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Olá, Roberto, saudações cordiais diretamente do Rio de Janeiro! Como vai você ? Meu camarada, sua composição é belíssima(magistral, irretocável, magnífica - o que preferir) ! Conheci-o através dum comentário seu, feito em: "McCoy Tyner - Together 1979 Full Album Vinyl". E, enfim, sinto-me felissíssimo por ter prestado atenção àquela postagem. Dito isso, gostaria de solicitar vossa permissão para utilizar essa melodia como base para uma possível poesia que sinto-me impelido à transcrever - pois creio ter sido agraciado por musas, aos pés dos ouvidos, devido à tamanha beleza produzida por ti. De antemão - ainda que não mo permita - muitíssimo obrigado pela contribuição artística ! Abraços fraternais !

non rispondo di danni psico fisici anche a posteriori, conseguenti l'ascolto di questi miei deliri sonori I am not liable for psychophysical damage even after the fact, consequent listening to these sound deliriums of mine

faccio una valutazione in + e a margine rispetto a quello che dico in questo video e che riguarda in particolare Firenze, l'ambiente musicale di questa città vetusta e l'atteggiamento che spesso non sempre ma quasi sempre ha chi gestisce le programmazioni sia degli spazi estivi che invernali, dove si suona, (sempre meno rispetto a quando negl'anni 80 ho iniziato io), sia nei club o in luoghi dove si fa musica e quel che cito, qui in questo commento, accade ovunque da sempre. Certi personaggi (che lucrano sui musicisti dando le briciole a chi suona, intascantosi un tornaconto sottobanco per dare l'impressione di fare un programma plurale che invece coinvolge sempre da anni i medesimi musicisti) ,personaggi dicevo, che non oso neanche chiamare direttori artistici, perchè i direttori artistici (quelli veri e che hanno merito per essere dove sono) , hanno ben altro spessore e obbiettività, perchè scelgono solo con un criterio obbiettivo e non clientelare (come succede qui a Firenze), i direttori artistici veri ,scelgono in base alle qualità e credibilità delle proposte che gli vengono fatte, se nel luogo dove fanno la programmazione musicale, questo o quel gruppo abbia senso e/o meriti di essere inserito. Qui a Firenze è da sempre diverso (ed io ho suonato e suono ovunque da oltre 40 anni) Qui, nella stragrande maggioranza dei luoghi dove si fa musica, spazi all'aperto d'estate e/o al chiuso d'inverno, chi gestisce la programmazione, decide di inserire questo o quel musicista,questo o quel gruppo, solo per puro interesse personale, e solo se dai musicisti che inserisce, poi in un futuro vicino, riceverà a sua volta altre serate altrove, e solo per puro tornaconto personale successivo, esattamente come succede in politica ,nella politica bieca e subdola, col clientelismo e per scambio di favori (e tutto in maniera molto sotterranea, ma poi di fatto anche palese, se uno negl'anni, guarda le programmazioni e chi ci suona sempre). L'unica volta che io nella mia vita (e me nè son sempre pentito a posteriori), ho avuto la programmazione in un ristorante, ruclips.net/p/PL9WWkxF1mqBfppM93poA7EMnIZ9gMOyMR (non ero direttore artistico perchè il direttore artistico, lo si è in una rassegna in un festival, non dove si suona jazz in un ristorante), e li ho avuto la programmazione dal 2016 al 2020, liberamente e sgombro da qualsiasi retro-pensiero, con obbiettività, professionalità e organizzazione, sceglievo chi inserire, (facendomi spesso inimicizie di gente che parlava dietro) ma mai , in base alle simpatie, o a motivi di clientelismo, soprattutto perchè sapevo bene prima di inserire chiunque, che nessuno dei musicisti che mensilmente 2-3 volte il mese inserivo in programma, (musicisti che alla fine dell'anno sommando tutte le date che gli davo,si facevano uno stipendio) nessuno di loro dicevo, mi avrebbe poi in seguito mai richiamato a ri-suonare altrove (come è puntualmente successo, dal 2020 in poi) ma non provo astio verso nessuno di quei musicisiti, la mia considerazione, è solo una presa visione e descrizione dei fatti oggettivi, e di ciò davvero, ma me nè importa il giusto, visto che la considerazione di me come persona, come artista e come professionista, altrove è davvero altissima, e comunque in quella circostanza , ho perso e chiuso rapporti con tutti ottimi musicisti, ma che nella maggior parte dei casi, umanamente a parte pochissime eccezioni, pochi valevano veramente, e s'è dimostrato dal 2020 ad oggi, dove nessuno di loro mi ha scritto nè una mail nè un sms per chiedere come stavo,quindi come si dice a firenze crocione e argomento chiuso, non si da spazio nella propria mente a persone di poco valore . Sarò molto felice, tra non molto, di lasciare questa città per sempre, (ovviamente non per i motivi o per i fatti sopracitati), una città che era meravigliosa un tempo, vitale, fatta di tanti artigiani e artisti, di arte e di luoghi di grande scambio, (oggi i musicisti si fanno una guerra tra poveri, anche solo per un posto in strada dove suonare, il clientelismo c'è anche li) una città piena di storia, ma ora piena solo di: pokè, kebab, cineserie, hamburgherie, fasullerie culinarie e umane, e molto poco rispettosa per tutto e tutti, solo apparentemente aperta alle diversità culturali ma che infondo ha reso anche questa città omologata, con la globalizzazione a tutte le altri città che ci sono oggi, sia il centro che la periferia, una città che da priorità a turisti cafoni, che la fanno da padroni e che ti passano sui piedi coi loro trolley, una città , Firenze , gestita da anni con spirito clientelare dalla solita parte politica (molto ben distante da quella che mi rappresentava e che era negl'anni 70), senza figure di spicco, dove vige il diktat dei favori reciproci, e con mafiette subdole e continuative ovunque, che sfocia in una costante mentalità gretta , bigotta, falsa, boriosa,e provinciale una città fatta (come dico sempre io) piena solo di democristiani (con ciò che nè consegue) però travestiti da ex comunisti IN QUESTO DOCUMENTARIO PAROLE SACROSANTE ruclips.net/video/si7RMhfhf4o/видео.htmlsi=QUyTPtNs_MIMhXAf

DJ SPUMA SIAMO AI SALUTI ruclips.net/video/bptNMpwvxcA/видео.html DJ SPUMA APPENDE LA CUFFIA AL CHIODO E VOLA IN MESSICO ruclips.net/video/bnvL8C4xWmQ/видео.html DJ SPUMA LAST SESSION AT HOME ruclips.net/video/_STzW0HrDmA/видео.html DJ SPUMA ON WEB ruclips.net/video/gq1e_6QP5QI/видео.html DJ SPUMA MEETS VINTAGE (for last time) ruclips.net/video/HQpfYLt9OCI/видео.html

ruclips.net/video/gRP123YzsP0/видео.htmlsi=BVVgwr7QV89mDp9P Dj Spuma album completo full album

ruclips.net/video/gRP123YzsP0/видео.htmlsi=BVVgwr7QV89mDp9P Dj Spuma album completo full album

ruclips.net/video/gRP123YzsP0/видео.htmlsi=BVVgwr7QV89mDp9P Dj Spuma album completo full album

ruclips.net/video/gRP123YzsP0/видео.htmlsi=BVVgwr7QV89mDp9P Dj Spuma album completo full album

ruclips.net/video/gRP123YzsP0/видео.htmlsi=BVVgwr7QV89mDp9P Dj Spuma album completo full album

ringrazio di cuore tutti coloro che mi hanno ascoltato in 21 anni prima come BobbaTrips e poi come Dj Spuma mi auguro che i miei deliri sonori, non abbiano avuto effetti collaterali psico fisici I sincerely thank all those who have listened to me over the past 21 years first as BobbaTrips and then as Dj Spuma I hope that my sonorous deliriums, have had no psycho-physical side effects

robertoandreucci.wixsite.com/djspuma robertoandreucci.wixsite.com/djspuma/media ruclips.net/p/PL9WWkxF1mqBeMvWWCKlc6J-q1TG3I6phw FOR CONTACT robertoandreucci@hotmail.com

That is the fact My last journey with my electronic soul Dj Spuma soul that lived inside me from 2016 to 2024 and that I will cherish with great care, within a much-loved sound world, practiced for many years and as familiar as electronics. I thought it could become the "swan song" (the final record) of the production of Dj Spuma, my electronic soul (which I had previously named with the name of Bobba Trips). Elettronica [DjSpuma/BobbaTrips] - RUclips In this case I played my rhodes 54 with reverse and delay effects, a virtual monophonic synth by Logic, with small insertions of my vertical piano, and then I used vintage electronic drums (70s and 80s) in normal or reverse mode, which I have available, not thinking of putting in time what I improvised, but respecting the dreamlike spirit that this dreamy scale inspires me, To me, it's like a light balloon that flies without a direction, playing the hexatonal scale. This whole album is dedicated to to the memory of two musicians whom I have esteemed and esteem very much: Antonello Vannucchi and Giampiero Boneschi (of the latter, you can hear the voice in track n.1 at the end, where from his "concrete-dreamlike" description of the hexatonal scale) colonnesonore.net/news/eventi... ruclips.net/channel/UCHY8... antonello vannucchi - RUclips ruclips.net/user/results?searc... ruclips.net/channel/UCAFK... it.wikipedia.org/wiki/Giampie... ruclips.net/channel/UCBIb... ruclips.net/user/results?searc... The photo I used as a cover was taken from the net and depicts a perspective view of the Gdanski Bridge in Warsaw, Poland, I liked it very much, unfortunately I don't know who the author is, I'm sorry I can't mention him . Eric Siday en.wikipedia.org/wiki/Eric_Siday was a pioneer of electro-acoustic music, commissioned the first percussion synth from Robert Moog which he used in his work as a television musician . Tadao Kikumoto en.wikipedia.org/wiki/Tadao_Kikumoto is the Roland designer of the historic TB-303 Bass Synth and the equally historic TR-909 TR - 808 Drums Machine . Claude Debussy it.wikipedia.org/wiki/Claude_Debussy is said to have been the inventor of the hexatonal scale In the beginning of the last century together, he has always brought me his ladder to wonderful worlds since I was a child, in those worlds there was not and never will be, all the horrendous visible today . Fela Kuti en.wikipedia.org/wiki/Fela_Kuti felakuti.com/ African musician, inventor of Afro-beat, human and funk revolutionary, activist for the rights of his people, was one of the most important African musicians of the twentieth century. . Kraftwerk kraftwerk.com/ is a German electronic music group from Dussendorf from the 1970s, they were the absolute pioneers of electronic music in pop and influenced the entire twentieth century with their sounds and installations. . Giovanni Giorgio Moroder www.giorgiomoroder.com/ is an Italian record producer, composer, and disc jockey. Known for his use of the first synthesizer and soundtracks, Moroder is considered one of the most innovative and influential musicians in electronic music and disco music . Freddie Villarosa Dj facebook.com/p/Freddie-Villarosa-100069116186502/ was well-known in the Florentine hinterland, where he animated the nights, he worked at novaradio where he did interviews and live shows since the early 90s, he had a great love for jazz, funk, afro and contaminations . Alberto Camerini www.albertocamerini.com/ is an Italian singer-songwriter, he was nicknamed the harlequin of electronic rock, Rock'n Roll robots one of his greatest successes, one of the first to include electronics in his music, with movements that recalled the Bergamo mask (harlequin) . Sound forge 7.0 is the rather obsolete program but very dear to me, which I have always used and still use and a small final tribute I wanted to have it too, which has allowed me over the years to make real, my electronic delusions that I have thought and then realized. 1 TUNNEL ESATONALE (Dj Spuma) 2 THE FRAGMENT OF A SOUND TOWARDS ERIC SIDAY (Dj Spuma) 21:30 3 THE FRAGMENT OF A SOUND TOWARDS TADAO KIKUMOTO 菊本忠夫に向けた音の断片 (Dj Spuma) 26:21 4 LE FRAGMENT D’UN SON VERS CLAUDE DEBUSSY (Dj Spuma) 29:20 5 LE FRAGMENT D’UN SON VERS FELA KUTI (Dj Spuma) 32:36 6 DAS FRAGMENT EINES LAUTS IN RICHTUNG KRAFTWERK (Dj Spuma) 35:41 7 GM a GIORGIO MORODER (Dj Spuma) 39:15 8 L'UOMO DELLA NOTTE a FREDDIE VILLAROSA DJ (Dj Spuma) 43:28 9 MACCHERONI ELETTRONICI (my weird version) (Alberto Camerini) 45:32 10 LABORATORIO DI IMPULSI SONORI (sound forge 7.0) (Dj Spuma) 49:19

DJ SPUMA TUNNEL ESATONALE ALBUM COMPLETO ruclips.net/video/gRP123YzsP0/видео.html DJ SPUMA TUNNEL ESATONALE FULL ALBUM ruclips.net/video/gRP123YzsP0/видео.html

DJ SPUMA TUNNEL ESATONALE ALBUM COMPLETO ruclips.net/video/gRP123YzsP0/видео.html DJ SPUMA TUNNEL ESATONALE FULL ALBUM ruclips.net/video/gRP123YzsP0/видео.html

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DJ SPUMA TUNNEL ESATONALE ALBUM COMPLETO ruclips.net/video/gRP123YzsP0/видео.html DJ SPUMA TUNNEL ESATONALE FULL ALBUM ruclips.net/video/gRP123YzsP0/видео.html

DJ SPUMA TUNNEL ESATONALE ALBUM COMPLETO ruclips.net/video/gRP123YzsP0/видео.html DJ SPUMA TUNNEL ESATONALE FULL ALBUM ruclips.net/video/gRP123YzsP0/видео.html

DJ SPUMA TUNNEL ESATONALE ALBUM COMPLETO ruclips.net/video/gRP123YzsP0/видео.html DJ SPUMA TUNNEL ESATONALE FULL ALBUM ruclips.net/video/gRP123YzsP0/видео.html

DJ SPUMA TUNNEL ESATONALE ALBUM COMPLETO ruclips.net/video/gRP123YzsP0/видео.html DJ SPUMA TUNNEL ESATONALE FULL ALBUM ruclips.net/video/gRP123YzsP0/видео.html

DJ SPUMA TUNNEL ESATONALE ALBUM COMPLETO ruclips.net/video/gRP123YzsP0/видео.html DJ SPUMA TUNNEL ESATONALE FULL ALBUM ruclips.net/video/gRP123YzsP0/видео.html

DJ SPUMA TUNNEL ESATONALE ALBUM COMPLETO ruclips.net/video/gRP123YzsP0/видео.html DJ SPUMA TUNNEL ESATONALE FULL ALBUM ruclips.net/video/gRP123YzsP0/видео.html

DJ SPUMA TUNNEL ESATONALE ALBUM COMPLETO ruclips.net/video/gRP123YzsP0/видео.html DJ SPUMA TUNNEL ESATONALE FULL ALBUM ruclips.net/video/gRP123YzsP0/видео.html

Firenze (a mio avviso) su qualsiasi cosa è un gigantesco MA VA IA VA IA * in generale verso tutto e tutti, che sia passato,presente o futuro, ognuno a Firenze (più o meno smaccatamente) ha la sua verità per quasiasi cosa, e i fiorentini han sempre l'atteggiamento di chi ti insegna come si fa stare al mondo per qualsiasi cosa ti prendono sotto braccio e ti dicono: "vieni ciccio si va al bar ti spiego come stan le cose e t'offro la colazione" te ci vai ,sorbisci tutto quello che c'ha da dirti e poi visto che tergiversa, vai te verso la cassa del bar e paghi, poi dopo aver pagato,mentre il fiorentino saluta questo e saluta quell'altro, si girano verso di te e dopo aver pagato per te e per lui, ti fanno :"ma come t'hai pagato, te lo volevo offrire io" questo è il fiorentino sapiente su tutto dai massimi sistemi alle cazzate e pidocchioso(avaro) che un pagherebbe un caffè neanche in punto di morte. Così li vede un grevigiano come me i fiorentini, io che sono nato a Greve in Chianti nell'ottobre 1968 e che vive a Firenze dal dicembre 1968 quindi di fiorentini n'ho conosciuti tantissimi e io che vengo dal contado, mi sento molto molto diverso da loro ma conoscendoli bene posso giudicarli con giudizio e obbiettività e come si diceva un tempo son contento di appartenere alla cultura contadina dove vigeva il detto "contadino scarpe grosse e cervello fino" * MA VA IA VAI ti toccano con la mano sulla spalla spingono la mano sulla tua spalla spostandoti mentre stai parlando, (su qualsiasi argomento) ti dicono di ascoltarlo e imparare da quel che ti dicono queste sono le persone che usano,dicono e vivono con il VA IA VA IA in bocca

Firenze (a mio avviso) su qualsiasi cosa è un gigantesco MA VA IA VA IA * in generale verso tutto e tutti, che sia passato,presente o futuro, ognuno a Firenze (più o meno smaccatamente) ha la sua verità per quasiasi cosa, e i fiorentini han sempre l'atteggiamento di chi ti insegna come si fa stare al mondo per qualsiasi cosa ti prendono sotto braccio e ti dicono: "vieni ciccio si va al bar ti spiego come stan le cose e t'offro la colazione" te ci vai ,sorbisci tutto quello che c'ha da dirti e poi visto che tergiversa, vai te verso la cassa del bar e paghi, poi dopo aver pagato,mentre il fiorentino saluta questo e saluta quell'altro, si girano verso di te e dopo aver pagato per te e per lui, ti fanno :"ma come t'hai pagato, te lo volevo offrire io" questo è il fiorentino sapiente su tutto dai massimi sistemi alle cazzate e pidocchioso(avaro) che un pagherebbe un caffè neanche in punto di morte. Così li vede un grevigiano come me i fiorentini, io che sono nato a Greve in Chianti nell'ottobre 1968 e che vive a Firenze dal dicembre 1968 quindi di fiorentini n'ho conosciuti tantissimi e io che vengo dal contado, mi sento molto molto diverso da loro ma conoscendoli bene posso giudicarli con giudizio e obbiettività e come si diceva un tempo son contento di appartenere alla cultura contadina dove vigeva il detto "contadino scarpe grosse e cervello fino" * MA VA IA VAI ti toccano con la mano sulla spalla spingono la mano sulla tua spalla spostandoti mentre stai parlando, (su qualsiasi argomento) ti dicono di ascoltarlo e imparare da quel che ti dicono queste sono le persone che usano,dicono e vivono con il VA IA VA IA in bocca

Firenze (a mio avviso) su qualsiasi cosa è un gigantesco MA VA IA VA IA * in generale verso tutto e tutti, che sia passato,presente o futuro, ognuno a Firenze (più o meno smaccatamente) ha la sua verità per quasiasi cosa, e i fiorentini han sempre l'atteggiamento di chi ti insegna come si fa stare al mondo per qualsiasi cosa ti prendono sotto braccio e ti dicono: "vieni ciccio si va al bar ti spiego come stan le cose e t'offro la colazione" te ci vai ,sorbisci tutto quello che c'ha da dirti e poi visto che tergiversa, vai te verso la cassa del bar e paghi, poi dopo aver pagato,mentre il fiorentino saluta questo e saluta quell'altro, si girano verso di te e dopo aver pagato per te e per lui, ti fanno :"ma come t'hai pagato, te lo volevo offrire io" questo è il fiorentino sapiente su tutto dai massimi sistemi alle cazzate e pidocchioso(avaro) che un pagherebbe un caffè neanche in punto di morte. Così li vede un grevigiano come me i fiorentini, io che sono nato a Greve in Chianti nell'ottobre 1968 e che vive a Firenze dal dicembre 1968 quindi di fiorentini n'ho conosciuti tantissimi e io che vengo dal contado, mi sento molto molto diverso da loro ma conoscendoli bene posso giudicarli con giudizio e obbiettività e come si diceva un tempo son contento di appartenere alla cultura contadina dove vigeva il detto "contadino scarpe grosse e cervello fino" * MA VA IA VAI ti toccano con la mano sulla spalla spingono la mano sulla tua spalla spostandoti mentre stai parlando, (su qualsiasi argomento) ti dicono di ascoltarlo e imparare da quel che ti dicono queste sono le persone che usano,dicono e vivono con il VA IA VA IA in bocca

NON VEDO L'ORA DI CHIUDERE I MIEI OCCHI LUNA, MI MANCHI TANTISSIMO OGNI SINGOLO GIORNO CHE CAMMINO SENZA DI TE E NON C'E' MOMENTO IN CUI CAMMINI, O FUMI UN SIGARO CHE NON PENSI A TE, CHE NON PENSI DI AVERTI ACCANTO CHE MI GUARDI ASPETTANDO CHE TI DICA DI PARTIRE A CERCARE LE LUCERTOLINE, I LEGNINI, I SASSINI E TUTTO QUELLO CHE AMAVI PROFONDAMENTE ruclips.net/p/PL9WWkxF1mqBdtUZ_mP_V25ZsPYVYUQV2D PENSO SEMPRE A TE OGNI GIORNO IN QUESTO MONDO VERAMENTE CRUDELE ........... NON HO MAI MAI MAI PIU' RIINCONTRATO UN ESSERE VIVENTE PURO E BUONO COME LO ERI TE, NON VEDO L'ORA DI CHIUDERE GL'OCCHI SU QUESTA TERRA, PER POTERTI RIINCONTRARE E RIACCAREZZARTI FINALMENTE E DAL QUEL MOMENTO STAREMO SEMPRE INSIEME IO LO SO, ME LO SENTO CHE MI VERRAI INCONTRO QUANDO ARRIVERO'...... ECCO PERCHE' NON HO MAI VOLUTO ACCANTO A ME UN ALTRO CANE DOPO DI TE, E NON PERCHE' NON LI AMI, LO SAI LI AMO TUTTI E QUANDO TROVO QUELLI CHE MI GUARDANO E MI SCODINZOLANO, PUR NON CONOSCENDOMI, MA SOLO SENTENDO COSA SENTO PER LORO, IN OGNI LORO SGUARDO, SCODINZOLAMENTO, MOSSA IO CERCO TE E QUANDO ACCAREZZO QUALCHE ALTRO CANE BUONO CHE INCONTRO PER STRADA IO VORREI AFFONDARE LA MIA MANO DENTRO AL TUO MANTELLO PIENO DI PELO BIANCO MI MANCHI TANTO TANTO TANTO LUNA

Dj Spuma Mi piace project [vintage Italian songs] This is the penultimate record by Dj Spuma my electronic soul who has been with me for many years, before I called it BobbaTrips and then I went fishing in the memory of those afternoons as a kid that I spent listening to vinyl records, with Italian songs, dreaming of being a musician and even going to Sanremo, which I immediately put aside shortly after adolescence, preferring instrumental music for me as a musician (not as a listener), although here and there in my records I have written and sung a few songs of my own, but without having any particular ambitions in this regard, I never really thought of being a singer but a piano player. This album by Dj Spuma was born by chance, choosing wonderful melodies that are in my skin and in my heart, to which I gave an electronic outfit that was sometimes a little too daring compared to the originals, I set up the logic sounds that I like in combination, and then I go off and improvise by ear, in a very simple and natural way. I play all the sounds of the virtual instruments that can be heard, one by one, adding them up, and everything that results is the brainchild of DJ Spuma, who shortly after this disc will take his leave with another original instrumental work, paying homage to the hexatonic scale, my favourite scale. Here I went to fish in my memory the vinyls I used to wear as a kid in the bright living room on the sixth floor in Via del Romito 55 in Florence, where I lived with my mother Sandra Andreucci and my grandmother Vodena Cerri,where I played, I dreamed, I played, I dreamed and I dreamed again, to be somewhere else, listening to this music and much more. The title of the album is the song by Lelio Luttazzi, which I heard from Jula De Palma in those wonderful TV programs that Rai did in the 70s where there were great orchestras made by magnificent musicians and extraordinary soloists accompanied by those orchestras,that I have always admired and esteemed very much, that I put at the end of the setlist that I chose to reinterpret in my own way. The cover of the album is a photo of me of a mural that I took in Naples in August 2022 when I went there with my wife Mari, my sister-in-law Daniela and my special and wonderful niece Viola. I dedicate this record to that child Dj Spuma who lived in that apartment building from 1968 to 1982 listening to this and a lot of other music from the vinyl platter, dreaming and playing many notes by ear on the upright piano we had at home, learning by myself to move inside the notes, who have always accompanied me, in good times and in bad times. ruclips.net/p/PL9WWkxF1mqBeMvWWCKlc6J-q1TG3I6phw&si=QEcpMzF4ttnFbzGY robertoandreucci.wixsite.com/djspuma robertoandreucci.wixsite.com/djspuma/media FOR CONTACT ME robertoandreucci@hotmail.com www.robertoandreucci.it/ ruclips.net/user/robertoandreucci 1 IL PARADISO (Mogol-L.Battisti) ruclips.net/video/XUVQyH3-j0w/видео.htmlsi=fjPsPc-LYCAMxvnk 2 CONVERSAZIONE (A.Amurri-B.Canfora) ruclips.net/video/tq9YHumg3Vg/видео.htmlsi=n0sZD2XG7vodU1xQ 3 INSIEME A TE NON CI STO PIU' (P.Conte-V.Pallavicini) ruclips.net/video/Ni3s1DqvWVU/видео.htmlsi=7t8FSDe1IQQuWJum 4 IO CHE AMO SOLO TE (S.Endrigo) ruclips.net/video/QmoyC5w15Mw/видео.htmlsi=0bw4BTI8aD9RMTIT 5 TORPEDO BLU (A.Chiosso-G.Gaber) ruclips.net/video/myb-xqM1Z8w/видео.htmlsi=7LrnfkqyXP45Sc5y 6 SPAGHETTI A DETROIT (F.Migliacci-F.Bongusto) ruclips.net/video/Z0JQtGs43C0/видео.htmlsi=8qZg_8MLug0neYzq 7 RAGAZZO DI STRADA (Nisa-Ravasini-Califano) ruclips.net/video/tmzBYda5388/видео.htmlsi=hz-WosDekQrKiToE 8 STASERA MI BUTTO (A.Amurri-B.Canfora) ruclips.net/video/kS0zf-myxdk/видео.htmlsi=v0imHKWBBjIyyOiY 9 QUANDO DICO CHE TI AMO (A.Testa-T.Renis) ruclips.net/video/UbWpl9RMh3E/видео.htmlsi=9b2LwOr35G6C2yXZ 10 GIANNA (R.Gaetano) ruclips.net/video/laIH5AQqeH0/видео.htmlsi=PfT1bvy3Os6HWX9D 11 DONNA FELICITA' (R.Pareti-R.Vecchioni-A.Vecchio) ruclips.net/video/EWPUbrtM9Lw/видео.htmlsi=TXiWoepiuhWPATsO 12 JEZAHEL (I.Fossati-O.Prudente) ruclips.net/video/ZLy0wKe0Jv8/видео.htmlsi=r3iS-3TWw32vpKEq 13 PICCOLA E FRAGILE (Albertelli-Riccardi) ruclips.net/video/IH-MYyVyeJ8/видео.htmlsi=bsdmUSuBw0494Fib 14 MI PIACE (L.Luttazzi) Featuring MariG ruclips.net/video/yEh2eKiRsLs/видео.htmlsi=uU0Jcx4EFfvO4stB

Mi piace il velluto notturno della sabbia sfiorare, è un ricordo di sole nell'estate che muore. Mi piace pensare alla bocca che baciai, all'infinito languore che provai. Mi piace ascoltare in silenzio il sussurro del mare, il miracolo eterno dell'incanto lunare E guardo le stelle che brillano lassù le stelle che parlano di te e attendo che l'alba di riporti, da me Mi piace pensare mi piace sognare mi piace l'amore, l'amore con te

Dj Spuma Mi piace project [vintage italian songs] This is the penultimate album by Dj Spuma, my electronic soul that has been with me for many years, first I called it BobbaTrips and then I went fishing in the memory of those afternoons as a kid that I spent listening to vinyl records, with Italian songs, dreaming of being able to be a musician and even to go to Sanremo, Something then set aside immediately after adolescence, preferring for me as a musician (not as a listener) instrumental music, even if here and there in my records I have written and sung some of my songs, but without having particular aims in this regard, I never really thought of being a singer but a piano player.This album by Dj Spuma was born by chance choosing wonderful melodies that are in my skin and in my heart, to which I gave an electronic dress sometimes even a little too daring compared to the originals, I didn't realize it later, but I never set myself in which direction to go, I set up the sounds of Logic that I like combined and then I leave and improvise, going by ear, in a very simple and natural way,I play all the sounds of the virtual instruments that can be heard, one by one adding them up, and everything that results, is the flour of the sack of Dj Spuma, who shortly after this album will say goodbye with another original instrumental work, paying homage to the hexatonal scale, my favorite scale. Here I went to fish in my memory the vinyls I used to wear as a kid in the bright living room on the sixth floor in Via del Romito 55 in Florence, where I lived with my mother Sandra Andreucci and my grandmother Vodena Cerri 53 Via del Romito - Google Maps where I played, I dreamed, I played, I dreamed and I dreamed again, to be somewhere else, listening to this music and much more. The title of the album is the song by Lelio Luttazzi, which I heard from Jula De Palma in those wonderful TV programs that Rai did in the 70s where there were great orchestras made by magnificent musicians and extraordinary soloists accompanied by those orchestras,made by magnificent musicians and extraordinary soloists accompanied by those orchestras, which I have always admired and esteemed very much, which I have put at the end of the setlist that I have chosen to reinterpret in my own way. The cover of the album is a photo of me of a mural that I took in Naples in August 2022 when I went there with my wife Mari, Facebook with my sister-in-law Daniela, Daniela Proli (@danielaproli) • Foto e video di Instagram and with my special and wonderful niece Viola. ruclips.net/p/PL9WWkxF1mqBeMrkDyPdnKVYViFoT2idfi&si=iJOpKWgmKVYwtOpy I dedicate this record to that child Dj Spuma who lived in that apartment building from 1968 to 1982 listening to this and a lot of other music from the vinyl platter, dreaming and playing many notes by ear on the upright piano we had at home, learning by myself to move inside the notes, who have always accompanied me, in good times and in bad times.

Maestro Piero Gargiulo (he was Piero to me) was an important reference point for my beginnings, not only as a child playing and learning the piano having it at home and playing it already at 6 years old by ear on records, but for a time I called him Uncle Piero, he was engaged (that's what they called it then) to my Aunt Giuliana, and for me his kindness, calmness and great sense of balance was a sure compass, an important point of reference, this was because we were teaching rudimentary pieces of classical music in this case we were playing four-handed pieces either by Behr or Galluzzi of course I don't remember, and in the photo we were at his and his mother's house in Via Minghetti 16 in Florence a very cosy place in human and musical terms, it was with Piero and with Maestro Clelia Scarlino that I was subsequently formed , for my first steps with classical music, with two people truly who gave me in addition to their very high competence and professionalism and love for classical music, also their kindness and gentleness, an absolutely gentle approach to music and I really think (without any presumption) now that I am a teacher myself, to bring to my students , their same kindness and tranquillity that Piero gave me and also Maestra Scarlino in equal measure. I have a clear memory of Piero of many things done together (as an in-law uncle even if they were not married to my aunt) he also took me to Milan with him to see a Milan-Inter derby (he was a Milan fan) And then I remember we went after the game to sleep at a Sicilian friend of his who lived there, A Juventus fan, and I was a Viola fan even then, it was strange for me to go to the home of a Juventus fan, although very kind and a friend of Uncle Piero,I'll never forget that derby, I don't remember who won, it was the end of the 70s and they threw all the Milan and Inter cushions in the air, before people wore cushions with the team's colors that closed like an elastic band to be more comfortable in the plastic seats of the stadium. Then I could tell you when we went together to play table tennis, or when he took me to do an audition before entering the Cherubini Conservatory, to Professor Cicconi, a professor who was also Director of the Cherubini, married to the daughter of Clelia Scarlino, my private teacher after Piero Gargiulo. at the Cherubini Conservatory in Florence Piero Gargiulo, would later teach History of Music and I know for sure even if Piero I did not see him again shortly after the early 80s when he separated from my aunt Giuliana, who was highly esteemed by students and colleagues until I learned by chance of his untimely death in July 2023. This piece I play is Echo from the mountains by Galluzzi, one of the little pieces that I played with him, by him and that he with patience, love for music and love for teaching in a sweet and patient way taught me along with many other pieces of classical music. I will never forget Piero, this very small photo is the only one I have of me and him together, it was July 2, 1977,I was 9 years old and he was 26 and I have it every day in front of my eyes in my little studio where: I write, teach, compose, my little world made of music. Piero Gargiulo will always remain in my heart,(for discretion) Even if we never saw each other again from the 80s to today, he didn't look for me or me anymore (for discretion) but I know that the separation from my aunt (who passed away in 2016) at the time was painful for him, and somehow I think that probably (because I never looked for him) maybe see me again, even if I had nothing to do with it, maybe it would have given him a blow to the heart not particularly pleasant perhaps, even if he was really fond of me until the last time I saw him (early 80s when I entered the Conservatory at the Liceo Musicale in the morning and at Strumento in the afternoon). THANK YOU MAESTRO FOR ALL THAT I HAVE LEARNED FROM YOU AND THAT I STILL HAVE INSIDE, THANK YOU FOR THE LOVE FOR MUSIC GIVEN AND TAUGHT TO ME WITH GREAT SWEETNESS AND TRUE HUMANITY THAT EVERY DAY I TRY TO GIVE WITH ALL OF MYSELF TO MY STUDENTS, THAT HUMANITY AND COMPETENCE, THAT THIS SICILIAN ALSO GRADUATED IN LAW, BORN IN CATANIA IN 1951 LIVED IN FLORENCE AND AC MILAN FAN HAS HAD AND GIVEN THROUGHOUT HIS EXISTENCE

Now goes full-blown schizophrenic jazz * I don't know what to think? Or rather I do, but it would be too scurrilous to say. Jazz, like much of today's music, lives off the egocentric schizophrenia of the moment, a music that is navel-gazing and self-reflective, depriving, of any meaning, the sense of communication that jazz has, ever since it was born and evolved. Years ago I saw a terrifying film called Whiplash, where the drum teacher even took his pupils to the physical and psychological limit, one in particore even goes so far as to make him bleed on the instrument , from how fast he forced him to go, beyond the human possible limit. A music made with an erect sexual member, music made to show off your muscles, a music made to show off one's technical qualities and that's all, I don't like what jazz has become today: conservatism, rules, slavish reproductions of styles, or as if an individual musician or a group does a cover band of himself, after having done certain things, fifteen, twenty, thirty or forty years earlier, with people who have been reproducing themselves stylistically for years, without risking anything, without inventing anything, but giving the apparent impression of being creative, only for the fact that they don't understand much of what they are doing, aping the past, or who was really great, just doing themselves and not reproducing the already heard, as if it were an innovation. I don't like what jazz has become today, where the drummers, they do the themes in unison with the theme players, and when they accompany both the themes and the solos, they seem to do, a continuous rhythmic breakdown every 10 seconds, and where exchanges of a few beats between the musicians, things that used to happen, at the end of all the bands' solos, have completely disappeared, instead it was the time where everyone was passing the ball around , and where there was the purest interaction and exchange in its essence,.....peccato........... when I play jazz, I always try to play very very short solos, and pass the ball to the musician or musicians I'm playing with, and interact, because jazz is still a beautiful and potentially still rich and creative language, but if it becomes merely schizophrenic and egocentric, it loses its nature of a place for the exchange of souls and human and musical impressions. That's how I see it, ready, however, to change my mind even tomorrow, if I hear new things in jazz that will surprise me and bring out, the true nature of jazz, which are in my opinion : mixing and getting dirty with other genres , without preclusions, fences or stylistic dogmas, or extremes in bpm, Music is a language and if a musician speaks fast , he does so only to amaze , not for the pleasure of making himself understood or communicating . *a tutto foco in Tuscan can have various meanings, but above all, the meaning I give in this case is as fast as possible

Art in general, music specifically (I am a musician) is not beautiful because, and only when, it is perfect, when technique and astonishment override emotion, art music is not a facebook event to be created, to generate interest and a following, music, art are beautiful and arrive if they communicate beautiful feelings and emotions, to anyone, regardless of the culture and/or preparation of the recipient, which is first and foremost a very subjective aspect, but above all very relative. A wonderful painting can communicate beauty to me, that maybe some boor who doesn't appreciate it has thrown it in a rubbish bin, and therefore throws it , (just as I have seen paper bins with mountains of beautiful books on the outside thrown on the floor), and instead can give me shit in the truest sense of the word, or put in a more sugar-coated way, communicate nothing, a critically acclaimed painting that is in a prestigious museum, an equally acclaimed book, or music, or musicians who say nothing to me, but who only generate buzz for the technical skills they have, or for the media skills of those who promote them. There are objective things and subjective things, it is up to each of us to decide which side we are on. What anyone should at least try to understand is in my opinion whether the artist is bluffing or not, whether he is part of the current media circus, where beautiful things are only such if they are hailed as events on Facebook if they are not then they are worthless? and who decided this axiom? Are they the same ones who censor Walt Disney's cartoons or what is right to see or not to see? They are the same fake moralistic bigots, who preach the green turn, telling everyone to go vegan, and then promote around the globe the hamburgers of a well-known chain as the only healthy ones to eat? They are the same ones who purposely create wars everywhere, to sell them weapons and make money from the fact that there are wars? But back to art, if an artist by chance, instead of in a pharaonic way, with pompous events promoting cosmic nothingness, proposed himself consciously but also humbly, discreetly and without conceit, then automatically that artist is a wimp and worthless? Art made with its chest out with conceit and arrogance, is not art, even if appreciated by millions of followers, they can all try to convince me, but I will never see it any other way, art is subjective, in reaction and pure emotion, so it is not traceable to an event common to all, nor can it be codified, but it is very very private. Text by Roberto Andreucci (piano, teacher) and above all, free to say what he thinks and to think what he says, a living being who has no truth in his pocket to leave to posterity, Nor to teach anyone anything, Mine are just personal thoughts and reflections obviously not shared)

You be as you seem to be because today we are inclusive but only in words with everyone, but the right model to follow, we give you who say we are inclusive (only in words and with anyone) but the right role model, we give you abs in a certain way, hair in a certain way, ass in a certain way, nose conformed to the same catalogue system that plastic surgeons have, it seems to me......pure dichotomy..........or simply paraculism........ It is objectively important to express a concept partially in Italian today, as long as it is peppered with English (American) words or acronyms at the end or in the middle, so that few understand the message, but they accept it just because it is fashionable and fashion you can't deny if you don't get called a weirdo, or as they say today of the looser, the boomer, and the message has to be accepted supinely because within a message that you don't even understand, whether it has head or tail or credibility, there is a positive message, as the word ‘inclusive’ is a positive message and for that alone it is positive, without of course analysing: nature, feasibility and credibility. Years ago, I think it was 1994 when I used to go to the centre very often either by bike or by bus, I used to pass under an overpass on Viale Fratelli Rosselli here in Florence specifically, and before the flyover there's a space where they always put up posters, of various kinds, huge posters that would stick in your mind if only because of the enormity of the space they took up, and then unconsciously the message, which that poster had, would also stick in your head, and I remember there was a baby who wasn't standing and he was smiling, that tiny baby was smiling, but the poster didn't advertise any product, there were just two gigantic words written like this: ‘fozza itaglia’ and I don't think it was the World Cup or the European Football Championship, in short, months later, the political party of the same name was born (with the r instead of one of the 2 z's and without the g) in the second word, was this by chance? In my opinion it wasn't at all, associate a child of a few months with any product or name of anything, and you subconsciously associate the purity of a small child with this or that product, in this case with that party, there are marketing psychologists who study behind this not me, who is nobody. This is to say what? That even if you think of something else, when you hear a word that is repeated to you dozens, hundreds of times a day everywhere, in the end, you associate with that word the meaning given to it by the person who thought it up, without having time to go and verify: content and credibility, going beyond the form, which is very important today, often more so than the content itself, so everything that happens today is identical to what I have just described, albeit in a different form, that is, repeating the same words and concepts obsessively everywhere in every context, way and place: advertisements, TV programmes, TV commercials, radio, internet, mobile phones, songs, films, t-shirts, slogans etc... so that the common person, associates the purity of those words or that word , to concepts that they hear and see, willy-nilly, every hour of the day everywhere, to purity, so it passes the media and devious sounding message, rather than the actual concept and its real value, it is as if they wanted to take away our thirst with ham, saying the word inclusive over and over again, makes one lose sight of the concept of inclusiveness and how to apply it obviously in my opinion. I love inclusiveness, even when it wasn't, just a word that was repeated everywhere, even when it wasn't fashionable, especially when it wasn't a fashion, I love that way of people embracing differences, which are only richness, I love solidarity and understanding, I love differences but it annoys me when things are not true, and I feel it in my skin, when things are not true, no one has to tell me, no one has to confirm it, and it bothers me when things are not true, and they are facades, when certain words rather than expressing concepts, acts and values become empty boxes Text by Roberto Andreucci (piano player,piano teacher) and above all, free to say what he thinks and to think what he says, a living being who has no truth in his pocket to leave to posterity, Nor to teach anyone anything, Mine are just personal thoughts and reflections)

Gia' indubbiamente brani belli e indimenticabili, e sono brani strumentali di canzoni ben note all'epoca. Si riesce, pero' a pubblicare brani creati per essere solo strumentali, degli anni 70, che non siano brani strumentali di canzoni? Li cerco disperatamente... se qualcuno li pubblicasse gliene sarei davvero grato!

Buongiorno, avrei una domanda non so se può aiutarmi. Non capisco come mai non funziona il pedale del sustain con i suoni di organo. Lei sa il perché? La ringrazio

i nostri dischi ruclips.net/video/vLBHQwXTW5s/видео.html ruclips.net/video/Zp1i6GZQMik/видео.html

i nostri dischi ruclips.net/video/vLBHQwXTW5s/видео.html ruclips.net/video/Zp1i6GZQMik/видео.html

i nostri dischi ruclips.net/video/vLBHQwXTW5s/видео.html ruclips.net/video/Zp1i6GZQMik/видео.html

i nostri dischi ruclips.net/video/vLBHQwXTW5s/видео.html ruclips.net/video/Zp1i6GZQMik/видео.html

JAZZ ALLA VECCHIA original pieces by Roberto Andreucci dedicated to Duke Ellington and Billy Strayhorn Our first record ruclips.net/video/vLBHQwXTW5s/видео.htmlsi=tpvadsl28Nf-eYHE

JAZZ ALLA VECCHIA pezzi originali di Roberto Andreucci dedicati a Duke Ellington e Billy Strayhorn il nostro primo disco ruclips.net/video/vLBHQwXTW5s/видео.htmlsi=tpvadsl28Nf-eYHE

RAGTIME MOMENTS (2024) ruclips.net/video/Zp1i6GZQMik/видео.html

RINGRAZIO DI CUORE Emiliano Degl'Innocenti che è partito da casa sua,da dove vede il mare, da dove c'è silenzio, per venire a Sesto Fiorentino a registrare, affrontando il traffico tentacolare di una piccola città come Firenze (e hinterland) che son diventati un delirio, una lavatrice di rumori.................. malgrado ciò c'ha messo cuore,anima,spirito giusto e sorriso sulle labbra sempre componenti fondamentali per suonare questa musica, che senza leggerezza e sorrisi non si suona RINGRAZIO ANCHE Franco Berlinghieri Poggiali facebook.com/Artestudio53/ per con lui tutto è più semplice, con lui si pensa solo alla musica, il clima allo studio qualsiasi musica si registri è sempre splendido, e sia che si registri li,che a casa mia col suo studio mobile, la sua gentilezza,competenza e tranquillità sono sempre valori aggiunti, e se per caso può capitare un intoppo, Franco pensa sempre a come risolverlo subito, più che al problema ecco perchè da anni e per tanto ancora (fin a che le dita e le idee mi sosterranno) registrerò da lui e con lui THANK YOU FROM THE BOTTOM OF MY HEART Emiliano Degl'Innocenti Who left his home, from where he sees the sea, from where there is silence, to come to Sesto Fiorentino to record, facing the sprawling traffic of a small town like Florence (and its hinterland) that have become a delirium, a washing machine of noises.................. Despite this, He put his heart, soul, right spirit and smile on his lips always fundamental components for playing this music, That without lightness and smiles you can't play I WOULD ALSO LIKE TO THANK YOU Franco Berlinghieri Poggiali facebook.com/Artestudio53/ For him everything is simpler, with him you only think about music, the atmosphere at the studio, whatever music is recorded, is always splendid, And whether he records there, or at my house with his mobile studio, his kindness, competence and tranquility they are always added values, And if by chance a hitch happens, Franco is always thinking about how to solve it right away, more than the problem That's why for years and for a long time (as long as my fingers and ideas support me) I'll be recording with him and with him

(il disco è stato registrato in presa diretta,senza sovraincisioni) (the album was recorded live, without overdubs)

After years of "sonic militancy as human musical backgrounds" in: restaurants, hotels, wineries, more or less welcoming clubs, taverns and the like, With this wonderful music that is ragtime (the jazz of the beginning of the last century) ruclips.net/video/Gz-Q4eXy7_g/видео.htmlsi=p-R_fP3hSFS8BJHk ruclips.net/video/2Y0gAIG0uIU/видео.htmlsi=9HGYZbB5tr2Th19B The Octopus Jazz Duo (sprawling jazz) He can afford to have his say on this wonderful music. As a line from the film "The Legend of the Pianist on the Ocean" said: "Ragtime is the music that God dances to, when no one sees it." With our great humility but also our great love and dynamic-timbric-expressive baggage, towards this magnificent music,We felt the need to record on record, some songs that are closest to our hearts, so as to close a circle, now that we play this music and in general, much much less than before live, it is like witnessing, in some way with this recording, the attachment to the sound, to the history, to the depth, to the lightness, that this music gives to those who play it, to the state of mind that is always deep and light at the same time that we have, noting that when you play this music with your heart, wherever you play it in the world, this music generates smiles, lightness and depth at the same time, in those who perform it and also in those who listen to itAnd it is, in my opinion, a healthy bearer of good humor and lightness, and in these dramatically complex, hard and very rich in fiction times, these are absolutely necessary elements. My bond with Emiliano Degl' Innocenti is deep, he is one of those very few musicians, who from March 2020 onwards, with sincerity and without ulterior motives, has remained close to me, looking for human contacts, simple greetings, and emails, meetings, digressions on the Florentine steak (the team and the steak)and on other things, shared lampredotto sandwiches, all this in addition to the music, made him deserve another special and true mention with another album together, after sharing JAZZ ALLA VECCHIA where we always played ragtime music, but in that case, it was my original, ruclips.net/video/vLBHQwXTW5s/видео.htmlsi=Lysl7X7drBqpK9oA Coming there too, with his double bass and his sensitivity, as well as the vertical piano (without tuning it) of Franco Berlinghieri Poggiali's studio, facebook.com/Artestudio53/ I wanted our repetitive instruments to come together once again, to really testify to the deep love for this jazz in the old way,And whose notes are lost in the mists of time and to which we are very very attached, with thoughts I must say at the end of the recording, we imagined ourselves too, traveling to play it on an imaginary ship or in a smoky and dark jazz club, with the warmth of midnight blue lights and glasses, cups and cutlery, clinking to the rhythm of this old swing.There are also 5 original songs of mine, recently written in ragtime style and a very old one like "Stupidissimo blues" which has always been for me and Emiliano (and all the musicians with whom I played it) the blues played just before the breaks, (by now it was like a fixed fee, playing it before going out to smoke and have a chat). In the Epilogue, to close the album, my tribute to two historical songs, Ja-Da one of the first ragtime themes and Nonsense Song interpreted by that absolute genius Charlie Chaplin in Modern Times, to close the Epilogue, my tribute to an absolute genius, immense and unforgettable for me, Lelio Luttazzi, Homepage - Lelio Luttazzi Official Website with his song, Old America, ruclips.net/video/K_OPwbL8nv0/видео.htmlsi=Y4MPBo_tvmymgIJm ruclips.net/video/EcjXQQ9rVjk/видео.htmlsi=O8jAlvpugaKsELvx where I even try my hand, even as a "rattler of notes and words", in both cases, I played everything on the vertical piano of the house (with the mute), filtering it with vinyl effects, because I wanted to have a sound as if it really came from the early '900. N.B. The rustle as if from a vinyl, which can be heard from beginning to end, in a more or less accentuated way, it could be to the ears of most, as my wife Mari told me, a bit didactic, but I do not agree with this legitimate observation of yours, That's how I heard it, and that's because in those years records were played on 78 rpm from gramophones and then from turntables and that was and is, a music "full of background noise" And even though this record, we played and recorded it in April 2024 I felt deeply to pay homage in this way as well, to that world, made up of brothels, orchestras, people dancing, glasses, cutlery, smoky clubs, tap shoes, horn noises, megaphones, or street bands playing and New Orleans and people screaming from the windows and in the street. I DEDICATE THIS RECORD TO TWO PEOPLE WHO ARE SPECIAL TO ME AS IS THIS MUSIC THAT WE RECORDED, THAT IS IN A PRIVILEGED PLACE IN MY HEART IN MEMORY OF TROMBONIST AND SINGER MAX PALCHETTI In memory of Max Palchetti (jazznellastoria.it) WHO LOVED THIS MUSIC SO MUCH AND THAT I GOT TO APPRECIATE LISTENING TO IT SO MANY TIMES MANY MANY YEARS AGO AT THE JAZZ CLUB IN FLORENCE, IN VIA NUOVA DE CACCINI STARTING FROM HOME (by scooter, bike or car) SPECIFICALLY TO GO AND LISTEN TO HIM EVERY TIME HE PLAYED THERE, WITH ITS FANTASTIC "RED BEAN JAZZERS OF FLORENCE" ruclips.net/video/XaKva8gjfpk/видео.htmlsi=nbnuuMqIiL5ySAiv ruclips.net/video/DnToedWDmO8/видео.htmlsi=eHcHtF1enjb7_uwx ruclips.net/video/SOP5DfYSezo/видео.htmlsi=f_egKUUwbx9X2XhF AND OF WHICH I BOUGHT A CASSETTE THAT YEARS AGO I LISTENED TO A LOT I REMEMBER IN THE BATHTUB AT MY IN-LAWS' HOUSE IN TARQUINIA I SPENT AT LEAST AN HOUR EACH TIME RELAXING IN THE HOT WATER, LISTENING TO THEIR MUSIC, CASSETTE, WHICH ALAS I DON'T KNOW WHERE IT WENT, BUT THEY WILL REALLY REMAIN IN MY HEART FOR MANY REASONS: FOR THEIR MUSIC, FOR THEIR GRACE, FOR THEIR KINDNESS, FOR THEIR FRIENDLINESS AND FOR THE DEEP LOVE THEY HAD FOR THIS MAGNIFICENT MUSIC FULL OF SOUL. And TO THE SINGER, SINGING TEACHER AND FRIEND NADIA ANGILELLA www.youtube.com/@nadiaangilella5735 ruclips.net/video/1hQ-2gj6BdU/видео.html www.youtube.com/@nadiaangi WITH WHOM I SHAED THIS MUSIC MANY TIMES IN CLUBS IN FLORENCE AND ITS SURROUNDINGS IN THE EARLY '90S, THAT ANCIENT AND PURE JAZZ, IN FACT, EVEN TODAY, WHEN WE MEET AGAIN,SHE AND I CALL EACH OTHER "THE ANCIENTS." I LEARNED A LOT FROM HER LISTENING TO THIS MUSIC AND MANY OTHER JAZZ SONGS IN THE OLD WAY, MANY OF THEM ITALIAN, AND EVEN TODAY, AFTER MANY YEARS, EVEN THOUGH WE HAVEN'T PLAYED TOGETHER SINCE THAT TIME, WE ARE IN FRIENDLY CONTACT AND EVERY NOW AND THEN WE SEE EACH OTHER WITH GREAT PLEASURE, FOR DINNERS TOGETHER WITH MY WIFE AND OTHER MUTUAL FRIENDS, OLD FASHIONED, MANY OF THEM ARE ALSO ITALIAN, AND EVEN TODAY, AFTER MANY YEARS, EVEN THOUGH WE HAVEN'T PLAYED TOGETHER SINCE THAT TIME, WE ARE IN FRIENDLY CONTACT AND SOMETIMES WE SEE EACH OTHER WITH GREAT PLEASURE, FOR DINNERS TOGETHER WITH MY WIFE AND OTHER MUTUAL FRIENDS, AND I MUST SAY THAT IF I STILL APPRECIATE, I PLAY AND LOVE RAGTIME, JAZZ IN THE OLD WAY, I OWE A LOT TO HER TOO. N.B THE GHOST TRACK (which comes about 30 seconds after Lelio Luttazzi and Vittorio Mascheroni's Old America) IT'S THE FINAL MONOLOGUE OF DANNY BOODMAN T.D. LEMON TWENTIETH CENTURY ruclips.net/video/m1B9a4LkO2s/видео.htmlsi=XGBDaWwe_jaSX-ZZ (who was orphaned and was adopted by the ship's crew, Always living on a ship playing the piano, never getting off and learning to play the piano wonderfully as a self-taught, who played and improvised, looking at the faces and movements of the people on board and from them he drew inspiration for what he played, he accompanies the guests of the ship who gradually came on board over the years. When, years later, the ship had been stopped for a long time, it would have been blown up before this in the end, his trumpeter friend Max Tooney, who had played them with him so many times, still imagined that Novecento had remained on board, and he was right, and he went on board to try to convince him before the explosion to try to get him off, Despite everyone convincing him that there could be no one on the ship,instead Max was right, Novecento had remained there hidden and even though he knew that the ship was about to explode, and he candidly explained to his trumpeter friend Max, (who was happy to see again for the many notes and moments together that linked them) what were the reasons why he preferred to stay there and why he did not want to get off)

Dopo anni di “militanza sonora come sottofondi musicali umani” in: ristoranti, alberghi, vinerie, locali più o meno accoglienti, bettole e affini, con questa musica meravigliosa che è il ragtime (il jazz dell'inizio del secolo scorso) ruclips.net/video/Gz-Q4eXy7_g/видео.htmlsi=p-R_fP3hSFS8BJHk ruclips.net/video/2Y0gAIG0uIU/видео.htmlsi=9HGYZbB5tr2Th19B ormai anche l'Octopus Jazz Duo (jazz tentacolare) può permettersi di dire la sua, su questa musica meravigliosa. Come diceva una frase del film “La leggenda del pianista sull'oceano : ”il ragtime è la musica su cui Dio balla, quando non lo vede nessuno”. Con la nostra grande umiltà ma anche il nostro grande amore e bagaglio dinamico-timbrico-espressivo, verso questa magnifica musica, abbiamo sentito la necessità di registrare su disco, alcuni brani che ci stanno più a cuore, così da chiudere un cerchio, ora che suoniamo questa musica e in generale, molto molto meno di prima dal vivo, è come testimoniare, in qualche modo con questa registrazione, l'attaccamento al suono, alla storia, alla profondità, alla leggerezza, che questa musica da a chi la suona,allo stato d'animo sempre profondo e leggero allo stesso contempo che abbiamo,notando che quando si suona col cuore questa musica, ovunque la si suoni nel mondo , questa musica generi sorrisi,leggerezza e profondità allo stesso tempo, in chi la esegue ed anche in chi la ascolta,ed è a mio avviso, portatrice sana di buon umore e leggerezza, ed in questi tempi drammaticamente complessi,duri e molto ricchi di finzione, questi, sono elementi assolutamente necessari. Il mio legame con Emiliano Degl' Innocenti è profondo, lui è uno di quei pochissimi musicisti, che dal marzo 2020 in poi ,con sincerità e senza secondi fini, mi è rimasto vicino, cercando con me, contatti umani,semplici saluti,e mail,incontri, digressioni sulla fiorentina (la squadra e la bistecca) e su altro, panini al lampredotto condivisi , tutto questo oltre alla musica, ha fatto si che lui si meritasse un'altra menzione speciale e vera con un altro disco insieme, dopo aver condiviso JAZZ ALLA VECCHIA dove suonavamo sempre musica ragtime, ma in quel caso , era originale mia, ruclips.net/video/vLBHQwXTW5s/видео.htmlsi=Lysl7X7drBqpK9oA venendo anche li, col suo contrabbasso e la sua sensibilità, così come il piano verticale (senza accordarlo) dello studio di Franco Berlinghieri Poggiali facebook.com/Artestudio53/ e volevo, ci tenevo che i nostri ripettivi strumenti, si unissero ancora una volta, per testimoniare davvero l'amore profondo per questo jazz alla vecchia maniera, le cui note si perdono nella notte dei tempi e a cui siam molto molto legati, coi pensieri devo dire a fine registrazione, ci siamo immaginati anche noi, in viaggio a suonarla su una nave immaginaria o in un jazz club fumoso e buio, col calore di luci blu notte e bicchieri tazzine e posate, che tintinnavano a ritmo di questo vecchio swing . Ci sono anche 5 pezzi miei originali, scritti recentemente in stile ragtime e uno molto vecchio come “Stupidissimo blues” che è sempre stato per me e Emiliano (e tutti i musicisti con cui l'ho suonato) il blues suonato poco prima delle pause , (ormai era come una tassa fissa,suonarlo prima di uscire fuori a fumare e a far 2 chiacchiere). Nell'Epilogo, per chiudere il disco, il mio tributo a due canzoni storiche ,Ja-Da uno dei primi temi ragtime e Nonsense Song interpretata da quel genio assoluto di Charlie Chaplin in Tempi Moderni,per chiudere l'Epilogo, il mio omaggio ad un genio assoluto ,immenso e per me indimenticabile, Lelio Luttazzi, Homepage - Lelio Luttazzi Official Website con la sua canzone, Vecchia America, ruclips.net/video/K_OPwbL8nv0/видео.htmlsi=Y4MPBo_tvmymgIJm ruclips.net/video/EcjXQQ9rVjk/видео.htmlsi=O8jAlvpugaKsELvx dove mi cimento addirittura, anche come “rantolatore di note e parole”, in entrambi i casi, ho suonato tutto sul piano verticale di casa (con la sordina), filtrandolo con effetti di vinile, perchè volevo avere un suono come se venisse veramente dai primi del '900. N.B. Il fruscio come da un vinile, che si sente da inizio a fine,in maniera più o meno accentuata, potrebbe essere alle orecchie dei più, come mi ha detto mia moglie Mari, un po didascalico, ma io non sono d'accordo con questa sua pur legittima constatazione, io l'ho sentita così, e questo perchè in quegl'anni i dischi si ascoltavano a 78 giri dai grammofoni e poi dai giradischi e quella era ed è, una musica “piena di rumori di fondo” ed anche se questo disco,l'abbiamo suonato e registrato nell'aprile 2024 io ho sentito profondamente, di rendere omaggio anche in questo modo, a quel mondo, fatto di bordelli, orchestre, gente che ballava,.bicchieri,posate, locali fumosi, scarpe da tip tap, rumori di clacson, megafoni, oppure street band che suonavano e New Orleans e gente che strillava dalle finestre e per strada. DEDICO QUESTO DISCO A DUE PERSONE SPECIALI PER ME COSI' COME LO E' QUESTA MUSICA CHE ABBIAMO REGISTRATO , CHE STA IN UN POSTO PRIVILEGIATO DEL MIO CUORE ALLA MEMORIA DEL TROMBONISTA E CANTANTE MAX PALCHETTI www.jazznellastoria.it/palchetti.html CHE TANTO HA AMATO QUESTA MUSICA E CHE HO AVUTO MODO DI APPREZZARE ASCOLTANDOLO TANTISSIME VOLTE MOLTI MOLTI ANNI FA AL JAZZ CLUB DI FIRENZE,IN VIA NUOVA DE CACCINI PARTENDO DA CASA(in scooter,in bici o in macchina) APPOSITAMENTE PER ANDARLO AD ASCOLTARE OGNI VOLTA CHE SUONAVA LI, CON I SUOI FANTASTICI “RED BEAN JAZZERS OF FLORENCE” ruclips.net/video/XaKva8gjfpk/видео.htmlsi=nbnuuMqIiL5ySAiv ruclips.net/video/DnToedWDmO8/видео.htmlsi=eHcHtF1enjb7_uwx ruclips.net/video/SOP5DfYSezo/видео.htmlsi=f_egKUUwbx9X2XhF E DI CUI ACQUISTAI UNA MUSICASSETTA CHE ANNI FA ASCOLTAI MOLTISSIMO RICORDO NELLA VASCA DA BAGNO IN CASA DEI MIEI SUOCERI A TARQUINIA SARO' STATO COME MINIMO UN'ORA OGNI VOLTA A RILASSARMI NELL'ACQUA CALDA,ASCOLTANDO LA LORO MUSICA, MUSICASSETTA, CHE AHIME' NON SO PIU' DOVE SIA ANDATA A FINIRE, MA MI RIMARRANNO DAVVERO NEL CUORE PER TANTI MOTIVI: PER LA LORO MUSICA, PER LA LORO GRAZIA, PER LA LORO GENTILEZZA, PER LA LORO CORDIALITA' E PER AMORE PROFONDO CHE NUTRIVANO PER QUESTA MAGNIFICA MUSICA RICCA DI ANIMA. E - ALLA CANTANTE, INSEGNANTE DI CANTO E AMICA NADIA ANGILELLA www.youtube.com/@nadiaangilella5735 ruclips.net/video/1hQ-2gj6BdU/видео.html www.youtube.com/@nadiaangi CON LA QUALE TANTE VOLTE IN LOCALI DI FIRENZE E DINTORNI NEI PRIMI ANNI '90 HO CONDIVISO QUESTA MUSICA, QUEL JAZZ ANTICO E PURO, INFATTI ANCORA OGGI QUANDO CI RIINCONTRIAMO, IO E LEI CI CHIAMIAMO RECIPROCAMENTE “GLI ANTICHI”. DA LEI TANTO HO IMPARATO ASCOLTANDO QUESTA MUSICA E TANTE ALTRE CANZONI DI JAZZ ALLA VECCHIA MANIERA,MOLTE ANCHE ITALIANE, E ANCORA OGGI, A DISTANZA DI TANTISSIMI ANNI, PUR NON SUONANDO PIU' INSIEME DA QUEL TEMPO, SIAMO AMICHEVOLMENTE IN CONTATTO E OGNI TANTO CI VEDIAMO CON GRANDISSIMO PIACERE, PER CENE INSIEME CON MIA MOGLIE E ALTRI AMICI COMUNI,E DEVO DIRE CHE SE ANCORA OGGI APPREZZO,SUONO E AMO IL RAGTIME, IL JAZZ ALLA VECCHIA MANIERA, LO DEVO MOLTO ANCHE A LEI . N.B LA GHOST TRACK (che arriva 30 secondi circa dopo Vecchia America di Lelio Luttazzi e Vittorio Mascheroni) E' IL MONOLOGO FINALE DI DANNY BOODMAN T.D. LEMON NOVECENTO ruclips.net/video/m1B9a4LkO2s/видео.htmlsi=XGBDaWwe_jaSX-ZZ (che era orfano e fu adottato dal personale di bordo, vivendo sempre su una nave suonando il piano, senza mai scendere e imparando a suonare il piano meravigliosamente da autodidatta,che suonava e improvvisava,guardando i volti e le movenze delle persone a bordo e da quelle traeva ispirazione per quello che suonava, accompagna gl'ospiti della nave che via via negl'anni salivano a bordo. Quando dopo anni, la nave ormai ferma da tempo, sarebbe stata fatta esplodere prima di questo alla fine, il suo amico trombettista Max Tooney, che tante volte li aveva suonato con lui, immaginava ancora che Novecento fosse rimasto a bordo,ed aveva ragione, e salì a bordo per provare a convincerlo prima dell'esplosione per cercarlo di farlo scendere, malgrado tutti lo convincessero che non poteva esserci nessuno sulla nave, invece Max aveva ragione, Novecento era rimasto li nascosto e pur sapendo che la nave stesse per esplodere,e lui candidamente spiegò al suo amico trombettista Max,(che era contento di rivedere per le tante note e momenti insieme che li legavano) quali erano i motivi del perchè lui preferiva rimanere li e del perchè non volesse scendere)

"Io sono quello...👍" "ed ho capito che sei quello... 👍" Per tutto il film, Bombolo non perde occasione per ribadirlo. 🤣😂

Complimenti! Interpreti con il cuore.

I've had this record in my head for many years really, I always think a lot when I have to record music that is not mine, because I always think it's not necessary, there is the original which is beautiful, why make your own version as much as I can Credible as it may be, it is a makeover and very often remakes are always superfluous But in this case there was a lot of push to want to play them I hadn't yet chosen which pieces of soundtracks, whether alone or in the company of at least one other musician, and whether to play the electric piano, organ, or acoustic piano. I opted to record it alone with the vertical plane with the mute inserted, which is that element in upright pianos, which I like infinitely, First of all, because it takes me into sound worlds, naturally dreamlike, magical, rhythmic or slow, but still in an absolutely pure and unique dimension. When I teach children and to introduce them to the sounds of the piano, In addition to opening the lid and making them say, their name as soon as they enter class with me, with the sustain pedal engaged (academically called a resonance pedal), children are amazed to hear their voice almost endlessly, with the natural echo given by the soundbox of the instrument (even upright pianos have an excellent resonance not only the baby grand or grand pianos), and in any case when I insert the mute, And I make them play at random, rubbing from one side of the keyboard to the other, I named this way "Piano Mare" and they now call it that too, because they look like the waves of the sea, the notes with the mute inserted.I said this because, after choosing which wonderful themes I wanted to record, For me it was and always is important to understand and feel, how I want to represent them on a sonic level, That's why I chose the sound of the vertical piano with the mute always on, And with that dreamlike and absolutely dreamy way, I wanted to give my own version of these magnificent compositions (improvising the essentials between one theme and another) , Compositions that are printed in the history of cinema and in the ears of all those of my generation and before, who have been able to appreciate them and still appreciate them, when I see the films for which they were composed, by all the great and extraordinary composers I have chosen, who are deeply dear to me. In my history as a musician, but above all as a great film lover, not of television series but of that cinema seen and experienced at the cinema (or seen again at home), containing stories, atmospheres, actors and music, which have a beginning and an end and above all a non-frenetic and compulsive development, as series often have, generating in people (often) a collective bulimia, in recording them and then watching 4-5 episodes in a row. On the other hand, I like cinema (even on the sofa at home but obviously more in cinemas) But I want to live the magic properly: in the dark, without cell phone, without talking to anyone (before, during and after), without chatting with anyone,but above all, letting it settle in me, the emotions I felt through moving images, through the stories, the music with what they leave me forever inside. I've always been a curious person and this implies that I am also curious towards the future, modernity and innovations, but I always start from the assumption that I can always choose. If today everyone only watches series, and no longer goes to the cinema, is there a reason? I always want to choose and never submit to a common thought regardless,the emotions that cinema and its music give me and has given me to this day, I'm an incontrovertible value and any "cancel culture" won't succeed in me, to erase even one of the emotions I felt when I entered a cinema. That's why I recorded this record, because of the value of memory That's why I dedicate it to myself, and to those who love "that cinema" from which these magnificent themes come,(which of course I recommend to anyone, to listen to them in the original versions, LIKE THOSE OF THE LINKS I HAVE ATTACHED UNDER THE TITLES that in general they are always the best possible versions, maybe enjoying them while watching those movies as well). In the ghost track and on the album cover, I wanted to pay homage to the typical Florentine spirit melancholic, playful, scathing, unexpected and brilliant, even in complicated moments, paying homage to the "gypsy" of Amici miei, which was synonymous with pure and revolutionary freedom, at least in those times. ,