Reference Music Store - B2B

PROJECT ONE (LP 180 GR + CD + FILE HD)

€ 59,00

PROJECT ONE (LP 180 GR + CD*  + FILE HD*) Marco Lo Muscio, David Jackson, John Hackett, Steve Hackett *CD (NO JEWEL BOX) and HD files are inside the vinyl.   "Project One": a recording project Velut Luna that was born thanks to the friendship and the long musical and artistic collaboration of the M, Marco Lo Muscio. with three iconic names of progressive and contemporary music: David Jackson, John Hackett and Steve Hackett. The project is a great tribute, with totally acoustic arrangements, to the various styles of the great music of the '900 and contemporary. The basic system sees the gothic and symphonic sound of the pipe organ amalgamated with the power of the saxophones of David Jackson. The guitar of Steve Hackett and the flute of John Hackett add the final touch in some special arrangements created specifically for this recording project. The composers chosen come from the world of music of the '900 and contemporary (Benjamin Britten, György Ligeti, Aaron Copland, George Martin and Marco Lo Muscio), soundtracks (Wojciech Kilar), Modern Jazz (Jan Garbarek) and Progressive (King Crimson, Genesis, Van Der Graaf Generator, Emerson Lake & Palmer, Pink Floyd, David Jackson and Steve Hackett). Listening acoustically to this music will reveal new nuances and details; you will also understand how progressive music interpreted in this key is actually very close and influenced by classical music of the '900. Finally, the well-known high quality of Velut Luna recordings by Marco Lincetto will offer an incredible sound range in listening to this original and unique recording project!

Two For The Road

€ 49,00

Two For The Road (LP 180 GR + CD* + FILE HD*) Chiara Pastò, Francesco Pollon *CD (NO JEWEL BOX) and HD files are inside the vinyl. THE BEST YOUTH by Marco Lincetto Chiara Pastò finally arrives to make a Jazz record. At the fourth album, all made with my label Velut Luna and with me as a producer, the young, brilliant singer from Padova now faces in the height of his artistic and vocal maturity his "territory of choice" to which he has worked throughout his academic career and has practiced on many concert occasions. The repertoire of this record presents some famous standards, such as the title track or Round Midnight, but also a very original excursion in the famous song of Astor Piazzolla, Libertango, to which Chiara herself gives a fascinating new text. And then his original song, written with Enrico Santacatterina, Just A Smile, which is a workhorse of his pop area, so to speak, today reinterpreted in a jazz standard style. A complete and mature album, which is exalted by the pianistic wisdom, by the refined taste, seasoned by an admirable technique of Francesco Pollon, perhaps the most representative Italian jazz pianist of the young generation, who currently lives and works in New York, after earning a prestigious master’s degree there at the Manhattan School of Music - Jazz Arts. In short... The young, great musicians, still exist, and more than ever, in Italy: just give them the space they deserve!  

Sergej Rachmaninov - Études Tableaux

€ 18,00

Sergej Rachmaninov - Études Tableaux INTRODUCTION BY EDWARD BROTTO The Études Tableaux, miniature-masterpiece of extraordinary harmonic beauty, form, writing, synthesis, images that are able to evoke and...of an extraordinary musical and technical difficulty. I don’t want to add anything else, the music is wonderfully descriptive and it is right that the listener creates his own worlds and perceives the paintings that each piece paints. Although the repertoire is known to fans, this is a particular record and, contrary to the standard, I’ll tell you in person. I didn’t have the courage to play the Études even when I was a full-time pianist, despite the fact that I had Rachmaninov’s greatest works on hand, including his formidable third concert. I thought instead of studying and recording them when life became much more complex; engineer by day, pianist by night. I don’t want to lie by saying that reconciling the two is easy, it isn’t. Playing at the recording level is already a big challenge in itself, adding a complex everyday work makes it all exceptionally trying. These lines serve as a context to the fundamental concept that I would like to pass on to those who read these words: it is possible to set oneself and achieve objectives that seem impossible in an already more than full life context. And I say that because it’s worth it, whatever you choose. The challenges, won or lost, give us invaluable lessons first of all on our ego, on our limits that will prove to be wrong, and then give us a magnificent wave of new knowledge, wide spectrum. What is needed is a good dose of stainless will, a predisposition to resist fatigue, sometimes suffering, and never be distracted from the primary objective. And another thing I write, never be content to learn, study, challenge, improve. Because satisfaction is the death of desire. Now, coming to the particularities of this record, let’s start with the fact that the piano used for the recording is my personal: a wonderful Bechstein D282 that I call Albus. A dream of a lifetime, lasting more than twenty years, come true. Albus was delivered to me directly from Berlin this April (2023) and its opening was the recording of this record. The preparation and tuning of the piano for the recording, I personally edited it. Another peculiar fact is that I recorded this record. By this I mean that the work of sound and balance engineer (microphone positioning, balancing, acoustic treatment and recording) I did personally. I had in mind a shot that was as faithful as possible to the sound of the instrument, extremely detailed and precise, with particular attention paid to obtaining a perfect sound image. The choice inevitably fell on electronics of absolute excellence and the characteristic of a linear frequency response and neutral tone: microphones Sennheiser and Schoeps, omnidirectional and sub-cardiodes for a great presence and crystal clear, preamplifiers Millennia and Rupert Neve that guaranteed the least possible alteration of the native signal, signal cables at the height of the components mentioned. This too is the result of years of study, experience and mistakes; a dutiful thanks to the precious teachings of my producer Marco Lincetto to whom I then left the finished traces. In the expert hands of Marco I entrusted the delicate mixing and mastering phase, strictly in analog chain, as I like. The result is a recording with a natural sound and great impact that, with a well built system, makes you enter the piano in the house, in all its glory. Regarding the choice of songs and their order, I had been intuitively imagining this exact sequence for a long time. It is a path of sounds and images that in my head has developed just like that, which I particularly love and therefore, would not need further illustration. Nevertheless, I add that as a person who naturally perceives and imagines abstract worlds, beyond the images that these scenes evoke, their sequence, to explain it in understandable words, reminds me of a beautiful iteration of sinusoidal functions in three spatial dimensions and a temporal one, translatable into a sheet of pure space that moves sinuously, sometimes wrapping you, interspersed with moments of great impetus to others of deep reflection, sometimes dismayed, but in any case intimate. In the face of the complete recording, having extracted these twelve passages in this exact order, did nothing but confirm that intuition had long ago. I recommend a yarn listening to better understand the above. Rachmaninoff and I. You could dedicate the whole libretto just to this theme. Simply, to conclude, his music is my soul mate in music. I’ve spent the last 15 years studying and playing his plays. His language is so much part of me that I recorded a whole record (Within & Without - Homage to Rakhmaninov) that collects a series of my original compositions dedicated to the great master. With this instead, I want to pay tribute to him again playing his music, to celebrate the 150th anniversary of his birth.

The Velut Luna's Reference Vinyl Vol. 2

€ 69,00

The Velut Luna's Reference Vinyl Vol. 2 Limited Edition - 180gr AUDIOPHILE PRESSING (2 LP + FILE HD) The child in the cover image is me. At the age of two. It was 1963. I’ve always loved listening to records. Certainly because of my family history, with my father who was an illustrious classical pianist and refined composer, and my mother an opera singer. But certainly in those early years of childhood was great charm that aroused in me those black pavilions that ran on the old family turntable and from which came out my favorite fairy tales, narrated by great voices of great actors (I remember for example, Nando Gazzolo and his Little Red Riding Hood, and Hansel and Grethel, and Thumbelino, whose records I literally consumed...). Around the age of eight or nine, the Beatles' transition from fairy tales to singles at the end of their career (Obladì, Obladà), or to the unusual and unknown sound of the Theremin used in Beach Boys' Good Vibrations, was a very natural fact. And when I was 13 years old I started to discover Santana, Pink Floyd, Genesis, etc.etc.etc. , together with the reading of Suono and Stereoplay, it was just as natural to get involved with the images of the great reel recorders of the time, suitable for the then rare home studios. My first love, long dreamed and never owned, was the Tascam 80-8, eight tracks on half-inch tape. And the dream microphones were the Sennheiser, the MD441 and the MD421... But the real dream was "to study me"... which will remain for a long time only, in fact, a dream. When I finally got to know the music of Jim Croce at 19 and I realized that... "Si-Can-Do!" (cit.) It was the moment when it became clear to me that sooner or later, I would do that work, I would "make records". And the rest is history...

Gira l'anima (GOLD CD)

€ 21,90

Gira l'anima (GOLD CD) Tiziana Cappellino, voice and piano Pietro Ballestrero, guitars Two artists with a very personal style and a strong sensibility. The passion for the musicality and rhythms of Brazil on the one hand and the vitality of jazz on the other gives rise to a meeting in which voice, guitar and piano are intertwined creating fresh arrangements, contamination of styles and worlds. Refined harmonies and improvisation are inextricably linked to the search for the beauty and simplicity of the melodies, be they instrumental, where the sung parts are vocalized without a text, or through real poems, verses put into music. The voice of Cappelino, a Steinway Concert Grand, that has almost a century and the acoustic guitars of Ballestrero, enhanced by the exceptional fidelity of the recording of Marco Lincetto, as usual captured strictly live in the studio, lead the listener on a journey through the different souls that fascinate the authors. From their original songs to themes of great composers such as Pat Metheny or Egberto Gismonti, interspersed with real Brazilian songs with the text translated into Italian, a piece of Noa, and in closing the beautiful "Cara" by Lucio Dalla.

Double Time - GOLD CD

€ 21,90

Double Time (GOLD CD) Oscar Del Barba, Piano Solo Inside this CD there are some recordings that concern two different moments of my musical life. Tracks 1 to 5 were recorded in 2018 and the next four in 2012. The first ones are about very famous songs, “classical” standards of jazz while the other pieces are my compositions and two improvisations, not based on a pre-existing theme. So two important aspects of the musical vision of a jazz player: the improvisational aspect and the one related to the composition that often intertwine and coexist not always in a “peaceful” way. I mean, the two things inside me have always been a little conflicted, but in the end, one cannot exist without the other. A special thanks to my family that bears me and supports me for years; a big thanks to Luca Remelli without which this cd could not have been released; thanks to Marco Lincetto for his work and his role as a cultural popularizer, always attentive to the quality of its productions. Thanks to Giancarlo Roberti, to all those who have made me grow musically until today. Oscar Del Barba HD MASTER FILE: HERE

Papier-Maché (LP 180gr. su Top Clear Vinyl)

€ 49,00

UNA STORIA MISTERIOSA “Don Antonio, non dovete portare nella tomba il segreto delle vostre chitarre…” “…mi è impossibile tramandarlo ai posteri” Quello della Papier-Mâché di Torres è stato un caso unico nella storia della liuteria non solo chitarristica: Antonio de Torres (1817-1892), considerato oggi lo Stradivari delle sei corde, fu il primo e, che si sappia, l’unico a costruire nel 1862 un esemplare di strumento Papier-Mâché. Questa chitarra, paradossalmente, a dispetto della sua apparente umiltà, restituisce un mondo sonoro affascinante, misterioso e unico. Dal momento che l’originale, conservato al Museo della Musica di Barcellona, non e’ più in grado di esprimere la propria voce, l’album ha lo scopo di far riscoprire e rivivere le peculiari caratteristiche timbriche e sonore di questo interessante strumento attraverso l’utilizzo di due copie ad esso ispirate. Il liutaio Fabio Zontini ha raccolto la sfida lanciata da Torres e da quasi vent’anni si occupa della costruzione di copie Papier-Mâché. I due esemplari utilizzati da Federica Artuso per la registrazione sono stati realizzati tra aprile e settembre 2023 e pesano entrambi (incredibilmente) appena 995 grammi. Montano inoltre corde in budello naturale. Zontini ha quindi tracciato una sorta di collegamento con il grande Torres, cogliendo una specie di esperimento-prototipo del liutaio andaluso, e provando con successo a diffonderlo ai giorni nostri. La Papier-Mâché è una sorta di contraddizione vivente proprio per la contrapposizione tra il materiale povero di cui è fatta e il risultato sonoro artisticamente sorprendente. E ispirandosi a questa contrapposizione, è stato registrato un programma emblematico di quel paradosso che incarna l’identità della chitarra, sempre in bilico tra l’anima povera, autentica e popolare da un lato e l’Olimpo della musica colta dall’altro. Le musiche qui registrate sono tutte di chitarristi-compositori che sono vissuti all’epoca della chitarra di cartone o che hanno avuto a che fare con gli strumenti di Torres. Questi chitarristi sono parte di quella tradizione esecutiva e di quella poetica sonora di cui la Papier-Mâché è emblema. Alcuni dei brani, pur essendo stati scritti da compositori non chitarristi, fanno parte di quel repertorio in cui più si identificano le sei corde. Arcas e Parga* tentarono di elevare la chitarra a strumento colto, senza riuscire ad emanciparsi totalmente dalle reminiscenze flamenche. Il loro stile si adatta perfettamente all’essenzialità arcaica del suono della Papier-Mâché e le loro musiche, pur fortemente radicate nel linguaggio popolare, ci conducono poco per volta allo stile borghese e salottiero di Garcia Tolsa* e di Tarrega, allievi di Arcas. La loro musica non è più soltanto per coloro a cui scorre nelle vene sangue flamenco o per quelli che ritengono l’opera lirica l’unica musica colta. È musica che piace agli intellettuali e, se ammette qualche danza, lo fa a patto che sia da salotto. Dal punto di vista dei musicisti, a differenza dei suoi predecessori, Tarrega riesce a confezionare gli slanci espressivi in forme totalmente compiute. Miguel Llobet, allievo di Tarrega, è noto come compositore soprattutto per la sua versione chitarristica delle Canciones populares catalanas. Nella parte di programma che lo riguarda si propone anche un repertorio di cui non è autore, ma che lo rappresenta fedelmente e dove si colgono tutte le novità portate dal suo estro creativo, che fanno emergere ciò che della chitarra è più caratteristico. Maria Luisa Anido fu allieva di Llobet, nonché sua partner in duo di chitarre. La musicista argentina fu una tra gli ultimi chitarristi negli anni ’50 ad utilizzare le corde in budello -ormai difficilmente reperibili- e, tra l’altro, fu proprietaria proprio della Torres di Tarrega (1864, FE17). Anido è l’emblema dell’immagine della chitarra come spartiacque tra il mondo della musica folklorica e quella della musica colta, contrapposizione che probabilmente non si risolverà mai completamente. Ce lo dimostrano le sue irresistibili trascrizioni dai grandi classici come Bach, Mozart, Tchaikowsky e i suoi brani sudamericani, pulsanti di energia indigena. I brani di Parga e Garcia Tolsa non sono contenuti nella versione in vinile. Leggi tutto sul nostro blog DISPONIBILE ANCHE IN:  GOLD CD - BUNDLE

Papier-Maché - GOLD CD

€ 21,90

UNA STORIA MISTERIOSA “Don Antonio, non dovete portare nella tomba il segreto delle vostre chitarre…” “…mi è impossibile tramandarlo ai posteri” Quello della Papier-Mâché di Torres è stato un caso unico nella storia della liuteria non solo chitarristica: Antonio de Torres (1817-1892), considerato oggi lo Stradivari delle sei corde, fu il primo e, che si sappia, l’unico a costruire nel 1862 un esemplare di strumento Papier-Mâché. Questa chitarra, paradossalmente, a dispetto della sua apparente umiltà, restituisce un mondo sonoro affascinante, misterioso e unico. Dal momento che l’originale, conservato al Museo della Musica di Barcellona, non e’ più in grado di esprimere la propria voce, l’album ha lo scopo di far riscoprire e rivivere le peculiari caratteristiche timbriche e sonore di questo interessante strumento attraverso l’utilizzo di due copie ad esso ispirate. Il liutaio Fabio Zontini ha raccolto la sfida lanciata da Torres e da quasi vent’anni si occupa della costruzione di copie Papier-Mâché. I due esemplari utilizzati da Federica Artuso per la registrazione sono stati realizzati tra aprile e settembre 2023 e pesano entrambi (incredibilmente) appena 995 grammi. Montano inoltre corde in budello naturale. Zontini ha quindi tracciato una sorta di collegamento con il grande Torres, cogliendo una specie di esperimento-prototipo del liutaio andaluso, e provando con successo a diffonderlo ai giorni nostri. La Papier-Mâché è una sorta di contraddizione vivente proprio per la contrapposizione tra il materiale povero di cui è fatta e il risultato sonoro artisticamente sorprendente. E ispirandosi a questa contrapposizione, è stato registrato un programma emblematico di quel paradosso che incarna l’identità della chitarra, sempre in bilico tra l’anima povera, autentica e popolare da un lato e l’Olimpo della musica colta dall’altro. Le musiche qui registrate sono tutte di chitarristi-compositori che sono vissuti all’epoca della chitarra di cartone o che hanno avuto a che fare con gli strumenti di Torres. Questi chitarristi sono parte di quella tradizione esecutiva e di quella poetica sonora di cui la Papier-Mâché è emblema. Alcuni dei brani, pur essendo stati scritti da compositori non chitarristi, fanno parte di quel repertorio in cui più si identificano le sei corde. Arcas e Parga* tentarono di elevare la chitarra a strumento colto, senza riuscire ad emanciparsi totalmente dalle reminiscenze flamenche. Il loro stile si adatta perfettamente all’essenzialità arcaica del suono della Papier-Mâché e le loro musiche, pur fortemente radicate nel linguaggio popolare, ci conducono poco per volta allo stile borghese e salottiero di Garcia Tolsa* e di Tarrega, allievi di Arcas. La loro musica non è più soltanto per coloro a cui scorre nelle vene sangue flamenco o per quelli che ritengono l’opera lirica l’unica musica colta. È musica che piace agli intellettuali e, se ammette qualche danza, lo fa a patto che sia da salotto. Dal punto di vista dei musicisti, a differenza dei suoi predecessori, Tarrega riesce a confezionare gli slanci espressivi in forme totalmente compiute. Miguel Llobet, allievo di Tarrega, è noto come compositore soprattutto per la sua versione chitarristica delle Canciones populares catalanas. Nella parte di programma che lo riguarda si propone anche un repertorio di cui non è autore, ma che lo rappresenta fedelmente e dove si colgono tutte le novità portate dal suo estro creativo, che fanno emergere ciò che della chitarra è più caratteristico. Maria Luisa Anido fu allieva di Llobet, nonché sua partner in duo di chitarre. La musicista argentina fu una tra gli ultimi chitarristi negli anni ’50 ad utilizzare le corde in budello -ormai difficilmente reperibili- e, tra l’altro, fu proprietaria proprio della Torres di Tarrega (1864, FE17). Anido è l’emblema dell’immagine della chitarra come spartiacque tra il mondo della musica folklorica e quella della musica colta, contrapposizione che probabilmente non si risolverà mai completamente. Ce lo dimostrano le sue irresistibili trascrizioni dai grandi classici come Bach, Mozart, Tchaikowsky e i suoi brani sudamericani, pulsanti di energia indigena. I brani di Parga e Garcia Tolsa non sono contenuti nella versione in vinile. Leggi tutto sul nostro blog DISPONIBILE ANCHE IN:  LP 180gr. su Top Clear Vinyl -  BUNDLE

ITALIAN MUSIC FOR GUITAR AND PIANO - GOLD CD (with free 2015 CD version)

€ 21,90

New remastering of the CD ITALIAN MUSIC FOR GUITAR AND PIANO (you will receive the free CD of 2015 and so you can discover the sound differences between the two editions) ITALIAN MUSIC FOR PIANOFORTE AND GUITAR It is generally believed that the union between pianoforte and guitar presents a complicated rebus for composers and musicians alike: the acoustics and approach of these two instruments make them too unbalanced to be blended, too different in levels of volume and too divergent in their "thought processes" or construction of harmonies. In short, when played together, the pianoforte and guitar tend to prove almost incompatible. Furthermore, if the guitar lacks amplification support, even at a minimal level, the pianoforte needs to be played almost always with extreme delicacy. Despite these factors and the usual perceptions, many composers, above all in the twentieth century, have achieved splendid results with the masterful use of the ‘full’ and ‘thin’ sounds of the respective instruments, by paying particular attention to a non-conventional dialogue between them, subtle composition and, of course, a good dose of instinct, which is never a bad thing. The disk in your hands proves these triumphs and contains a collection of original works for guitar and pianoforte composed between 1950 and today, both from renowned and less renowned Italian composers. The journey begins back in 1950 with one of the composers whose name, intentionally or not, is synonymous with the guitar, namely the Florentine Mario Castelnuovo-Tedesco (1895-1968) who wrote Fantasia op. 145 in two brief witty movements dedicating it to Andrés Segovia and his pianist wife Francesca ‘Paquita’ Madriguera Rodon. A miracle of balance that recalls the inescapable French influences while displaying its exuberant and personal inspiration from opera, it oscillates between an atmosphere that pays homage to Spain and an entirely Italian, or rather Tuscan lyricism. Another two-part composition entitled Fantasia consists of a single movement written in October 1979 by Brescian composer Franco Margola (1908-1992), that was dedicated to the duo formed by guitarist Guido Margaria and his wife, Emilia. Although this quiet, neo-Baroque piece does not integrate the two instruments to the same level as that of Mario Castelnuovo Tedesco, it still succeeds in creating a dialogue between the two instruments, cleverly alternating rather than overlapping the two sounds. From a stylistic viewpoint, Margola drifts between hints of Bach and pleasant flashes of eighteenth century Italy. Another track dedicated to the Margaria duo is the short piece entitled Improvviso, composed between November 1979 and the spring of 1980, not too different from the atmospheres of the former track, making it seem like an appendix in triple time that mixes the initial mazurka with a persistent neo-Baroque ensemble. Fantasia is yet another piece dedicated to the Margaria duo, and was written in 1980 by Carlo Mosso (1931-1995), who spent his early years in France before settling in Piedmont. This piece is meditative and restless, rigid, rich in archaisms yet at the same time modern and intentionally rough, built on a handful of melodic cells that are linked together and in certain points are reminiscent of the works of Frank Martin from Switzerland and the popular Italian composer Gian Francesco Malipiero. The piece entitled Divertimento a due was composed by Padua-born Adrano Lincetto (1936-1996) and is divided into three movements (Molto lento. Poco mosso – Allegro molto – Finale. Molto moderato and cantabile. Allegro vivo). Beyond any doubt, it is less enigmatic and a far cry from modern and postmodern complications, in its intricate modal style with numerous seventh chords. This rich compilation ends with two tracks that were written specifically for and dedicated to Lapo Vannucci and Luca Torrigiani. Il silenzio del tempo by Turin composer, Luigi Giachino (1962), was written in 2015 and is a suite in four movements, with notes of jazz and whispers of other, almost impressionist styles. In a six-minute track, the totally different Winter Time, written by Sicilian composer Giuseppe Crapisi (1967) proposes a blend of bold, repetitive and headstrong gestures typical of a minimalist yet more melanchonic style. In this case, the two instruments rarely alternate but often blend their sounds, now delicate, now rhythmic, in a largely contemporary key. Ennio Speranza    

SE POTESSI AVERE... (LP 180gr. su Top Clear Vinyl + File HD)

€ 49,00

Patrick Trentini conductor / Giuliana Beberi vocal / alto, tenor saxes / Luca Merlini vocal 24 Bit / 96 kHz / 24 tracks Original Recording: Studio Magister Sala A on April 8, 9 - 2004 Preganziol, Treviso (Italy) "Se potessi avere" an orchestra of the 40s still playing today. Songs from our italian memories: Mille lire al mese, Parlami d'Amore Mariù, Ba Ba Baciami Piccina, Ma l'Amore No, La Strada nel Bosco and many others presented exactly like they were by Giuliana Beberi and Luca Merlini with the New Project Orchestra directed by Patrick Trentini.

Libero Arbitrio - GOLD CD

€ 21,90

Libero Arbitrio - GOLD CD Gold CD Libero Arbitrio - Amos Ghirardelli (CVLD382) CD 24k Gold+ HD FILES FOR THE WHOLE PERIOD OF THE PRE-SALE* *the files will arrive on your email with a sending after order confirmations Available from: 02-11-2024 This is a pre-order product. Once it will be available in stock, your order will be shipped. The first album of Amos Ghirardelli, 63 years old with forty years of musical career behind him. And it’s a record that opens the heart to lovers of the great PROG, descending by direct line from the great furrow drawn by the big English and Italian groups in the first half of the 70s. It is an excellent music, performed in a sensational way by amazing musicians and that revolves, as tradition requires to these projects, around a precise "concept" which is perfectly summed up in the title of the album, FREE WILL, as well as in the lyrics sung at the end of the long initial suite that bears the title of the album

IL CANTANTE AL MICROFONO - Eugenio Finardi | 45rpm - Double Vinyl

€ 69,00

PRE-ORDER IL CANTANTE AL MICROFONO - 2025 - VYNIL EUGENIO FINARDI Double Vinyl 45 rpm Deluxe Limited Edition + File Master HD (numbered limited edition 300pz)   Returns in a new and definitive, spectacular, double vinyl edition at 45 rpm one of the great masterpieces of Italian music of recent years, limited to 300 copies, each with progressive numbering. The recording project Il Cantante Al Microfono bridges the gap between songwriting and contemporary classical music, starting with the great Russian actor, poet and singer-songwriter Vysotsky, who tragically died in 1980, who understood and sang the true soul of his people and was therefore severely opposed by the Soviet regime. His music accompanies with intriguing melodies, now with a Balkan flavor, now with oriental tones, now tracing ancient times of waltzes, the texts sharp and scratchy. From the corpus of his more than 500 songs, Eugenio Finardi and Filippo Del Corno have chosen a dozen titles strongly representative of the ethical, spiritual, political tension and corrosive irony that animates Vysotsky’s work. The songs, already translated into Italian by Sergio Secondiano Sacchi, were orchestrated for the instrumental ensemble Sentieri Selvaggi by Del Corno himself, in a version that highlights the highest poetic and musical quality of Vysotsky’s verses and allows the full deployment of the extraordinary interpretative power of Eugenio Finardi. It is in fact a long time that Finardi joins his activity as the protagonist of the Italian author rock an in-depth and rigorous vocal research work, which will leave those who do not know the path that led him from fado, to his beloved blues, right up to the contemporary classical. The graphics are very refined and curated by Convertino. A project that perfectly fits with the production line that Velut Luna has always proposed: originality in proposals artistically and technically of the highest quality. Eugenio Finardi voce Sentieri selvaggi : Paola Fre flauto Mirco Ghirardini clarinetto Paolo Pasqualin vibrafono Andrea Rebaudengo pianoforte Piercarlo Sacco violino Paola Perardi violoncello Carlo Boccadoro direzione Sergio Secondiano Sacchi traduzione italiana Filippo Del Corno orchestrazione L'opera ha vinto la Targa Tenco 2008, nella Sezione interpreti di canzoni non proprie   Live-In-Studio Analog Recording, mix and original mastering made at Magister Recording Area studio, Preganziol, Italy on December, 18 - 22, 2007 Analog re-mastering made at VLS Studio, Naquera, Spain, on November, 4, 2024 ANALOG RECORDING: RTR Soundcraft Saturn 24 tracks / 2" tape at 76cm/sec recording speed ANALOG MIX & MASTERING: RTR Studer A820, 2 tracks, using 1/4" tape at 38 cm/sec recording speed ANALOG RE-MASTERING: Maselec Analog Mastering Suite (MLA-2 / MEA-2 / MPL-2) to RTR Studer A810

LIFE - Roberto Jonata

€ 21,90

LIFE - Roberto Jonata (CVLD383) All music composed by Roberto Jonata, except for track 12 “Carry On… Jon” by Ritchie Blackmore Roberto Jonata plays on Steinway & Sons D274 Concert Grandpiano tuned by Silvano Zanta The collaboration between VELUT LUNA and Roberto Jonata, which has been in existence for over ten years, continues today offering his vision of "Life", through his extraordinary compositions, immersed in the world of international minimalism, but characterized as always by the presence of a strong melodic vein, distinctive sign of the musical poetics of the composer and pianist veneto.. Extraordinary music combined with the latest refinement of piano recording technique that Marco Lincetto continues to implement, achieving an end sound quality more remarkable. 88.2kHz / 24bit Digital Recording, made at Magister Area Studios, Preganziol, Italy on September 10, 2024 Analog mix and mastering made at VLS, Naquera, Espana on October, 25, 2024 Production: Velut Luna Executive producer: Marco Lincetto Musical producer: Roberto Jonata Balance, mix and mastering engineer: Marco Lincetto Pro Tools recording engineer: Andrea Valfrè Photos: Marco Dal Maso Design: Nadia Fattori Layout: L'Image  

JAZZ

€ 49,00

JAZZ AUDIOPHILE VINYL - LIMITED EDITION CON FILE MASTER HD Pietro Ballestrero, Gianni Basso, Stefano Bertoli, Paolo Birro, Fabrizio Bosso, Gianni Coscia, Paolo Fresu, Giorgio Gaslini, Tiziana Ghiglioni, Sandro Gibellini, Lucia Minetti, Gabriele Mirabassi, Mauro Negri, Stefano Profeta, Royal Big Band, Sax Four Fun, Markus Stockhausen, Tiger Dixie Band, Gianluigi Trovesi. It is always difficult to make a collection of musical pieces, even though they belong to the same genre; and it is even more so if he who has to do it is the one who wanted them, produced them, recorded them: that is someone who finally considers himself divided between the role of "dad" and "co-author", in this case myself who is writing these short notes. The difficulty is in choosing songs that make sense one after another, but also in having to exclude, for physical lack of space, many others no less beautiful, no less interesting. Also in the awareness of where to leave out with the heartache so many wonderful musicians to whom, I always feel tied by an indissoluble tie for the common passion that has united us in loving the music we propose. It is therefore for this reason that every collection I make has implicitly, alongside the title, that fundamental definition which can only be "Volume 1". In the belief that sooner or later other volumes will follow, because it is really impossible for me to draw up a ranking of merit among the many songs, all of them, I have produced in 30 years of career. And here comes the fundamental note that I realized especially in the last few years, which is that ALL my productions, for me, are absolutely equivalent: they are all on the same level. Because I always made an incredible selection BEFORE going into production, and once the journey started with the chosen musicians, It was always clear that the work could not have become a pearl of a very long necklace that today counts altogether eighty-eight. Jazz, according to me, or according to Velut Luna, has always meant research and tradition, warmth and humanity, immediacy and symbol of the unspeakable "Hic et Nunc" of the moment of recordings, which have all been made in direct take, without editing cuts, Often mixed directly on stereo master. Listening to these songs again, one by one, I relived the atmosphere, in the broadest possible sense, of those unrepeatable moments: after all, recording is a way to travel back in time every time I listen to it. The musicians and I are lucky people, to have received the privilege of living these emotions difficult to tell in words, but I hope they can be at least a little 'conveyed by the sound tracks left in the grooves of the records. Forever and ever. Thank you all, Marco Lincetto I dedicate this project to my friend Giorgio Gaslini, who left us too soon, 11 years ago

30 ANNI FUORI TEMPO - AUDIOPHILE VINYL

€ 39,00

30 ANNI FUORI TEMPO AUDIOPHILE VINYL - LIMITED EDITION CON FILE MASTER HD   THE METRONOMES: Francesco Michielin, voice, kazoo, chorus, "vocal trumpet" Carlo Piccoli, piano, chorus Stefano Fedato, drums, chorus PREZZO SCONTATO A 35€ PER LA PREVENDITA (Consegne previste dal 17 MARZO)   Now it is a wedding dress shop, but in 1994 the music roared in the legendary Bar Dolomiti of Conegliano. Francesco Michielin, Carlo Piccoli and Stefano Fedato still did not know that for the next six (six!) years they would step on the stages of the Italian music scene under the timeless name of Metronomes. Who, that evening thirty years ago, had the privilege of witnessing the birth of this group can boast of having witnessed an event of inestimable rarity and importance, equal perhaps only to the discovery of America or the passage of the comet Hale-Bopp. And in fact I boast, I boast. And while I boast, I insert into my old CD player their new album: "Trent'anni fuori tempo". After thirteen years of the release of the wonderful "Adamo, Let’s Swing!" , the Metronomes are back with this beautiful anthology of their record production from 1997 to the most recent times. Then, with the insertion of four new pieces, the album acquires new life and shows us how these eternal guys are good or bad remained the same as those who, thirty years ago, gathered at the Bar Dolomiti. Of them everything has been said and written. The story of their spectacular live performances moves on the tightline that separates reality from true legend. It is said, for example, that the singer, sumptuous vocalist with a goatee-like head as a horse - I saw him a few weeks ago dressing up in a wig and glasses while he was monkey-ing Elvis - is actually a very precise maniac of order. They say he keeps all the lyrics of the songs, written by himself, in ten huge volumes that he carries with him at the concerts. They also saw him assemble a complicated device called "portaspritz" without which he does not face the concert. They also say that the drummer, once playing As Time Goes By, gave such a speed to the swing rhythm that it made the chopsticks smoke (fortunately the innkeeper had the fire extinguisher and behind him a thorough training in safety in the event of fire). For him these years don’t seem to be past, he always shows thirty years old, has all his hair and not one white (the other two jealous metronomes say that he dyes them), but especially while playing at hell rhythms he smiles and enjoys himself like a child. The pianist, who uses his left hand as a double bass, is also a strange guy. Someone tells that you sound exclusively moved by your ear (one ear only moving ten fingers? But what kind of prodigy is this?). He doesn’t try or study the songs, but if you ask him for a song, he can play it with the precision of a jukebox. And while he plays, he beats his feet and always waves out of time: it remains a mystery how the song goes to time while he follows who knows what other internal rhythm. From 20 April 1994, several barrels of red wine have passed through the burning uvula of the singer Francesco, and black and white keys under Carlo’s fingers, and calluses and chopsticks in Stefano’s hands. Yet, the legend of the Metronomes continues to amaze us, make us laugh and beat our feet under the table. Franco Ceci Colpis

30 ANNI FUORI TEMPO - GOLD CD

€ 21,90

30 ANNI FUORI TEMPO GOLD CD   THE METRONOMES: Francesco Michielin, voice, kazoo, chorus, "vocal trumpet" Carlo Piccoli, piano, chorus Stefano Fedato, drums, chorus Now it is a wedding dress shop, but in 1994 the music roared in the legendary Bar Dolomiti of Conegliano. Francesco Michielin, Carlo Piccoli and Stefano Fedato still did not know that for the next six (six!) years they would step on the stages of the Italian music scene under the timeless name of Metronomes. Who, that evening thirty years ago, had the privilege of witnessing the birth of this group can boast of having witnessed an event of inestimable rarity and importance, equal perhaps only to the discovery of America or the passage of the comet Hale-Bopp. And in fact I boast, I boast. And while I boast, I insert into my old CD player their new album: "Trent'anni fuori tempo". After thirteen years of the release of the wonderful "Adamo, Let’s Swing!" , the Metronomes are back with this beautiful anthology of their record production from 1997 to the most recent times. Then, with the insertion of four new pieces, the album acquires new life and shows us how these eternal guys are good or bad remained the same as those who, thirty years ago, gathered at the Bar Dolomiti. Of them everything has been said and written. The story of their spectacular live performances moves on the tightline that separates reality from true legend. It is said, for example, that the singer, sumptuous vocalist with a goatee-like head as a horse - I saw him a few weeks ago dressing up in a wig and glasses while he was monkey-ing Elvis - is actually a very precise maniac of order. They say he keeps all the lyrics of the songs, written by himself, in ten huge volumes that he carries with him at the concerts. They also saw him assemble a complicated device called "portaspritz" without which he does not face the concert. They also say that the drummer, once playing As Time Goes By, gave such a speed to the swing rhythm that it made the chopsticks smoke (fortunately the innkeeper had the fire extinguisher and behind him a thorough training in safety in the event of fire). For him these years don’t seem to be past, he always shows thirty years old, has all his hair and not one white (the other two jealous metronomes say that he dyes them), but especially while playing at hell rhythms he smiles and enjoys himself like a child. The pianist, who uses his left hand as a double bass, is also a strange guy. Someone tells that you sound exclusively moved by your ear (one ear only moving ten fingers? But what kind of prodigy is this?). He doesn’t try or study the songs, but if you ask him for a song, he can play it with the precision of a jukebox. And while he plays, he beats his feet and always waves out of time: it remains a mystery how the song goes to time while he follows who knows what other internal rhythm. From 20 April 1994, several barrels of red wine have passed through the burning uvula of the singer Francesco, and black and white keys under Carlo’s fingers, and calluses and chopsticks in Stefano’s hands. Yet, the legend of the Metronomes continues to amaze us, make us laugh and beat our feet under the table. Franco Ceci Colpis

Trátame bien

€ 39,00

AUDIOPHILE VINYL - LIMITED EDITION WITH FILE MASTER HD   "Trátame bien"  is a record that captures the mix of emotions with which I wanted to explore the complexity of human relationships, with others and with ourselves. Each topic reflects a sense of vulnerability, the need to be understood and respected. With a fresh and authentic sound, the album plays with various genres, merging modern soundtracks with lyrics that address themes of love, disaffection and self-acceptance. "Trátame bien" is a cry about the importance of respect. It invites you to reflect on how we relate to others, but especially how we relate to ourselves. With sincere and direct words, this act of personal fulfillment is born in which self-understanding and self-respect become the priority. It is also an invitation to break with the standards of beauty imposed by society, a reminder to embrace our authenticity. Yolanda Gó mezzo Carreño

MEMORIES OF TOMORROW - Pietro Ballestrero Davide Liberti

€ 18,00

Memories Of Tomorrow (CVLD389) Pietro Ballestrero, classical guitar (made by Paulino Bernabé) Davide Liberti, double bass On January 24, 1975, Keith Jarrett sat down at the piano in the Opera House in Köln, closed his eyes and started to improvise. What came out of his hands in the following hour became one of the most beautiful recordings in the history of jazz. On the afternoons of January 4 and 5, 2025, we played two live-in-studio sessions, dedicated to him, and inspired by his music, which we love deeply. Memories of Tomorrow is the encore of the Köln concert. Tracks 1,3,4,6,8,11 are our own improvisations, conceived around the harmonies of Jarrett’s solo performances.   Marco Lincetto production for VELUT LUNA HD Digital Recording by Pietro Ballestrero and Davide Liberti strictly live in studio in Torino on January 4th and 5th, 2025. Analog Mix and Mastering by Marco Lincetto at VLS Home Studio, Valencia, Spain, on January, 30, 2025 Cover photo by Marco Lincetto Design by L’Image

GOLD FINGERS - 30° ANNIVERSARY

€ 39,00

GOLD FINGERS - 30° ANNIVERSARY Disponibile in: AUDIOPHILE VINYL - LIMITED EDITION CON FILE MASTER HD (prevendita) FILE MASTER HD (con 4 tracce extra) (Consegne previste dal 19 maggio) Autori: H. HUPFELD, J. BARRY, J. MANDEL, R. ORBISON, R. SHERMAN, L. ROBIN - J. STYNE, J. KANDER - F. EBB Esecutori: MASSIMO SALVAGNINI QUINTET, P. LAQUIDARA   Considerazioni introduttive di Radu Lidjienko Il cinema è entrato in noi perché è fatto di immaginazione, fantasia, sogno, illusione, cioè le stesse cose di cui è fatta la nostra vita. Siamo sempre immersi in fantasie di ogni genere, da positive a negative, da allegre a drammatiche. Ciascuno, di volta in volta, ne preferisce una e ci si affeziona, scegliendo per sè il film più adatto. Nessuno riesce a liberarsi dal sogno. Le persone depresse vivono una versione fantastica del loro tremendo passato e del loro orribile futuro. Tutti reinventiamo ogni giorno il nostro passato ed il nostro futuro. I fatti non si sono svolti come noi li ricordiamo, e niente si verificherà nel modo in cui l’abbiamo previsto. Abbiamo ricordato decine di passati diversi e sognato migliaia di futuri diversi. Niente riesce a strapparci dalle nostre fantasie, fin dal primo giorno di vita. Credo che sia una nostra caratteristica, e non un difetto. Sarebbe impossibile per noi farne a meno e continuare a vivere. Anche le persone più pragmatiche, o perfino ciniche, sono prese da una fantasia, magari quella di vivere in un mondo freddo, desolato, povero di bellezza e di emozioni, oppure popolato da esseri stupidi o maligni. Il filosofo sogna di aver fatto chiarezza sulla situazione dell’Uomo nell’universo, la persona religiosa sogna di essere perdonato dal suo dio per le schifezze che ha fatto e che farà. Alcuni sognano di vivere in un mondo in cui soffre solo chi è inferiore e irrilevante, in modo da godere della loro ricchezza senza imbarazzo. Altri ancora vedono la sofferenza, ma vivono il sogno di poterla combattere. I musicisti vivono il sogno di rendere felici i propri simili. Chi ascolta musica vive nel sogno che i musicisti siano creature speciali ed immerse in una vita piena di stimoli e di appagamento. I produttori musicali vivono nel sogno di aver prodotto musica di altissimo livello, e che questo gli verrà un giorno riconosciuto. Io sogno che un giorno sarà possibile incontrarci tutti nello stesso posto, per farci una grossa risata sopra. Lisbona, settembre 2003 Tracce LP: LATO A 21:47 01 – AS TIME GOES BY (herman Hupfeld) 7:25 02 – GOLDFINGER (John Barry) 2:49 featuring Patizia Laquidara 03 – YOU ONLY LIVE TWICE (John Barry) 6:19 04 – OH, PRETTY WOMAN (Roy Orbison) 5:11 LATO B 19:02 01 – SUICIDE IS PAINLESS (Johnny Mandel) 7:50 02 – TAXI DRIVER’S THEME (Bernard Hermann) 5:11 03 – BYE BYE BABY (Leo Robin, Jule Styne) 6:00 Massimo Salvagnini, tenor saxophone Stefano Bassato, guitar Franco Lion, doublebass Paolo Balladore, drums Paolo Vidaich, percussions Patrizia Laquidara appears courtesy of Rossodisera Ed. Mus. and Genius Records by Renato Venturiero 96kHz / 24bit original digital recording, made at Teatro Polivalente, Abano Terme, Italy, on August 24, 25, 2003 Analog re-mastering made at VLS Studio, Naquera, Spain on March, 8, 2025 Production: Marco Lincetto for VELUT LUNA Recording Engineer: Marco Lincetto Mix engineers: Marco Lincetto and Matteo Costa Mastering engineer: Marco Lincetto Design and Layout: L’Image Photo: Marco Lincetto  

GIANT MOON - 30° ANNIVERSARY

€ 18,00

GIANT MOON - 30° ANNIVERSARY   (Consegne previste dal 19 maggio) Tracce CD: 01 GIANT MOON 02 MOONGLOW Will Hudson, Irving Mills 7:49 03 MOONLIGHT IN VERMONT John Blackburn, Karl Suessdorf 4:25 04 TINTARELLA DI LUNA Franco Migliacci, Bruno De Filippi 5:50 05 MOONLIGHT SERENADE Mitchell Paris, Glenn Miller 5:15 06 THE SUNNY SIDE OF THE MOON Massimo Salvagnini 5:18 07 DONATA WALKS ON THE MOON Massimo Salvagnini 6:13 08 DESTINATION MOON Roy Alfred 6:55 Tot. Time: 49:03   Massimo Salvagnini, tenor saxophone Sandro Gibellini, guitar Giorgio Panagin, double bass Roberto Facchinetti, drums   88.2kHz / 24bit original recording made at Magister Recording Area, Preganziol, Italy, on February, 20, 2010   Production: Marco Lincetto for VELUT LUNA Recording, mix and mastering: Marco Lincetto Photo: Marco Lincetto Design and Layout: L’Image       Quando l'amico Marco Lincetto mi ha mandato questa musica perché ne potessi scrivere qualcosa, la mia mente ha imboccato una direzione apparentemente semplice e riduttiva, basata sulle quantità. Quanti bei CD ha prodotto Marco? Quanti di questi sono legati a Massimo Salvagnini? A quanti di questi ho scritto un'introduzione? La fase successiva, data la mia età, è stata il chiedermi "quanto ancora"? Quanti Cd mi potrò ancora commentare? Quanti bei CD potrà ancora produrre Marco? E quanta musica potrà ancora registrare Salvagnini? Come si vede facilmente, lo spostarsi del cursore lungo la linea del tempo ci porta ad intuire che il valore dei nostri atti, e perfino le nostre intenzioni, dipende dalla prospettiva dalla quale li abbiamo compiuti. Il primo CD è diverso dall'ultimo. Ci piacerebbe poter rimanere sempre in una prospettiva senza fine, ma arriva il punto in cui si capisce che la storia andrà avanti senza di noi, e che forse qualcuno con del tempo da perdere potrà rimettere in ordine le nostre vite in un modo che per noi stessi è impossibile. L'aspetto stupendo di queste riflessioni, fatte ascoltando i brani di questo CD, è che solo alla fine mi sono accorto che da sempre gli esseri umani si sono fatti domande del genere mentre osservavano la Luna, sapendo che quella grossa palla che ci gira attorno continuerà a girare a lungo anche dopo che il brusio delle nostre vite sarà terminato. In qualche modo, in questa musica ho ritrovato proprio questo stato mentale, anzi, un vero sentimento. Radu Lidjienko Londra 2014