music and a whose to New York in 1923 the black Stuff Smith uso' pickup electrical worker. Regno' to the leggendario Cotton Club for three years, wonderful with its swing and its approach African to the instrument. Joe Come and other great violinisti jazz perfected this art, making themselves also to influence from classic music. Jean-Luc Ponty in order to find an other worthy revolution of famous: Ponty rivoluziono' violino, transforming it in a contemporary instrument piu'. To my warning it did not make other that to imitate Miles the Davises, and to players "of music country, people like Vassar Clemens who moreover conserve the infuences of the jazz (assimilated since the western swing, a kind that was been born thanks to the comunanza to Kansas City of country singer and. "Creed of being an exception in this field, perche' I do not have ne' infuences. To say true the my origins they are of acoustic musician bluegrass, the version at breakneck speed of the country, but the times carried to me to experiment outside from the seeded one. David Grisman, with which esordii professionally experimenting with all the kinds, and therefore costitui' one ideal school for. I made six album with Grisman, in nine years (1974-84). discs, one living library of music. Its collection of discs was the most important school for me, gave background of music the American to me who lacked to me. In its combo extraordinary musicians alternated themselves, are like personalita' are like technique, the che' she pushed to me to absorb various infuences and Since the beginning is some personages who have been important in your career. "the greater part I knew them in the entourage of Grisman. The mandolinista Mike Marshall e' still one of my collaborators. I knew the Barbarian pianista Higbie in Europe during a tour: it was travelling and it was maintained playing the fiddle. Balakrishnan was simply a fan of the group. With they Anger I formed to Berkeley one of first ensemble of neo-acoustic music."Jazz Violin Celebration", that it gave of fact the way to my greater career. The Montreaux was not other that the natural evolution of the Saheeb, in which I played the violoncello, Balakrishnan violino, Higbie the plan and Marshall. Then various Marshall and I published album in pair. The nacquero Montreaux from the disc "Live At Montreaux": we did not succeed to put us of agreement on the name of the group, thus we held the name of the citta' in which it was been born I had to adapt my style to an acoustic quartet. I played the rhythms very, I filled up the empty ones leaves you from the ritmica section. To times me it seemed instead playing a sassofono, perche' was perhaps felt. Like nacque instead the Turtle Island String Quartet. "I often played with the violoncellista Mark Summer, I had resumed the contacts with Balakrishnan, and when we met the violista Irene natural Sazer sembro'. For me significo' to realize a bag of the things that I wanted to make with to others and I was not never successful to make. In the first place I could allow me to manipulate the sound to piacimento. Then finally I had way to dedicate to me to write serious music piu', engaged. Finally I found the way to slip into our repertorio the brani classics and jazz that I had always admired, but that I had not never been able to execute in. To play with musicians of this bore e' much difficult one, but also. They are also much proud one of the disc that I have recorded with. Perhaps now the new album with the Turtle would have to exit and one new solista test, "Fiddlesticks II", piu' electronic and technological, with the usuals. "people think that she adds the melodia simply, a continuous sound of foundation, a glue that she holds together all. But in realta' puo' adding also a rhythm subdolo. the stamp of violino e' a voice of the nature, something much primordiale, than risuona with our atavistic mind, as however all music must be for being music intellectually, you do not make piu' music. All the intellectual sophistication that we put in music must serve with which they play these people, but fears that he is something of genetic. However the same sound of every violino national e' much legacy to. "you can carry one instrument outside from its nation, but not its nation. The Shadowfax di Chuck Greenberg (lyricon) and G. in 1976 to Chicago like one of the many complexes blues-rock and jazz-rock. Both charter members had grown to two steps from the black ghetto and had passed infinite evenings to listen to the bluesmen. Traferitisi in California, rinacquero in acoustic version of ensemble with one crystalline made atmosphere music and thin jazzate. The album omonimo at the beginning of the Eighty was one of that they contributed to define the shape of music new age in the moment in which it exited from the narrow "soliste" structures for which it was been born (William Ackerman, a lot in order to mean to us) and riscopriva, in a sure sense, the polifonia. "Angel' s Flight", perhaps their acronym piu' celebre, and acoustic the others bewitched fiabe of the disc were debitrici in egual measure in the comparisons of the jazz and. "To Thousand Teardrops") and first it points out of worldmusic ("Ariki") completed the succeeding suggestion of a sound destined to an immense one. From those premises the Shadowfax ended (with the album "Shadowdance") in order to coin a style that fused of fact music zen of Kitaro and the jazzrock from drawing-room of Metheny, lambendo the formal perfection in the sonata. one points out ethnic ("refined New Electric India") and melodie ("Ghost Bird"). The novita' of the three album happened to you, that for some they were of the capolavori and for others of the disappointments, was multiple: on one side an immediate melodismo piu', from the other a sound piu' electronic, on one side one worldmusic omnipresent and from the other a rhythm nearly funky. "Folk Songs For To Nuclear Village", other work to which has smiled on an enormous one. After a long pause, usci' "Esperanto", "the ethnic" album piu' of their career, that it had made to fear to someone a fast reconversion of the ensemble to the worldmusic tout court. explains instead that had been be a matter of an other episode, and that the continuous history, with one long road still to cover and with the fine anchor. "Esperanto" in realta' was returned to the origins, riscoprendo (after the orgia "electronic" of "Nuclear Village") in the optical of ten years after the value of the counterpoint, of the acoustic stamp, the percussions. About "Magic Theatre" Chuck Greenberg in person speaks to us: "draft of an nth renewal for we we record ourselves, e' sure easy not to succeed to still renew, also remaining. Unavoidablly you must accept the style to which six reached and only try to improve cio' that you think is the best of that style. E' cio' that we have tried to make with "Magic Theatre". disc e' simply the extension of cio' that there was piaciuto of piu' on "Esperanto": the use of the percussions, the assimilation of coming from instruments. We wanted also to dispel the doubt that we were becomes to you the nth complex of worldmusic. music of "Magic Theatre", said that e' "dance music of the ventunesimo. We have taken the elements ritmici of "Esperanto" and we have inserted them. An other important factor in the genesis of the disc e' be the return to the collaborativo spirit of the beginnings: on first discs all wrote musics with me, and this concurred to turn out piu'. The objective e' be that one to make of this new disc one of i. And on the forehead of the solista career there are novita'. "my solista disc," From To Blue Planet ", e' be reprinted and verra' now. And I am in order to begin to write musics for the new disc, than probably vedra' the light the next year. Chaquico, the former chitarrista degli Starship, e' given alla new age with its first album in just, "Acoustic Highway", than e' be greeted. In spite of the astonishment aroused from the change of route of the celebre enfant prodige, the public has answered in equally enthusiastic way, and today Chaquico puo' to allow itself to double the mail with a new album, "Acoustic Planet". In occasion of a previous interview, a second aggressive album had preannounced us piu'. "I do not know if it is right to call it aggressive: e' piu' sure lively and piu' close to feeling of a our exhibitions from the alive state essentially personal vent: it was my guitar to count. From the alive one instead the same pieces they were proposals in one group garment piu', in which not there e' one instrument. This according to album it respects this last spirit. From the alive one we stretch also to play piu' fast and to an elevated volume piu', there e' a lot piu' energy: in so far as we can also say that music of. A natural evolution e' be instead that one to confer greater importance to the percussions, the ritmica. cio e' had to my encounter with William Aura. guitar on the album of its Third Force and is remained affascinanto from the Dutch use also for my disc. I would cite senz' other Aura like an infuence on this my according to disc, even if its and mine is complementary discs, much various between of they that it was above all a musical postcard from the North of California, said that this second e' an illustration of the entire planet exited from my very small angle and I take risks myself in the world. We are to according to action of one the acoustic trilogy. "I know that now all expect a third album from the title it Acoustic Something. But I am accustomed to change to direction when people less if he waits for it. They are a motorcyclist, and I know that when the baggage hangs to you from the right. In my career I have learned never does not make me to limit from cio' that all expect that you make from the scene rock when all expected that you put to me to play. The only constant that rimarra' in the third album sara' the instrument: next album too much appeals to to me to play the acoustic guitar segnera' an ulterior progress, even if I do not know dirti. Who listens to your music today. He thinks that little ago Sammy Hagar has telephoned me, the singer of the Van Halen, for dirmi that my CD e' one of the 4 that e'. We had played with they to one show and me memory still the astonishment in seeing "headbangers" to pay us a ovazione. But which public it would want instead to have if it could choose. "the better concert that I can hold would be for a single person, for the person who e' the inspiration of all my music would be a private concert for represented ideal mine moglie. e' from anyone appreciates the melodia and appreciates the technique, from anyone it understands how much difficult one e' to make cio' that I make, from anyone is affected when it feels my music. I have noticed that the plan e' in Association of Bologna. "Si', Ozzie Ahlers shares the role of protagonist in piu' brani. In particular "Find Your Way Back", the song of the Starship, e'. All expected that I made one version for single guitar of that song: you see, I want to always surprise the public. Continuous to believe that all my songs. This brano makes me to think next to seated we of forehead to the fireplace, the tranquillita', to the romanticismo, of one evening of winter. one gets lost within flames, tasks to the happy times that you have passed with. Then lathes to the present, you become account that the time passes and continuera' to pass, but beautiful e' exactly the memory that remains you. Technically instead the adventurous brano piu' e' be "Find Your Way Back", perche' we have employed a varieta' of makes up of production, even if perhaps. Then they said "Gathering Of The Tribes", the mysterious song piu', than you door within the forest. And I hope that the public piaccia "Center Of Courage". when I had twelve years and e' nearly all played on one single. To that eta' I had an ugly incident (I came literally invested from a truck) and me risvegliai to the hospital with all the broken off boneses (). The nurse who me attended to me incoraggio' to play the guitar like pastime, but my hand, all fractured, could only catch up one. My nurse ascolto' for weeks and weeks, during the riabilatizione, this simple composition that I had. For many years I continued to call it "Elizabeth song", she is perche' the nurse one called Elizabeth and it is perche' the famous one was "me" ("and" in. I hope that music of this piece can inspire many of those who has need of courage during one convalescenza or an ugly period. Si', there e' one some infuence of baroque music, but also of the songs of Been born them, of the fado portuguese, of all cio' that it penetrates the imagination of a child of twelve years son of immigrates to you portuguese. Perche' has changed tito it to that brano. "Perche' has given the courage to me to arrive end here".