New Interview with LUCIANO MARGORANI (LA1919)

After 24 Years we propose you a new Interview with Luciano

I would like to start with the last question of our interview of 1989, which will be much more difficult for you to answer now. Which are your preferred 3 books, films and records of the 20^th century?

I will answer soon without thinking very much about it:

Books: Michel Houellebecq “ Extension du domaine de la lutte” Joe Boyd  "White bicycles: making music in the 60's", Filippo Timi "Peggio che diventare famoso".

Films :  "Shutter island" Scorsese, "Nothing to Hide" Haneke e "The Hunt" Thomas Vinterberg.

Records : Radiohead "Kid A", Richard Thompson "Front parlour ballads", Battles "Mirrored"

I’ve seen that your activity has grown a lot since your first record could you describe us the most significant steps of you musical path ?

I have first  to say that La 1919 has never been a group with a continuous activity, for many reasons we had short  and long pauses, we could call them pauses of reflection. After one of these pauses in  2004 I published my second solo disc “My favourite things” containing guitar duets ( but not exclusively) coming from distant recordings with any of my favourite guitarists (Elliott Sharp, Derek Bailey, Eugène Chadbourne, Nick Didkovsky  among others). Previously in 1998 during another pause I recorded “Vendetta” and made some concerts in duo with the percussionist Roberto Zanisi. Then in 2008 “Pseudocanzioni” was published, a collection of songs with texts and voices of Umberto Fiori and Elaine di Falco and with the drumming of Chris Cutler. Finally in 2009 “Solo Concert” a live recording of one of my very rare solo concerts which I’m very proud of. It was published by Stella Nera the label of Marco Pandin.

I think Italian scene is more asphyctic now than in 1989, what you think about it?

Do you really think  an Italian scene exists? And if so considering which kind of music? Sincerely I don’t pay much attention to it … I don’t think that at present I could find many interesting things. I like Yugen, Ferrian’s NuTimbre, Artchipel Orchestra… I don’t see any other group at present if I don’t consider the past.

                                                     

I noticed that recently your activity as a soloist or the one in collaboration with other musicians became prevalent towards the one with La 1919. Can you explain us why?

Simply because the familiar and work occupations of my group mate Piero Chianura have become more intense, on the contrary mine have diminished and my time for music augmented (my son Luca is 23 now and the two sons of Piero are still children). So I decided to develop my solo work, with different projects going from improvised music to songs , poetry and music and even a saltuary participation in the Artchipel Orchestra of Ferdinando Faraò.

I’ve seen some concerts of La 1919 ,during last years,  in an “enlarged line-up”. Did you find a stable solution from this point of view or the musicians you collaborate with will be changing continuously?

 If you are speaking about last 3 years we are playing in a stable manner with this  pleasant and peculiar drummer whose name is Federico Zenoni. So after years of electronic drums, pre-registered rhythmic bases and digital samples in the end we finally have a real drummer! We had sometimes someone else but it was somehow occasional, I would say the stable line up is the trio.

Your collaborations with the sacred monsters of “our” music were very frequent since our last interview , did this enrich you from a musical and human point of view?

Surely from a musical point of view this is true. Speaking about the human point of view it depends from person to person…. Not everyone was friendly and simple as I thought. Obviously no names about it.                                                      

Your last record as La 1919 is already 7 years old do you have any news from this point of view ?

 

Next January we should record a live studio record as a trio, playing what we normally play during our rare concerts. We have some re-elaborations of old pieces from the end of the 80’s beginning of the 90’s and also some recent compositions for our above mentioned trio.

Sometimes ago I assisted to your concert with Amy Denio that I found very interesting, which is your relationship with Amy ? Is there the possibility of future collaborations with her?

I really have an awful remembrance of that concert because I was physically in a bad state and I don’t really remember what came out that night……

With Amy everything is possible, she is very helpful and enthusiastic and it is not excluded that we will do something together in the future.

Concerning other future collaborations I have a project of my songs sung by Elaine di Falco of Thinking Plague and produced together with Luca Pissavini, the bassist of Fracture. Then also a collaboration with Chris Cutler , my favourite drummer of all time. I just received his rhythm tracks on which I’m going to work soon .

Are your reference guitarists still Bob Fripp and Bill Frisell or is there someone else?

When I spoke about Fripp, also 24 years ago, I always meant the period between 69-79, let’s say just up to The League of Gentlemen, before he started with the diabolic “Roland guitar Synthesiser” that I think has ruined him.. His last solo projects , the Soundscapes with or without Theo Travis, are in my opinion terribly boring.

I liked Frisell very much just to his country-rock choice of the mid 90’s, after that I consider him always less interesting…anyhow he remains technically a great guitarist and if I will have the opportunity in the future  I surely will go  to attend his concerts.

Didn’t I mention Fred Frith during last interview? Very strange… he with Bob Fripp and Phil Miller was a very important referential peak of my adolescence . I think that also Fred Frith .. has already given his best sometimes ago but if there will be one of his solo concerts, (his best kind of performance) I surely won’t miss it.

I noticed  that your relationship with the musical scene of Milan has became deeper, and I am mainly speaking about former Stormy Six members, can you tell us how started your collaboration with Umberto Fiori?

It started in a very simple way; being since long time an estimator of the texts and poetries of Umberto I decided to contact him in order to ask him to  write the texts and sing some songs of “Pseudocanzoni” my solo record of 2008; He was very happy with that experience so we decided to start a  new project together including voice, electric guitar and looper, to be proposed in concert. This project featured some new songs of my own and arrangements of other existing songs of Stormy Six members. This brought finally to the recording of “Sotto gli occhi di tutti” and to  some concerts that followed.

Are Fracture an outburst or a lasting project? What’s the place of improvisation in your musical experience?

I think and hope that Fracture will be a stable project, I’m working in a very good way with Luca Pissavini and Ferdinando Faraò. Next year  will be the year of our second record, that is already recorded and is ready for pressing.

I always considered improvisation as a way of making music and not as a musical stream. What we do, for example, when we try for the first time to play an instrument we don’t know and we make some uncontrolled noises. That’s improvisation. I don’t have a particular interest towards codified non- idiomatic improvisation (even if after 40 years also this kind of improvisation has become idiomatic) or radical on its own. I think that improvisation has to contain many different elements… melody, atonality, rhythm, arrythmia, noise, silence and variable dynamics.. If we put some fixed points this is not improvisation anymore but a kind of non conventional composition.

 

                                                            

Did your relationship with music change since our last interview?

I will say no. I don’t live only  on my music and mainly I don’t depend economically on it. So this gives me the opportunity to do exclusively what I really want, not considering commercial returns. That means I don’t have to do musical compromises to live. Furthermore  there are so many nice and important things in life not considering only music. Surely music has an important role in my life but I won’t be one of those who spend their lives speaking all day about music…. May be at  51 I probably will be able to avoid this danger for the future?

Are there any musicians you would like to collaborate with in the future?

Sure, Martin Brandlmayer, for example ,an Austrian drummer who has an unique style mixing in an excellent way acoustics and electronics. Than John Tilbury, John Surman, Thomas Lehn,Julie Tippets…Jonny Greenwood… Fiona Apple………..

A small video of Luciano and Umberto in 2008

And here also the italian version

-Incominciamo dall'ultima domanda dell'intervista del 1989,  che però diventa molto più difficile, i tre libri, i tre film ed i tre dischi del 20° secolo secondo Luciano Margorani ?

-Te li dico senza pensarci tantissimo :

Libri : Michel Houellebecq "Estensione del dominio della lotta", Joe Boyd  "White bicycles: making music in the 60's", Filippo Timi "Peggio che diventare famoso".

Film :  "Shutter island" di Scorsese, "Niente da nascondere" di Haneke e "Il sospetto" di Thomas Vinterberg.

Dischi : Radiohead "Kid A", Richard Thompson "Front parlour ballads", Battles "Mirrored"

-Mi sembra che dal tuo primo disco la tua attività solista e quella di gruppo abbiano conosciuto ampi sviluppi, puoi riassumerci i passaggi piu importanti?

-Bisogna premettere che i La 1919 non sono mai stati un gruppo dall'attività continuativa, per vari motivi abbiamo avuto brevi e lunghe pause, chiamiamole di "riflessione".

Dopo la "messa in pausa temporanea" dei La 1919 del 2004 ho pubblicato il mio secondo disco-solo "My favorite strings" contenente duetti chitarristici (ma non solo) registrati "a distanza" con alcuni dei miei chitarristi preferiti (Elliott Sharp, Derek Bailey, Eugène Chadbourne, Nick Didkovsky  tra gli altri). In precedenza, nel 1998 durante una di queste famose pause ho registrato il disco "Vendetta" e fatto alcuni concerti in duo col percussionista Roberto Zanisi. Nel 2008 è stato pubblicato "Pseudocanzoni", raccolta di canzoni con testi e voci di Umberto Fiori e Elaine di Falco e ospite alla batteria Chris Cutler, nel 2009 è la volta di "Solo Concert", registrazione dal vivo di uno dei miei rarissimi concerti in solo di cui sono molto orgoglioso, pubblicato da Stella*Nera , l'etichetta di Marco Pandin.

-Ritengo che la scena italiana sia diventata piu asfittica di quello che era nel 1989, cosa ne pensi?

-Esiste davvero una scena italiana ora ? Rispetto a quale musica poi ?

Sinceramente non ci ho mai badato molto...non trovo che ora ci siano cose particolarmente interessanti per me.Apprezzo gli Yugen, i Ferrian's NuTimbre, l'Artchipel Orchestra...non mi vengono in mente altri nomi ora, a meno che non si voglia tornare al passato...

-Ho notato  che la tua attività da solista o quella di collaborazione con altri musicisti ha preso il sopravvento rispetto a quella con gli La 1919. Perchè?

-Semplicemente perchè gli impegni familiari e lavorativi del mio collega Piero Chianura negli ultimi anni si sono intensificati, mentre i miei si sono abbastanza diradati e quindi ho a disposizione un discreto lasso di tempo libero da dedicare alla musica.(Mio figlio Luca ha ormai 23 anni, i due figli di Piero sono ancora dei bambini piccoli), quindi ho deciso di fare delle cose a mio nome, progetti diversi che vanno dalla musica improvvisata alle canzoni alla musica e poesia e anche una partecipazione saltuaria nella già citata Artchipel Orchestra di Ferdinando Faraò.

-Ho assistito negli ultimi anni a dei concerti degli La 1919 in "formazione allargata" avete trovato una soluzione stabile da questo punto di vista o i musicisti con cui collaborate sono destinati a cambiare continuamente? 

-Se parli degli ultimi tre anni stiamo suonando stabilmente con questo simpatico ed estroso batterista di nome Federico Zenoni, dopo anni di batterie elettroniche, basi ritmiche preregistrate e campioni digitali finalmente abbiamo un batterista in carne ed ossa ! E' capitato che ci fosse qualche ospite ma niente di definitivo, direi che la formazione stabile per ora è questa del trio.

-Il vostro ultimo disco come La 1919 risale ormai al 2005 avete novità da questo punto di vista?

-Il prossimo gennaio 2013 dovremmo registrare in trio un disco dal vivo "in studio", suonando il repertorio che è poi quello che ora eseguiamo regolarmente nei nostri rari concerti, ci sono rielaborazioni di pezzi molto vecchi della fine anni '80-inizio '90 e anche cose composte recentemente proprio per questa formazione.

-Le tue collaborazioni con mostri sacri della "nostra" musica sono state frequentissime dalla nostra ultima intervista, questo ti ha arricchito da un punto di vista musicale e da un punto vista umano?

-Da un punto di vista musicale sicuramente, rispetto a quello umano dipende dalle persone... senza fare nomi, non tutte si sono dimostrate amichevoli e semplici come pensavo.

-Tempo fa ho assistito ad un tuo concerto con Amy Denio che ho trovato molto interessante, quali sono i vs. rapporti? Ci sono prospettive di collaborazioni future?

Ho davvero un brutto ricordo di quel concerto perchè quella sera stavo fisicamente malissimo e non ricordo bene cosa ne sia uscito...Con Amy Denio tutto puo' succedere, è una persona talmente disponibile e entusiasta che non è escluso si faccia ancora qualcosa insieme in futuro.

Riguardo ad altre collaborazioni future ho in piedi un progetto di mie canzoni cantate da Elaine di Falco dei Thinkink Plague e prodotte insieme a Luca Pissavini, il bassista di Fracture. E poi una collaborazione con Chris Cutler, il mio batterista preferito di sempre.Ho ricevuto proprio in questi giorni alcune sue basi di batteria sulle quali lavorerò al più presto.

 -I tuoi due chitarristi di riferimento sono sempre Fripp e Frisell o si è aggiunto qualcun altro nel frattempo?

-Quando parlavo di Fripp anche 20 anni fa mi riferivo sempre a quello del periodo 69-79, diciamo fino alla League of Gentlemen, prima che incappasse il quella diavoleria del "Roland guitar synthesiser" che a parere mio lo ha decisamente rovinato...le sue ultime cose da solo, i Soundscapes con o senza Theo Travis, li trovo mortalmente noiosi.Frisell mi è piaciuto molto fino alla svolta country-rock della metà anni '90, poi per me è diventato sempre meno interessante...rimane comunque un grandissimo chitarrista e se capita da queste parti vado ad ascoltarlo sempre volentieri.Nell'altra intevista non avevo menzionato anche Fred Frith ? Molto strano...lui insieme a Fripp e a Phil Miller hanno rappresentato nella mia adolescenza dei punti di riferimento importantissimi.Anche per Frith vale lo stesso discorso fatto per gli altri...le cose migliori le ha già fatte da parecchio tempo ma se capita un suo concerto in solo, per me la sua dimensione migliore, non me lo perdo.

-Mi sembra che i tuoi rapporti con la scena musicale "milanese" si siano approfonditi e sto parlando in particolare degli ex Stormy Six puoi dirci come è nata la collaborazione con Fiori?

-In maniera molto semplice; essendo da molto tempo un estimatore dei testi e delle poesie di Umberto Fiori ho deciso di contattarlo per scrivere i testi e cantare alcune canzoni che sono poi confluite in "Pseudocanzoni" il mio disco-solo del 2008; dato che la collaborazione gli era piaciuta molto abbiamo deciso di farne un progetto solo nostro per voce, chitarra elettrica e looper, da proporre in concerto, con canzoni nuove composte da me e arrangiamenti di altre canzoni  già esistenti  di componenti degli Stormy Six. Da qui la registrazione di "Sotto gli occhi di tutti"  e la manciata di concerti che ne è seguita.

-I "Fracture" sono uno sfogo o un progetto destinato a durare? E a questo proposito quale posto occupa l 'improvvisazione nel tuo bagaglio musicale?

-Un progetto destinato a durare mi auguro, l'intesa con Luca Pissavini e Ferdinando Faraò è notevole. L'anno prossimo uscirà il nostro secondo disco, già registrato e pronto per essere stampato.Ho sempre considerato l'improvvisazione come un modo di fare musica e non un genere musicale a sè, ad esempio quello che quasi tutti sperimentiamo quando prendiamo in mano per la prima volta uno strumento senza saperlo suonare e lo pasticciamo un po', quella è improvvisazione.

Non ho molto interesse verso l'improvvisazione codificata, non-idiomatica (anche se ormai, dopo 40 anni è diventata idiomatica anche quella...) o radicale "per sè", per me l'improvvisazione deve inglobare tante cose diverse..melodia, atonalità, ritmo, aritmia, dinamiche varie, rumore, silenzio. Se cominciamo a mettere dei paletti allora non è più improvvisazione ma una forma di composizione non convenzionale.

-Il tuo rapporto con la musica è cambiato rispetto alla ns. ultima intervista?

-Direi di no, non vivo di sola musica e, soprattutto, non mi guadagno da vivere con la musica e questo mi dà il vantaggio di poter fare esclusivamente quello che voglio, al di là del ritorno commerciale...insomma non devo fare compromessi musicali per vivere. E poi ci sono tante altre cose belle e importanti nella vita; certamente la musica ha un posto importante nella mia ma non vorrei mai diventare uno di quelli che parlano esclusivamente di musica...forse a 51 anni non corro più questo pericolo ?

-C'è qualche musicista con cui ti piacerebbe collaborare in futuro?

-Si, c'è un batterista austriaco, Martin Brandlmayr, con cui mi piacerebbe davvero fare qualcosa; ha uno stile unico e riesce a fondere acustica ed elettronica in maniera eccellente.

Poi ci sarebbero John Tilbury, John Surman, Thomas Lehn, Julie Tippetts ...... Jonny Greenwood..... Fiona Apple......


you can buy his CDs here:

http://www.discogs.com/artist/Luciano+Margorani

BIRRA ARTIGIANALE ALTA QUOTA SAPORE D'AUTUNNO **** of 5

This artisanal brewery situated in the centre of Italy  at the height of 1600 mt. gives you the opportunity to taste an extraordinary beer with the flavour of chestnut . It is something completely different from "Petra" beer coming from Corsica. Here the flavour is really part of the complexity of the beer and not just an added element. Anyhow you strangely you won't found it on their site. But there are many other beers that look interesting.

 

http://www.birraaltaquota.it/

Interview with GIOVANNI VENOSTA 1986 from KATAZINE N 4

ADN: When did start your interest in music?

GIOVANNI: While sucking my mother’s tits and thinking they were euphoniums!

ADN: How did you meet ROBERTO MUSCI?

GIOVANNI: One day a common friend told me: “If you come with me I will bring you to meet a fool who is crazy about ethnic music, and I didn’t say no!

ADN: Which are your affinities and differences towards Roberto?

GIOVANNI: We normally discuss about our common musical choices, so our work is for the most part complementary, because it begins with an ethnic electronic sound elaboration by Roberto which is arranged and re-elaborated by myself. Quite often the original aim is completely twisted but at the end the result satisfies both of us. So we don’t usually dispute ourselves on our music. In any case  we have big differences concerning our musical tastes and enjoyments. Roberto listens sporadically to music on the contrary I am a very assiduous listener a little like a toxic maniac

ADN: How was your first record OLYMPIC SIGNALS conceived?

GIOVANNI: When I first met Roberto he was working on his first record THE LOA OF MUSIC; this helped me to reorganize my musical ideas and pushed me to follow his example.

ADN: Would you like to develop other solo projects?

GIOVANNI: Sure, even for the moment, I don’t have specific ideas about it. The only thing I know is that I don’t want it to be self-produced.

ADN: Tell us something about your relationships with Recommended Records UK?

GIOVANNI: From the first day Chris Cutler listened to our tapes he was very excited about our music, even if our records are  not the best sellers in the Recommended catalogue. He explained this situation considering the fact that we are Italian and unknown.

ADN: Which musicians do you think have affinities with your music?

GIOVANNI: The music that may have any affinities with ours may be fond in: the first works of Holger Czukay of CAN, the record My life in the bush of ghosts by BRIAN ENO, ARTHEA, HOROWITZ & DEIHIM, DOLLAR BRAND and French musical impressionists (DEBUSSY,RAVEL, SATIE). All this concerning the treatment of sound material.

ADN: Which are your relationships with ethnic music?

GIOVANNI: After knowing Roberto I daily listen to it, I couldn’t renounce to it.

ADN: What do you think about the role of music in films?

GIOVANNI: I see around 200 film a year and I have to say that normally only in 5 or 6 of these the music is appropriate to the images. Normally film directors are very ignorant about this theme. The few I consider from the musical point of view are RESNAIS, KUBRIK, GREENAWAY, WENDERS, HERZOG, FASSBINDER the first FELLINI and JARMUSH. I dream to do a soundtrack for a HERZOG documentary.

ADN: What do you think about Italian musical scene?

GIOVANNI: Unfortunately the situation is not very brilliant; from this point of view I am a little bit xeno maniac. The only Italian music I normally listen to is the one of LUCIANO BERIO (especially the vocal parts), the mythic group AREA, something o GIACINTO SCELSI ( even if it seems that someone else has written his music), MODI (the first record of MILESI), FRANCO BATTIATO (in his early works), something of PERIGEO and CANZONIERE DEL LAZIO.

ADN: Is your music easily reproducible on stage?

VENOSTA: No, I don’t think so, but at the moment I’m trying to organize it. In order to reproduce the atmospheres of our records we need a flexible and harmonized group of musicians. This is very difficult to realize at present in Italy.

Giovanni on the net

Giovanni goes Mekanik Destruktiv Kommandoh

Interview with JEAN PHILIPPE FEE' (DEFICIT DES ANNEES ANTERIEURES) 1983 from ADN FANZINE N 4

 ADN: What is Dèficit Des Années Anterieures ?

JEAN PHILIPPE : DDAA is one of the rare groups actually playing slowed down music, which is an archaeological music about reality. Considering that daily and historical reality can only be caught in a dispersed manner, archaeological music or any other form of archaeological exploration of reality (painting, performance, cartoon strips…) is indeed only a gathering of fragments belonging to this reality for the creation, after elaboration, of a coherent and readable whole which will represent the idea of dispersion.

ADN: Why do you think the representation of this idea of dispersion is so important?

JEAN PHILIPPE : The dispersion of reality is the motor of historical motion. During our lives we are continuously in comparison with this dispersion. Understanding this people would better catch the mystery of their existence. This kind of  representation permits to find an expressive form not tied to any fashion or historical contingency. From this point of view slowed down music is neither ancient nor modern, it’s simply historical.

ADN: Is slowed down music played at lower velocity?

JEAN PHILIPPE : Indeed it’s easier to play slowed down music in a slow and deaf way. This way of playing normally evocates sensations of obscurity and tragedy which permit to discover easily the archaeological  nature of this music. But it’s only one among the ways you can play it. The slowing down notion has not to be applied directly to the musical object, but to its construction which comes from the dispersion of reality.



 ADN: Is your LP ACTION ET DEMONSTRATION JAPONAISE a good example of slowed down music?

JEAN PHILIPPE : In fact this record is the third part of an action which is much larger. The first two parts of it were a concert and a performance of DDAA that represented the Western idea about Japan. That means all the things that could represent Japan and the way these things are used in the Western world. This concept of Western Idea about Japan was already in our minds when we realised our first single  (1979) especially on the side B of it JETS OVER KASHIMA AIRPORT. This LP is a sort of synthesis of all these actions elaborated since the beginning of DDAA.So we can say that this LP contains the archaeological music of the Western Idea about Japan.

ADN: Do you think it is possible to create good music in such theoretical way?

JEAN PHILIPPE : Slowed down music is not theoretical music, it’s an evocative, representative and imaginative music. In the sense of what we call ambient music. In fact ambient music is in the meantime representative of the ambient concept and evocative. Slowed down music is joined to History.  Naturally all the concepts concerning technical problems or problems concerning the quality of music are subordinated to this representation. So you can’t judge our music without considering this notion of representation. In conclusion, we can affirm with pride that ACTION ET DEMONSTRATION JAPONAISE  introduces you to the listening of good archaeological music!

AND A VIDEO OF 2007 TOO !

Interview with PIERRE COULON (JULVERNE) 1983 FROM A.D.N. FANZINE N.4

ADN: What’s the origin of the group?

PIERRE: In 1974 I invited some musicians to play in a festival of folk music. After that experience I formed a group with 4 musicians ( Jeannot Gilles- violin; Jean Paul Laurent-piano a guitarist and myself). We continued to work together playing tunes of Walloon folk. But progressively we decided to compose directly our music. First result of this decision was COULONNEUX (it’s the name of the group during that period). After this LP the group abandoned completely folk music and changed it’s name to Julverne. Some new musicians joined us and at the moment we are 9 when we are playing on scene. That’s why our second LP is called A NEUF.

ADN: Are you influenced by classical music?

PIERRE: We consider our music as a classical issue but with humour and influences coming from jazz or progressive music ( Univers Zero….)

ADN: Do the musicians involved in Julverne have other musical activities?

PIERRE: Yes, they all have parallel activities, playing in other groups, teaching music, working as sound engineers ……..

ADN: What about the musical situation in Belgium?

PIERRE: Musical situation in Belgium is very difficult for marginal music but not for jazz or classical music.

ADN: Do you often play live?

PIERRE: We don’t play live very often and normally only during school holidays.

ADN: Do you have contacts with other musicians?

PIERRE: Yes mainly with jazz musicians, with Univers Zero and sometimes with classical musicians.

ADN: What about your public?

PIERRE: Our public is composed buy people who like classical music and jazz and also people who bought A NEUF.

ADN: What about your future projects?

PIERRE: We are preparing a record of dance music from the beginning of our century (it will be called JULVERNE EN VACANCE) containing also some tunes of Nino Rota and some songs. We are going to record it this winter. We are also planning another LP on the same line of A NEUF

(spring/summer 83).

                          

ADN: Does Julverne have a stable line-up?

PIERRE: Yes the line-up is stable but sometimes we have musicians changes. The basic nucleus

which never changes is composed by Jeannot Gillis, J.P. Laurent and  Pierre Coulon.

ADN: What kind of training have the musicians playing in the group?

PIERRE: They all have classical training except Charlie Loos who comes from jazz.

ADN: How many concerts you play every year?

PIERRE: Around 20.

       

And Now For Something Completely Different! (or not?)

AREA showcase 20 November 2012 Milano

This is the showcase of Area for their new Album 2012 Live here some new photos:

AND A VIDEO!

TRES JOLIE BRASSERIE DU BOQ **** of 5

Here we have this strange beer which is  produced by "La Brasserie du Boq". But if you go on the site of the Brewery you won't find it. It's flavoured with orange peel and has the typical taste of a Belgian Ale. I wasn't able to find a photo of the bottle of 75cl on the net,so I joined  the photo of the Labels.

http://www.bocq.be/english/

SCHWABENBRAU VOLKSFESTBIER ***1/2 of 5

                                                          

This is the beer of the Volksfest of Stuttgart (It's at the end of September/beginning of October like the most famous Oktoberfest. It's a fresh and  tasty beer  and at the same time also a  quite structured beer.I find it better of some of the Munich beers.

Dinkelacker-Schwaben Bräu
Tübinger Str. 46
70178 Stuttgart
http://privatbrauerei-stuttgart.de

AREA Concert 16 November 2012 Milan Italy

                                                 Venerdì 16 novembre 2012, ore 21.30

Auditorium Demetrio Stratos "RADIO POPOLARE" via Ollearo 5, Milano

AREA  in concerto

Patrizio Fariselli (pianoforte, tastiere)

Paolo Tofani (chitarra, live electronics,voce)

Ares Tavolazzi (basso)

Walter Paoli (batteria)

They are definitely back with a new double live CD coming out in a few days, a good concert with a lot of old nice hits (arbeit macht frei, cometa rossa, la mela di odessa....). I made some photos......

 

 

Next Concerts : 09.03.2013 Morbegno (Sondrio) Auditorium S. Antonio 27.03.2013 Milano Teatro Puccini Elfo  12.04.2013 Bologna Auditorium Manzoni.

 

www.area-internationalpopulargroup.com