Novara Jazz raddoppia... per la prima volta anche d'inverno

Associazione Rest-Art presenta Novara Jazz Winter 2010:

per la prima volta Novara Jazz porta in scena il grande jazz anche nella stagione invernale: le prime serate della rassegna presentano due autorevoli rappresentanti della scuola americana contemporanea, quali Sabir Mateen e Mike Reed, sul palco dell’Auditorium Cantelli, nel cuore della città.

Sabir Mateen sarà protagonista del primo concerto sabato 4 dicembre (ore 21.00), accompagnato dal quartetto Omni Four. Sabir Mateen, musicista di Philadelphia, vera icona dell’avanguardia statunitense, sarà accompagnato da Matt Lavelle alla tromba, Silvia Bolognesi al basso e dal leggendario Warren Smith (già protagonista di Astral Weeks di Van Morrison) alla batteria. Una formazione che prosegue l’idea di improvvisazione di questo rivoluzionario sassofonista, al suo ritorno a Novara dopo i concerti del 2007 e le jam sessions dello scorso anno.

Il collettivo vercellese Noego inaugurerà la serata con un set, reduci dal successo del festival Jazz:Re:Found 2010.

Mike Reed si presenta quindi a Novara, domenica 5 dicembre (ore 21.00) con il progetto People, Places & Things, come uno dei più autorevoli rappresentanti della scena musicale di Chicago e della ricerca portata avanti dall’AACM (Association for Advancement of Creative Musicians). Questo quartetto in particolare è dedicato alla riscoperta e alla rilettura di standard poco conosciuti, tratti dal repertorio locale postbop formatosi tra il 1954 e il 1960: un progetto tanto appassionato quanto criticamente acclamato nella scena jazz contemporanea, con Greg Ward al sax alto, Tim Halderman al tenore e Jason Roebke al double bass.

Ad aprire la serata il Trio Ferrian/Pissavini/Quattrini che per l’occasione ospita Sabir Mateen all’interno del suo giovane ma interessantissimo ensemble.


Luogo: Auditorium del Conservatorio G.Cantelli. via Collegio Gallarini, 1, Novara.

Prevendita: Vivaticket www.vivaticket.it

Apertura porte ed acquisto biglietti: dalle ore 20.00 della sera del concerto

Ingresso 1 concerto: 10 euro
Abbonamento 2 concerti: 15 euro
Amici Novara Jazz: un cd in omaggio

Si ringrazia per la collaborazione l’Istituto Superiore di Studi Musicali 'Guido Cantelli’.





SABATO 4 DICEMBRE 2010

Sabir Mateen Omni Four
Sabir Mateen tenor sax & flute
Matt Lavelle trumpet
Silvia Bolognesi double bass
Warren Smith drums

opening act: Noego



DOMENICA 5 DICEMBRE

Mike Reed's People, Places & Things
Greg Ward (altsax),
Tim Halderman (tenorsax),
Jason Roebke (double bass),
Mike Reed (drums).

opening act : Ferrian/Pissavini/Quattrini trio featuring Sabir Mateen

Moto Rosso, Quando l'avventura vince sulla quotidianita'.

Motorosso nasce dalla profonda passione per le motociclette dell’ Ingegnere Lissoni Paolo che dopo aver militato in Formula 1 come protagonista nello sviluppo e nel brevetto del sistema KERS per il recupero dell’energia, ha dato vita a Motorosso. Da noi vengono realizzate motociclette “su misura”, il cliente ossia tu potrai perciò scegliere ogni dettaglio o accessorio (sella, parafanghi, motore, grafiche,ecc..) per poter avere così un mezzo unico ed irripetibile che ti permettera' di distinguerti sia per le caratteristiche tecniche del mezzo ma soprattutto per l'estrema personalizzazione grafica. Come ogni buon vestito su misura che deve essere comodo per chi lo indossa e bello per chi lo guarda Moto Rotto è attenta ad ogni minimo particolare avendo come centro del proprio operato solo l'idea del cliente, ossia la tua idea. La realizzazione della motocicletta viene svolta insieme al cliente, quindi è possibile seguire ogni fase della costruzione arrivando così alla realizzazione del veicolo desiderato. Si eseguono inoltre trasformazioni su motociclette esistenti e viene seguita anche la manutenzione delle stesse.

PER INFO, CURIOSITA', O PER CREARE LA MOTO DEI TUOI SOGNI

CONTATTA MOTO ROSSO

Tel / Fax: (+39) 0396041350

e-mail: pronto@motorosso.it

Janiva Magness - The Devil Is An Angel Too

Just in case you are someone who actually reads the liner notes…I am writing this for you. Turns out this is a collection of stories that deals in the duality of the human condition. Darkness and Light. Turns out we all have some of each—light and dark on the inside. I know I do.

I have been told that “Anyone who doesn’t believe in miracles is not a realist.” Well, you are looking at and listening to one of those very things—a Miracle. In part because of my love of this music and how it has lifted me up, and in part because someone was brave enough to stand for me when I was much younger, and a Foster Child at risk.

This CD is dedicated to all Foster Youth and Alumni. Kids who know far too much about the dark side of human beings and, in spite of that, are learning to do the right things and make that journey...from darkness into the light. Becoming Miracles.

To find out what you can do to change the lifetime of a child at risk, go to fostercaremonth.org and fostercarealumni.org. Support a Miracle.Thanks for tuning in and hopefully turning on…

Love, Janiva

“A superb, powerhouse R&B singer who delivers blues and soul with show-stopping authority” –Los Angeles Daily News



“Janiva Magness slow-burns and romps heart-first...she never injects contrived emotion, never puts a tear in her voice where one doesn’t belong. She simply sings heartbreak, hunger and humor—sings ‘em with equally great chops and feeling—and lets that speak for itself.” –No Depression

"Stunningly sung...Magness is a blues star" –USA Today

Award-winning vocalist Janiva Magness is among the premier blues and R&B singers in the world today. Her voice possesses an earthy, raw honesty and beauty born from her life experience. A charismatic performer known for her electrifying live shows, Magness is a gutsy and dynamic musical powerhouse. She received the coveted 2009 Blues Music Awards for B.B. King Entertainer Of The Year (she is only the second woman to ever win this award, Koko Taylor being the first) and for Contemporary Blues Female Artist Of The Year, an honor she also received in 2006 and 2007. She has received eleven previous Blues Music Award nominations. USA Today declared, “Magness is a blues star,” and The Philadelphia Inquirer said, “Magness sings superb, potent soul-blues with a scorching intensity."

Magness has been performing for almost three decades, logging thousands of miles on the road and appearing 150 nights a year at clubs, theatres and festivals all over the world. Her longest road trip yet was to Iraq and Kuwait in April 2008, as a co-headliner of Bluzapalooza, the first-ever blues concert tour to perform for American troops. The tour was an incredibly profound experience for Magness. “My job is a gift. It’s about human connection, to remind people they are not alone. I can’t think of anyone in greater need of a break than these soldiers. Those kids came up to me and said, ‘You made me forget where I was for two hours. Thank you!’ That was beyond priceless.”

Magness released a series of independent albums, including two on the Northern Blues label, prior to her extraordinary 2008 Alligator Records debut, What Love Will Do. Her new CD, The Devil Is An Angel Too, co-produced by Magness and Dave Darling (Brian Setzer, Meredith Brooks, Dan Hicks), is a hard-hitting collection of material that explores the depths of good and evil, with Magness’ glorious, soul-baring vocals burning their way through twelve powerful songs. “All of us have a light and a dark side. Human beings are capable of the most incredible acts of kindness and absolute wretchedness. This record explores both sides,” Magness explains. She wraps her huge, soulful voice around original material written especially for her, and songs from Julie Miller, Graham Parker, Nick Lowe, Joe Tex, Gladys Knight, Nina Simone, Ann Peebles and James Carr. From the haunting, seductive title track that explores evil masquerading as good to the spiritual awakening of “Walkin’ In The Sun” to the revenge tale of “I’m Gonna Tear Your Playhouse Down” and the joyful proclamation of “I Want To Do Everything For You,” Magness cuts to the heart and soul of each song with grit, heart and fierce passion, making The Devil Is An Angel Too her most compelling release yet.

Although Magness is now a bona fide blues star, her rise to the top was far from easy. Born in Detroit, Magness was inspired by the blues and country she heard listening to her father’s record collection, and by the vibrant music of the city’s classic Motown sound. By her teenage years, though, her life was in chaos. She lost both parents to suicide by the age of 16 and lived on the streets, bouncing from one foster home to another. At 17, she became a teenage mother who gave up her baby daughter for adoption. One night in Minneapolis, an underage Magness sneaked into a club to see blues great Otis Rush, and it was there that she found her salvation and decided that the blues were her calling. Magness recalls, “Otis played as if his life depended on it. There was a completely desperate, absolute intensity. I knew, whatever it was, I needed more of it.” She began going to as many blues shows as possible, soaking up the sounds of her favorite artists, including Johnny Copeland and Albert Collins. She immersed herself in records by James Brown, Aretha Franklin, Etta James, and all the other R&B greats.

Listening to these blues and soul artists, and watching them live, sparked Janiva and gave her life direction. Her first break came several years later, while working as an intern at a recording studio. She was approached by her boss to sing some supporting vocals on a track. Finding her voice, she soon began working regularly as a background singer. By the early 1980s, Magness made her way to Phoenix and befriended Bob Tate, the musical director for the great Sam Cooke. With Tate’s mentoring, she formed her first band, Janiva Magness And The Mojomatics, in 1985 and before long the influential Phoenix New Times named her group the city’s Best Blues Band. She moved to Los Angeles in 1986 and slowly began finding work. She married musician and songwriter Jeff Turmes, with whom she recorded her second studio album, It Takes One To Know One, in 1997 (her debut was the cassette-only release, More Than Live). After three more independent releases, Janiva signed with Northern Blues and recorded Bury Him At The Crossroads in 2004 and Do I Move You? in 2006. Both CDs were co-produced by Magness along with Canadian roots star Colin Linden, and both garnered Magness a tremendous amount of critical and popular attention. Magness and Linden won the prestigious Canadian Maple Blues Award for Producers Of The Year for Bury Him At The Crossroads in 2004. Do I Move You? debuted at #8 on the Billboard Blues Chart and was the #1 Blues CD Of The Year in 2006 on Living Blues magazine’s radio chart. Blues Revue said, “Magness is a bold and potent artist with a powerful, soulful voice… impossible to forget.”


Magness signed with Alligator in 2008 and released her stunning label debut, What Love Will Do, to massive critical acclaim. The Chicago Sun-Times raved, “Her songs run the gamut of emotions from sorrow to joy. A master of the lowdown blues who is equally at ease surrounded by funk or soul sounds, Magness invigorates every song with a brutal honesty,” while Blues Revue called her “a blues interpreter of the highest rank…punchy and tough…swaggering, incendiary vocal performances.” Allmusic declared, “rollicking blues, swampy soul and R&B…stark, gritty, emotional material…terrific, magnificent voice. She rips into ballads with moving and riveting tenacity…she burns through these songs like she’s got everything to prove.” Fueled by all the positive press, Magness was profiled on National Public Radio’s Weekend Edition, putting her in front of an audience of millions and expanding her ever-growing fan base.

In addition to her musical accomplishments, Magness is reaching out to help others. She is a National Spokesperson for Casey Family Programs (her fourth consecutive year), promoting National Foster Care Month. “It is a huge honor and a daunting responsibility. But I am very excited to be a part of it, and I look forward to carrying the message of hope for youth in the foster care system,” says Magness. “Casey Family Programs does groundbreaking work, and I am deeply honored to work with them again.” Magness has also reconnected with her daughter, and is now the proud grandmother of an eight-year-old boy. “Our fate doesn’t have to be our destiny,” she says. “I’m living proof of that. And I’m so very grateful.”

Magness is also incredibly grateful for her Blues Music Award for B.B. King Entertainer Of The Year. “Winning Entertainer Of The Year is overwhelming to me,” she says. “Being the only woman besides Koko Taylor to win this award is just staggering. I adored and worshipped Koko for so long that it’s really hard for me to wrap myself around it, but I couldn’t be prouder of that award. It’s very humbling, because I still can’t believe that people find me worthy to stand in her company.”



Janiva Magness’ deeply emotional music, sung with passion, conviction and soul, and her telepathic ability to connect with an audience, assures her place among the blues elite. “We need real music now more than ever because it gives us strength to pull through tough times,” says Magness. “We need it in a real bad way. Blues is a ray of hope. It articulates what’s lacking in people’s lives.” With The Devil Is An Angel Too and her explosive live shows hitting cities across North America and Europe, Janiva Magness continues to spread her empowering message of hope through music.

La Lussuria e l'esigenza di infinito propria della natura umana

Cliccando sopra sara' possibile ascoltare una conferenza sulla Lussuria . L'occasione ci è data dall'uscita per una nota casa editrice ( Il Mulino ) di un saggio dedicato a questo "vizio" capitale. Come al solito, data l'impreparazione di chi scrive rispetto a chi parla, il mio commento è stringatissimo e si limita ad un'unica osservazione. Quanto la natura umana abbia bisogno di far entrare la pienezza della vita, la natura infinita dell'uomo nel limite dell'esperienza finita di tutti i giorni. Chi segue i social network o incontra tante persone non può non notare come un costante lamento che nasce da ognuno di noi : il vuoto, l'esigenza di una vita piu' piena. Questa si traduce per alcuni in rabbia, in altri in ricerca di qualcosa che possa salvare da questo vuoto ( ad esempio l'arte, la letteratura e la musica che da compagne di viaggio dell'esperienza umana si elevano a veri e propri - secondo me finti - rifugi dell'anima ) e in altri ancora nel circondarsi di cose o persone da "usare" per soddisfare questo vuoto che tuttavia continua a crescere........ Ma allora cosa si cerca ? La conferenza che si propone sopra mi piace perchè come è il classico stile dei gesuiti non da risposte ma offre degli ottimi spunti di riflessione per trovare la via..... Buon Cammino a tutti e grazie una volta ancora ad Antonio Spadaro.

Ali Farta Toure - Toumani Diabate " Ali e Toumani"

Questa è la seconda collaborazione tra Touré and Diabaté dopo l’incredibile “In The Heart Of The Moon”, datato 2005 e può essere considerato a tutti gli effetti una sorta di testamento musicale del grande artista africano visto che si tratta delle sue ultime registrazioni fortemente volute nonostante la il notevole sofferenza causata dalla malattia. Il seguito del Grammy Award winner sopra citato ripropone le stesse magiche atmosfere di incontaminata bellezza dove ancora una volta si rinnova l’ispirata collaborazione tra i due più importanti artisti del Mali. Nonostante inizialmente la loro collaborazione fosse pianificata solo per un brano, la creatività di questi artisti non è di quelle che si possono contenere e dalle session è scaturito per nostra fortuna questo nuovo materiale che ha permesso la realizzazione di un intero album. Non ci sono state prove e le performance sono state improvvisate sulla base di un repertorio familiare ad entrambi gli artisti con un' atmosfera familiare quasi palpabile.

This self-titled album is a fitting tribute to Toure's and Diabate's genius and friendship and is a beautiful farewell.

All Music Guide

It's a simply formula but it works brillanty. One reason why it is that Diabate adds more than the dazzling cascades of notes that first catch the ear...an album of spellbinging

Uncut

So just what makes Ali & Toumani stronger and wiser than its predecessor ? Perhaps it's simply the diversity and intensity of the musical fantasia the two men create

Songlines

This is a deep, darkly beautiful work. The interplay between these two men is exceedingly rare in any type of music. Ali and Toumani is profound and powerful, with a soft

Pop Matters

"Ali and Toumani" is the seminal meeting of musical greats and the exquisite marriage of varying genres spenning continents and generations

Blues And Soul

Ali and Toumani is a document of friendship and a deeply personal statement that's intemational in scope. It's also effortlessly soulful.

Metro

It's as easy to get lost in telepathic interplay between Toure and Diabate as to let the songs wash over you in shimmering transcendent waves.

Philadelphia Inquirer.

Intoxicating and seductive tracks that we all should consider a privilege to add to our record collections

Vanity Fair

A lovely monument

Independent on Sunday

5 stars

Financial Times

This is a magnificent and poignant farewell

Guardian

It represents the last, precious testament of a hugely influential musician who helped reassert the African roots of blues guitar, captured here alongside his country leading

Independent

To quote The Small Faces, the music on this album really is "all too beautiful"

Daily Mirror

To their admirers, the union of Malian superstars Ali Farka Toure and Toumani Diabate is comparade to Jimi Hendrix jamming with Eric Clapton

The Sun

Ali's vocals a reminder of an African great no longer with us

Evening Standard

Throughout, there is a light as a breeze quality to the music-making but also a timeless depth, a gentle profundity, it's irresistible.

New Jersey Star Ledger

To put it simply, Ali and Toumani is a quite, intimate, timeless record; a trascendent expression of cultural pride, deep friendship, and above all, breath-taking musical

Dusted Magazine

Buy without fear, then , and figure it out for yourself

The Times

When you're listening to this album it's like you're reading a book about Ali

AOL Shoutcast

These brillant, beautiful albums are the very opposite of musicianly duets; anachronous in the best possible way.

Observer

Beaufitully recorded, Ali & Toumani lives up to and perhaps exceeds expectations.

BBC Music Online

You get the feel of two of the world's greatest musicians in a room togegher, having a conversation and crating a document that will carry their legacy into the future.

Pitchfork

Catch it in the night mood and you'll fall blissfully in love

Dazed and Confused.

The pair's obvious.communication produces some of the richest music in Mali in these albums.

Arts Desk

Another mesmeric tribute to Ali's legacy

Observer Music Monthly

The 11 tracks weave a binding spell

Q Magazine

While the younger man's kora solos still dazzle, what Toure is doing in the other speakers is never less than mesmeric, his riffs and curlicues suggesting a wide smile across his...

Mojo

Discografia Ali Farka Toure

WC 007 ALI FARKA TOURE Same
WC 017 ALI FARKA TOURE The River
WC 030 ALI FARKA TOURE The Source
WC 040 RY COODER WITH ALI FARKA TOURE Talking Timbuktu
WC 044 ALI FARKA TOURE Radio Mali
WC 053 AFEL BOCOUM & ALI FARKA TOURE Alkibar
WC 054 ALI FARKA TOURE Niafunke
WC 070 ALI FARKA TOURE Red & Green
WC 075 ALI FARKA TOURE Savane

Discografia Ali Farka Toure e Toumani Diabate

WC 072 ALI FARKA TOURE & TOUMANI DIABATE' In The Heart Of The Moon
WC 083 ALI FARKA TOURE & TOUMANI DIABATE Ali And Toumani

Discografia Toumani Diabate

WC 074 TOUMANI DIABATE'S SYMMETRIC ORCHES. Boulevard De Indipendence
WC 079 TOUMANI DIABATE The Mandè Variations

ALI FARKA TOURE: 1939 - 2006

Ali Farka Touré was born in 1939 in the village of Kanau on the banks of the River Niger in the north west of Mali. He was his mother's tenth son but the first to survive infancy. '' I lost nine brothers of the same mother and father. The name I was given was Ali Ibrahim, but it's a custom in Africa to give a child a strange nickname if you have had other children that have died.'' The nickname they chose for Ali was 'Farka' meaning donkey, an animal admired for its strength and tenacity. ''But let me make one thing clear'' he said, ''I'm the donkey that nobody climbs on!''

When Ali was still an infant his father died while serving in the French army, and the family moved south along the river to Niafunké, the village Ali called home for the rest of his life.

With a population of over twenty thousand, Niafunké is one of the larger villages which scatter this sparse, arid semi-desert region. The fact that they have only recently installed telephone lines and electricity contributes to the tranquil atmosphere and there is always the cooling breeze from the river. People make their living by farming, cattle herding and fishing.

Ali was Niafunké's most famous citizen. Although internationally known as a musician he regarded himself as a farmer. In Mali, music is largely the monopoly of castes of hereditary musicians, but Ali came from a noble background. There is no tradition of music in his family, but he had a calling early on in life, becoming he said "drawn to music by its power". He was a 'child of the river'.

In Niafunké, as in the most of Mali, the dominant religion is Islam and Ali was a devout Muslim. But in this part of the world Islam co-exists with a much older indigenous belief system connected with the mysterious power of the Niger. It is believed that under the water there is a world of spirits called Ghimbala - male and female djinns with their own character, history, symbolic colours and ritual objects, all vividly portrayed in the local mythology. These djinns control both the spiritual and temporal world. Those who have the gift to communicate with the spirits are called 'children of the river'.

Ali had no formal schooling and his childhood was taken up by farming, followed by an apprenticeship as a tailor. But he was also mesmerised by the music played at Ghimbala spirit ceremonies in the villages along the banks of the Niger. He would sit and listen in awe as musicians sang and played the favoured instruments of the spirits; djerkel single string guitar, njarka single string violin and ngoni four string lute. His family did not regard music as a worthy occupation and the boy's interest was not encouraged. He was, however, a fiercely independent and self-determined youth and at the age of twelve he fashioned his first instrument, a djerkel guitar.

Ali found it very easy and natural to learn to play. Early on however he suffered attacks caused by his contact with the spirit world. He was sent away to a neighbouring village to be cured, and when he returned a year later he quickly became recognised for his power to communicate with the spirits. Ali was greatly influenced by his grandmother Kounandi Samba who was famous in the area as a priestess of the Ghimbala. But after her death, he was dissuaded from becoming a priest. ''Because of Islam, I don't want to practise this type of thing too much.....these spirits can be good to you or bad, so I just sing about them, but it's our culture, we can't pass it by.'' Many of his songs are about the spirits and he always travelled with his njarka violin as well as recordings of spirit music which he listened to whenever possible.

As a teenager Ali found work as a taxi driver and car mechanic and he also spent some time as a river ambulance pilot. He travelled widely in these jobs and continued to play music in ceremonies and for pleasure, with small groups and as accompanist to singers. By his early twenties he had learnt seven Malian languages fluently and had mastered the ngoni (traditional four string lute), njarka vioin and Peul bamboo flute. He was also well on his way to absorbing a vast repertoire of music and legend from the various masters he encountered on his travels.

'' I got to know music and to love it through so many heroes who passed on and who continue to live on the earth, because history remains. So it gave me the opportunity to get to know the culture of this music, its biography, legends and history.''

Ali was Sonraï, a people who form the majority of the population of Niafunké, but there are also many other peoples in the region speaking numerous languages - Peul, Bambara, Dogon, Songoy, Zarma, Bobo, Bozo and Tamascheq, the language of the Touareg. Touré sang in all these languages but the majority of his repertoire was in Sonraï and Peul.

In 1956 during his travels Ali saw a performance by the National Ballet of Guinea featuring the great Malinke guitarist Keita Fodeba. ''That's when I swore I would become a guitarist, I didn't know his guitar but I liked it a lot. I felt I had as much music as him and that I could translate it.'' He began to play using borrowed guitars and found it easy to translate his traditional guitar technique to the Western instrument. He said that his only problem was in keeping all six strings happy by touching them as he was used to only playing the monochord. At about the same time, he added percussion, drums (he made his own kit complete with cymbals and bass drum) and accordion to his musical skills (even making a few appearances performing Charles Aznavour repertoire!).

Upon Mali gaining independence from the French in 1960 the new government under President Modibo Keita initiated a policy to promote the arts and cultural troupes were formed to represent each of Mali's six administrative regions. From 1962 Ali worked with the Niafunké district troupe, which he co-led with Harbarie Labéré. He composed, sang, played guitar and rehearsed singers and dancers in a troupe numbering a hundred and seventeen people. He was extremely proud of the troupe which was successful in the biannual competitions held in Mopti throughout the 1960's. Ali also won numerous athletic prizes. ''I did this so my village wouldn't win zero. I'm very patriotic!'' In the sixties he also accompanied various singers and he had his own small group, a recording of which from the late 1960s includes a song sung in Sonraï to a Cuban salsa rhythm.

In 1968 (the year Modibo Keita was ousted in a coup by Moussa Traore) Ali made his first trip outside Africa when he was selected (along with the revered musicians Kelitigui Diabaté and Djelimady Tounkara) to represent Mali at an international festival of the arts in Sofia, Bulgaria. They performed arrangements of traditional music with Ali on guitar, flute, djerkel and njarka. It was in Sofia on 21st April 1968 that he bought his first guitar.

Also in 1968 a student friend in Bamako played him records by James Brown, Otis Redding, Wilson Pickett, Jimmy Smith and Albert King. Ali remained a great fan of all these, partly he said because he heard so much of his own traditions in them. Of all this music, the one which struck him as most similar to his own, was the blues especially as performed by John Lee Hooker. He was immediately struck by the thought that "this music has been taken from here" and was surprised to hear singing in English.

In 1970 Ali's work took him from Niafunké to Mopti and later in the year to the capital Bamako. Here he began a decade working for National Radio Mali as a sound engineer. He also played as part of Radio Mali's orchestra until it was disbanded in 1973. Throughout the 1970's he brought his unique guitar style to the attention of the country via many radio broadcasts. On the advice of a journalist friend he sent a number of recordings of these broadcasts to the Son Afric record company in Paris.

In a matter of months the first Ali Farka Touré album (amongst the very first commercial records of Malian music) featuring Ali on guitar and vocals and Nassourou Sarre on ngoni was released. He continued to record in Bamako and send the tapes to Paris and a total of seven albums were released. Selections from the first five of these albums have been released by World Circuit as the CD 'Radio Mali'.

Throughout the 1970's Ali established a formidable reputation in Mali as a unique solo artist. He pioneered and perfected the adaptation of Sonraï, Peul and Tamascheq styles to the guitar. He remained uncompromisingly wedded to his traditional music, refusing to ''go commercial''. His songs celebrate love, friendship, peace, the land, the spirits, the river and Malian unity; all expressed in dense metaphors.

In 1986 one of his Radio Mali recorded albums (re-released on World Circuit as part of Red and Green in 2004), started to generate great interest amongst radio d.j.'s in London including Andy Kershaw and Charlie Gillett. It also came to the attention of Folk Roots magazine; with no information on the record sleeve the journal puzzled over this African musician who played the blues in such an individual way.

Anne Hunt from World Circuit travelled to Bamako to seek out this mysterious man. With the help of Toumani Diabate a broadcast was made on Radio Mali asking Ali to present himself. Ali had moved back to Niafunké four years earlier but at the time of the broadcast was visiting the capital. An invitation was made for Ali to perform in the U.K. and in 1987 for the first time since the Sofia Festival in 1968, Touré he played his first concerts outside Africa. Showing no signs of nerves or unfamiliarity with his surroundings, and with absolute and supreme confidence in his music, he played a masterful series of shows winning audiences everywhere. In the same year his first recording outside Africa was an instant success for the World Circuit label.

Since then he has undertaken extensive tours of Europe, U.S.A, Canada, Brazil and Japan and has recorded a further five albums for the label, including 'The River', 'The Source', and the GRAMMY Award winning 'Talking Timbuktu', a collaboration with Ry Cooder which served to confirm Ali's status as an artist of international repute.

Despite his amazing international success, Ali became increasingly reluctant to leave his farm in Niafunké. World Circuit's Nick Gold decided that the only way the make another record with him was to bring the studio to Niafunké. The studio was set up in an abandoned agricultural school, and the recording had to be fitted in between tending the land, with the crops always coming first. The resulting album 'Niafunké' was released in 1999.

After that, Ali returned to what he saw as his main role in life, looking after his farm and being with his family. Ali was actively involved with ongoing irrigation projects to better the agricultural situation in the Niafunké region and this culminated in his election in 2004 as Mayor of Niafunké.

Although choosing to retire from music as his full time career, and rarely playing live, Ali stated that should he feel suitably inspired, or have an issue that needs to be addressed he would record again. In 2003, he participated in the documentary 'Feel Like Going Home'. Directed by Martin Scorsese, the film traces the history of the blues from the banks of the Niger to the Mississippi Delta, and would bring Ali to an even wider audience. Ali had also been researching his local music and culture, with the aim of preserving it for future generations, and this had inspired him to play and record again. In 2004 after turning down endless lucrative offers to perform, Ali accepted an invitation to play at the tiny Privas festival in France for no fee. Ali began 2005 with his first major concert in Europe for five years, his show at the BOZAR in Brussels, which featured a guest appearance from Toumani Diabaté, was greeted with frenzied excitement from fans and press alike.

In 2005 the first of a trilogy of albums recorded at Bamako's Hotel Mandé was released. 'In the Heart of the Moon' a duet album with Toumani Diabaté won a GRAMMY award making Ali the only African to have received two such prestigious honours. Shortly following the album's release Ali played a series of brilliant European concerts with his unique down-home ngoni band featured on his new album, 'Savane' the third in the Hotel Mandé series. Toumani accompanied Ali on those live dates, prior to which they spent 3 days in a London studio recording the follow up to 'In the Heart of the Moon'. Featuring contributions from Orlando 'Cachaíto' López on bass, the album 'Ali and Toumani' is released in February 2010.

Sadly, Ali would not see the release of 'Savane'. Just a few weeks after winning his second GRAMMY and approving the album's final master, Ali succumbed to the bone cancer with which he had suffered from for the preceding two years. He died in Bamako on March 7th 2006 and was buried in Niafunké.

In Mali, Ali was accorded a posthumous Commandeur de l'Ordre National du Mali (the country's highest honour) and a state funeral attended by all the country's senior politicians and major music stars as well as thousands of ordinary people. The worldwide media coverage of his death was unprecedented for an African musician and messages poured in from fans around the world. All this for a musician who considered himself first and foremost a farmer.

Ali Farka Touré was a true original. An exceptional musician, he transposed the traditional music of his native north Mali and single-handedly brought the style known as desert blues to an international audience. He was a giant of African music and will be missed by fans throughout the world.


Original text by Lucy Duran
(updated by Nick Gold & Dave McGuire)

TOUMANI DIABATE

Toumani Diabaté is one of the most important musicians in Africa. Toumani plays the kora, a harp unique to West Africa with 21 strings; and more than any other kora player it is Toumani who is responsible for bringing this instrument to audiences around the world. He is a performer of truly exceptional virtuosity and creativity - someone who shows that the kora can rival the world's greatest instruments.

Toumani was born in Bamako, the capital of Mali, in 1965 into a family of exceptional griots (hereditary musician/historian caste); his research shows 71 generations of kora players from father to son. The most notable was his father, Sidiki Diabaté (c. 1922-96), a kora player of legendary fame in West Africa - dubbed King of the Kora at the prestigious international Black Arts Festival Festac in 1977, and a continuing inspiration to all kora players to this day. Sidiki was born in the Gambia of Malian parents. He settled in Mali after the second world war, where he became famous for his virtuoso "hot" and idiosyncratic style of playing (echoes of which can be heard in Toumani's style). After Mali became independent in 1960, Sidiki was invited to join the Ensemble National Instrumental - a government sponsored group formed to celebrate the richness of Malian culture - along with his first wife, Toumani's mother, the singer Nene Koita. Sidiki and Nene were much favoured by the first president, Modibo Keita - who gave them the land on which the family house now stands, underneath the presidential palace in Bamako.

This was the musical environment in which Toumani was raised - though in fact, he was self-taught, never learning directly from his father except by listening. In the 1960s, and more so the 70s, the Bamako music scene was being influenced by sounds from further afield, especially black American music: soul music was particularly popular as was Jimi Hendrix, Jimmy Smith, and British rock acts such as Led Zeppelin. Exposure to these sounds, and Bamako's modern ensembles, would both be important to Toumani's musical development.

A child prodigy, Toumani began playing the kora at the age of five, and at that time, the Malian Government was engaged in an active programme of encouraging regional ensembles to represent local traditions. Toumani was recruited to the ensemble from Koulikoro (some 60 kms east of Bamako) with whom he made his public debut at the age of 13 to great local acclaim. In 1984 Toumani joined the group of brilliant young musicians who accompanied the great diva Kandia Kouyate, the best known and most powerful female griot singer in Mali, with whom he toured Africa extensively, still only 19 years old.

Although not learning directly from his father Toumani took from him the idea of developing the kora as a solo instrument, and then took it to another level. Toumani discovered a way to play bass, rhythm and solo all at the same time on the kora, a method which would take him to the world stage. Toumani first came to the Europe in 1986 to accompany another Malian singer, Ousmane Sacko, and ended up staying in London for seven months. During this period, at the age of 21, he recorded his first solo album 'Kaira'. This was a groundbreaking album - it was the first ever solo kora album and it still remains a best seller and one of the finest albums of kora music to date. In 1986 Toumani also made his first appearance at a WOMAD festival at which he made a significant impact.

During this period in the UK he met and worked informally with musicians from many different fields of music and encountered traditions that he had not previously known, such as Indian classical music, from which he derived the "jugalbandi" idea (musical dialogue between two instruments) that has since become one of his trademarks.

His first major recorded collaboration was with the Spanish flamenco group Ketama. When he first met them they immediately began doing "palmas" (interlocked flamenco clapping) to his music. Toumani couldn't believe that that they could have such an understanding of the rhythmic complexities of his music; it was as if they had always been listening to each other's traditions. The resulting album 'Songhai', with pieces like Jarabi, was a perfect synthesis of kora and flamenco.

For Toumani experimentation is simply part of the job of a modern griot, "The griot's role is making communication between people, but not just historical communication. In Mali I can work in the traditional way, elsewhere I can work in a different way. Why not?" In 1990 Toumani formed the Symmetric Orchestra. For Toumani the name evokes a perfect balance - a symmetry - between tradition and modernity, and between the contributions of musicians from a number of closely related countries. Senegal, Guinea, Burkina Faso, Ivory Coast, and Mali itself, were all part of the medieval Mandé Empire. Toumani had the idea of recreating the cultural equilibrium of the Mandé Empire in a modern musical context - offsetting traditional and electric guitars with hard-edged sabar drumming; praise-singing and lute-riffing alongside pounding kit drums, with Toumani's own rippling kora phrases through it all. The orchestra name was first used on CD with the elaborate 1992 project, 'Shake The Whole World', released only in Japan and Mali. Maintaining a weekly residence at the Hogon in Bamako throughout Toumani's career, the group continued to evolve and grow over the years culminating in the release of the acclaimed album 'Boulevard de l'Indépendance' in 2005, and the extensive international touring that followed.

In the early-mid 1990s, in Bamako, Toumani began to gather around him a number of exceptionally talented musicians such as the brilliant Bassekou Kouyate on the ngoni, and Keletigui Diabaté on balafon, cultivating a certain sound and approach to his music -with a type of jazz-jugalbandi-griot instrumental ensemble which can be heard on his album 'Djelika' (as in the piece Kandjoura) released in 1995. In the same year Toumani travelled to Madrid to record 'Songhai 2'.

In 1998 he recorded a kora duet album with Ballake Sissoko; their two fathers released the 1970s classic Cordes Anciennes (Ancient Strings), so the new album was called 'New Ancient Strings', it was their tribute to the original record and an attempt at bringing such material to a modern audience.

The connections between the blues and West African music are well known. Taj Mahal had listened to, and played with, many great kora players, and what most struck him as bearing an uncanny resemblance with the blues was the plucking techniques of the kora and other Malian string instruments. "They say that blues and jazz came from Africa" says Toumani." "The kora and ngoni, they're very old, many centuries old. So maybe the blues were once being played on these instruments. Making the album with Taj is like bringing the old and new together." The album 'Kulanjan' was released in 1999.

Constantly looking to evolve and innovate, Toumani's next album 'MALIcool' with American free jazz trombonist Roswell Rudd saw him take another step out on the edge. The arrangements on this album are sparse, leaving everybody room to improvise, and there are a few unexpected pieces such as an interpretation of Thelonius Monk's 'Hank', a swinging version of a Welsh folk song, and a leftfield take on Beethoven's 'Ode to Joy'.

Toumani has participated in many other recording projects both at home and abroad: he appears on Ali Farka Touré's eponymous debut album for World Circuit; he toured with Salif Keita and appears on both his acclaimed album "Papa" and his latest release 'Mbemba'; he was part of Damon Albarn's 'Mali Music' project; he is featured on Kasse Mady Diabaté's 2004 Grammy nominated album "Kassi Kasse", and in 2007 he featured on the track 'Hope' on Björk's album 'Volta' leading to an inspired guest appearance on her set at the Glastonbury Festival.

In recent years Toumani has been enjoying recognition for his contribution to the development of the kora, and as a key figure in African music. In 2004 he received the Zyriab des Virtuoses, a UNESCO prize awarded at the Mawazine Festival organised by King Mohammed 6th of Morocco. He is the first black African ever to be given the prize. Toumani is an active and dynamic member of the Malian musical community, and influential to the new generation. He has been taking steps to help preserve the legacy of traditional kora music in Mali, and to educate future generations of their rich musical heritage, whilst encouraging them to also explore the creative possibilities within music. He is President/Director of Mandinka Kora Productions, who actively promote the kora through workshops, festivals, and various cultural events. Toumani is also a teacher of the kora and of modern and traditional music at the Balla Fasseke Conservatoire of Arts, Culture and Multimedia, which opened in Bamako at the end of 2004.

2004 also saw Toumani begin working with World Circuit for a trilogy of albums recorded at sessions in the Mandé Hotel in Bamako. The first release from these sessions was the duets album 'In the Heart of the Moon' recorded with the great Ali Farka Touré, which won the Best Traditional World Music Album GRAMMY Award. Second in the trilogy was 'Boulevard de l'Indépendance' by Toumani Diabaté's Symmetric Orchestra, packing the fruit of ten years of experimentation into some of the densest, punchiest, most richly textured music to have come out Africa (the third part being Ali's final solo album 'Savane'). Toumani accompanied Ali on his last concert tour in the summer of 2005 during which they spent 3 days in a London studio recording the follow up to 'In the Heart of the Moon'. Featuring contributions from Orlando 'Cachaíto' López on bass, 'Ali and Toumani' further demonstrates the magic bond between the two masters, the album sees its long awaited release in February 2010.

The Symmetric Orchestra proved to be a revelation on the international touring scene. Taking time out from their weekly residency at Bamako's Hogon club (recently moved to Le Diplomat), the band have been building a reputation for themselves at their own headline concerts at venues such as New York's Carnegie Hall, and festival appearances such as Glastonbury, Nice Jazz Festival, and Montreal Jazz Festival.

In addition to this hive of activity, Toumani was also busy working on his new album 'The Mandé Variations', released in February 2008. Having spent years refining and perfecting his technique to an unparalleled level Toumani's career comes full circle. 'The Mandé Variations' is all-acoustic, Toumani's first album of solo kora since his groundbreaking debut album 'Kaira' released over twenty years ago.

Both the album and subsequent solo recitals were met with universal critical acclaim, with the return to a more intimate setting also proving extremely popular with the listening public. Toumani would also go on to perform a special concert with the London Symphony Orchestra which may prompt further explorations in classical music; and the year came to an exciting end with Toumani being nominated for another GRAMMY Award and an NAACP Image Award for 'The Mandé Variations'. Toumani was appointed UNAIDS Goodwill Ambassador in December 2008, using his music to spread awareness on HIV and AIDS, and he has already participated in various outreach projects in Mali.

Following the release of the album 'Ali and Toumani', Toumani Diabaté and his band will play his interpretations of the music of Ali Farka Touré in a series of special concerts starting in April 2010.

Throughout Toumani's career, each of the albums he has released are distinctly unique and highlight his diversity as a musician. This is indeed what Toumani is so good at - bringing together the old and new in timeless beautiful music, the very best that Africa has.

Based on original text by Lucy Duran;
adaptation and additional text by Dave McGuire

Stefano Bollani - Piano Solo x Haiti - Varese 10 Marzo 2010

VARESE – Domani sera, 10 marzo, alle 21, suonerà al Teatro Apllonio, in piazza Repubblica, per beneficenza: la fondazione Francesca Rava Nph Italia lo ha voluto come ospite d’onore per una serata a favore dei bambini vittime del terremoto ad Haiti. Lui è anche il pianista italiano di jazz (e non solo) più acclamato degli ultimi anni. Si chiama Stefano Bollani, e ha raccontato qualcosa di sè a VareseNotizie.

Una delle prime “performance” che ha subito fatto capire che sei un musicista un po’ anomalo è una tua imitazione di Johnny Dorelli nel disco “Craccracriccrecr” di Elio e le Storie Tese. Era il 1999. Cos’è cambiato in questi undici anni?

In realtà non molto, perché il mio spirito e l’entusiasmo sono rimasti gli stessi. Un intervento come quello è nato semplicemente dalla voglia di divertirmi con i miei amici Elii mentre stavano registrando un disco. E così, poi, sono nate tutte le altre iniziative, le imitazioni, anche i libri: solo dalla curiosità e dalla voglia di divertirsi.

Quella è rimasta assolutamente la stessa. È la tua prima volta a Varese?

No, ho suonato già una volta ai Giardini Estensi, poi ho fatto un concerto a Ponte Tresa, per il premio letterario “Ponte Magico” organizzato dalla mia amica Chiara Zocchi. Mi fa molto piacere suonare nella vostra città, perché lì ho molti amici e poi perché ci sono passato troppe poche volte. Ma questa è un’occasione speciale. Sì, perché questa volta l’intero incasso del concerto sarà devoluto alla fondazione Francesca Rava Nph Italia. Non è facile per me scegliere per chi suonare, richieste di concerti per beneficenza me ne arrivano tantissime. Sono legato da anni ad Emergency, perché so come lavorano e so che mi posso fidare. Questa volta un amico mi ha garantito della serietà dell’iniziativa, così ho accettato. E poi la tragedia di Haiti ci ha colpito tutti profondamente. Non era possibile dire di no.

Cosa dobbiamo aspettarci da questo “piano solo”?

Meglio non aspettarsi niente, così non si rimane delusi! Sinceramente, poi, non so nemmeno io cosa aspettarmi: quando faccio i concerti di piano solo improvviso totalmente. Non preparo neanche la scaletta, suono quello che mi viene in mente. Poi, verso la fine, chiedo al pubblico cosa vorrebbe sentire e suono “a richiesta”: è lì che vengono fuori le cose più strane, come le mie imitazioni di Battiato o Jovanotti. Preferisco così. Sono molto più teso se devo suonare con un’orchestra seguendo degli spartiti precisi. Quando sono solo sono totalmente libero di seguire la mia voglia di divertirmi.

Non è proprio possibile perdersi la tappa varesina di un grande pianista come Bollani, capace di intrattenere, divertire ed emozionare non solo con la sua bravura di musicista, ma anche con una notevole verve, tutta toscana. Il Teatro ha ancora biglietti disponibili, acquistabili su www.ticketone.it o direttamente alla biglietteria del Teatro di Varese.

Chiara Frangi Varesenews.it

La Biglietteria del Teatro è aperta nei seguenti orari:

dal lunedì al sabato dalle 11.00 alle 14.00 e dalle 17.00 alle 19.00.

Nei giorni di spettacolo il botteghino è aperto dalle 20.00 alle 21.00 o dalle 15.00 alle 16.00.

Per informazioni telefoniche potete rivolgervi al n. 0332 247897.

 

Pieranunzi v/s Pieranunzi

I cd degli artisti che ascoltate su Radio Mlr pssono essere acquistati presso il negozio on line www.moonlightrecords.com

ì
Tornano i concorsi di Radio Moonight. Questa settimana abbiamo il piacere di far competere un grandissimo artista italiano di fama mondiale grazie alla sua maestria al piano. Stiamo parlando di un pezzo di storia del jazz ossia del mitico Enrico Pieranunzi. E con chi lo faremo competere, ci siamo chiesti ? E da qui l'idea di confrontare l'estro inventivo e solitario del Pieranunzi solo con la necessita' del dialogo del Pieranunzi Trio. Chi vincera' ? A voi la scelta votando.

Come votare :
-Inviateci una mail a moonlightrecords@moonlightrecords.com con nome, cognome e preferenza ( solo o trio )

- Tutte le mail dovranno pervenire entro giovedi 4 marzo alle ore 23.59

- Il 5 pubblicheremo l'iniziale del vostro nome, del cognome e la vostra preferenza abbinandola ad un numero progressivo da 1 a infinito

- Sabato 6 Marzo prenderemo come riferimento l'estrazione del lotto sulla ruota di venezia, sommeremo tutti i numeri estratti e faremo la classica conta con le vostre preferenze.

Il vincitore portera' a casa il cd di Gianluigi Trovesi - Profumo di Violetta e soprattutto quello autografato di Enrico Pieranunzi.....

Buona Fortuna.

COME STATE VOTANDO :

1 - Leondino M - Trio
2 - Francesco L - Solo
3 - Fabrizio S - Solo
4 - Vincenzo M - Solo ( In trio è molto bello ma solo è stellare )
5 - Patrizia T - Solo
6 - Bruno C - Trio
7 - Andrea F - Solo
8 - Stefano S - Trio
9 - Pietro R - Solo
10 - Paolo I - Trio
11 - Claudio C - Solo
12 - Anonimo - Solo ( PIERANUNZI IN PIANO SOLO, PIU' INTIMISTICO ED ANCHE MEGLIO REGISTRATO )
13 - Vittorio D'A - Trio
14 - Piero P - Trio
15 - Francesco S. - Trio "più brioso, si apprezza l'interplay, si limita il difetto principale del sound di Pieranunzi, l'essere (appunto) un po' serioso"
16 - Domenico F - Trio
17 - Emanuela C - Piano Solo
18 - Fabrizio P - Trio
19 - Dimitri T - Trio
20 - Alessandra A - Solo
21 - Franco B. - Solo
22 - Lorenzo ( commento al post ) - Solo
23 - Stefania A : Pieranunzi Trio
24 - Gherardo D. L - Solo, però è stata una decisione difficile sono ambedue molto belli
25 - Raffaele O - Trio
26 - Nicola C - Trio
27 - Sergio B - Trio
28 - Alberto S - Solo
29 - Rossella C - Solo
30 - Giancarlo R - Solo
31 - Sergio - il mio voto è per la versione in trio ,anche se quella piano solo è altrettantonotevole
32 - Peppino D - Solo - Il Trio è bello, ma il Solo è lui.
33 - Massimo C - Trio
34 - Mauro R - Trio
35 - Giuseppe B - Trio -- dopo numerosi ascolti, e con molta indecisione, voto per:
versione trio ma la versione solo è fantastica --
36 - Sabrina S - Trio
37 - Raffaelel S. Trio

Risultato Concorso :
Numeri Estratti Ruota Venezia il giorno 6/3/2010 : 5 - 54 - 84 - 21 - 62
Somma dei numeri estratti : 226
Facendo la conta manuale ( per semplicita' 226 / 37 = 6 con il resto di 4 ) il vincitore è il Signor Vincezo M.
Grazie a tutti per aver partecipato e alla prossima.
Simone
Moonlight

Vinile ed Mp 3 , due mondi complementari ?

Hanno tentato di farlo fuori in tutti modi. A colpi di compact disc, minidisc, laserdisc e, ultimo, il download di musica digitale da Internet. Niente da fare, a 61 anni esatti dalla sua introduzione avvenuta nel 1948, il vinile resiste. Piccola enclave dell'industria discografica, addirittura sta conoscendo una seconda giovinezza. Perché, come ha detto Bob Dylan «i dischi moderni sono atroci. Oggi non puoi fare un disco che suoni come quelli che ascoltavo e amo ancora». Dischi in vinile, ovviamente.
Il vinile, nel suo piccolo, è diventato anche un fenomeno di moda. Scontato che l'acquirente di vinile sia il 40-50enne legato ai miti dell'adolescenza, il fenomeno ora interessa anche i giovanissimi che acquistano l'Lp feticcio, per poi ascoltarlo su mp3 dopo averlo scaricato da Internet (BLOG – vinile)

Nonostante gli audiofili fedeli al vinile costituiscano oggi una piccola minoranza, una nicchia di mercato operante con altissima tecnologia è ancora attiva, basti pensare che, solo in Italia, attualmente sono presenti sui cataloghi diversi modelli dal costo di varie migliaia di euro.
Il vinile è, inoltre, ancora molto usato dai disc jockey e molte etichette, sia italiane che straniere, distribuiscono musica su vinile appositamente per dj.
Mentre gli amanti della musica classica hanno apprezzato il passaggio al digitale, molti amanti del genere rock invece continuano ad ascoltare musica su vinile. In questo settore, tuttavia, la produzione si è digitalizzata. Per questo motivo gli amanti del rock e del vinile ascoltano soprattutto dischi rilasciati alcuni decenni fa. Soprattutto nella scena underground, però, la tendenza a stampare anche -se non solo- i dischi in vinile, è rimasta. (da Wikipedia,)
Secondo i dati di vendita Usa nel 2008: crollano i cd, crescono i download e i vinili stabiliscono il loro record dal 1991. Si è registrato un vero e proprio boom dei vinili (+89%). Il trend è significativo, simo in piena era digitale eppure negli ultimi diciassette anni non si sono mai venduti così tanti vinili come oggi. Questo ritorno di fiamma per il vero formato simbolo del rock'n'roll, dato per spacciato durante gli anni '90, vorrà pur dire qualcosa.
Molto probabilmente l'ascolto più attento, ragionato, di qualità, legato a un'idea di unicità del supporto fisico e di alta definizione audio che trova nel vinile molte più soddisfazioni che nel cd ha dato un nuovo sbocco all'ascolto di musica al giorno d'oggi. Anche soddisfazioni d'acquisto: nello scegliere solo determinati album (magari già scaricati e assaggiati tramite Internet), di determinati artisti, costruendo discoteche magari non enciclopediche, bensì selezionate, dal valore inversamente proporzionale alla loro grandezza. Inoltre, uno degli aspetti più interessanti della faccenda è che il boom del vinile sembra essere trainato dalle nuove generazioni e non solo dai vecchi collezionisti.
Può darsi che la rinascita del vecchio disco nero sia soltanto il frutto di una moda, un ultimo guizzo prima dell'estinzione. Ma può anche darsi che rappresenti invece l'alba di una nuova stagione a doppia velocità, in cui vinile e MP3 non si escludono a vicenda, ma diventano complementari. Le due facce di un'esperienza musicale contemporanea, allo stesso tempo vintage e all'avanguardia, che risponde tanto alle nostre necessità di selezione (il vinile) che di abbondanza (l'MP3).
(articolo di Luca Castelli)