Una delle chiavi di volta della storia della musica è costituita dai Concerti Grossi op. VI di Arcangelo Corelli. Dopo la storica versione proposta da Amadeus nel 1998 con l’aggiunta degli strumenti a fiato, nell’interpretazione di Federico Maria Sardelli e dell’ensemble Modo Antiquo (nomination al Grammy Award), il ritorno alla versione per archi, così come è codificata dalla tradizione, era doveroso, ineludibile e, possiamo dire, imposto dalla magistrale interpretazione di Ottavio Dantone e dell’Accademia Bizantina.
Good news! Five of Italian trumpeter Enrico Rava's Black Saint and Soul Note recordings have been reissued by CAM Jazz in one of those pretty white box sets with each LP reproduced as a separate CD tucked into a miniature record jacket. Born at Trieste in 1939, Rava later attributed his lifelong pursuit of modern jazz to the influence of Miles Davis. One might add Don Cherry and Freddie Hubbard to that equation, along with maybe Richard Williams and Lee Morgan. In order to fully comprehend what he was up to from the '70s onward, it is important to consider the artistic company that Rava kept during the ‘60s. Take a moment, for example, to ponder the blended influences of Chet Baker and Gato Barbieri.
La Maschera di Cera are back with a new album , available both with original Italian or English vocals and lyrics, a trick of the tail done in the past with PFM, Banco and Le Orme (The artwork here is somewhat reminiscent of 'Felona e Sorona', no?) . Their previous release "Petali di Fuoco" was a slight deviation from their usual somber mellotron and bass driven sympho-prog. Wasn't a bad album at all, just different most probably due to PFM guru Franz di Cioccio's clean production and Matteo Nahum's occasional guitar…