CAMILLE - Martegiani, Cocles

CAMILLE - Martegiani, Coclite ( ARCLS024 )

Available in: LP, CD, HD File (wav) and CD File (flac)

Tracklist

01) Ain't nobody (Wolinki - David J) - 06:58
02) Holding back the years (Hucknall Michael - Moss Neil) - 04:38
03) Stranger in Paradise (Robert Wright - George Forrest) - 05:16
04) Choro pro ze' (Guinga) - 04:14
05) That's the way of the World (C. Stepney, M. White, VA White) - 06:53
06) Andeja (K. Potter - R. Genovesi - A. Vitale) - 06:10
07) Abandoned boat (Jose Mendeiros - Joao Mendonca - Ennio Morricone) - 07:18
08) I can't tell you why (Timothy B. Schmit - Henley - Frey) - 05:26
09) It can't help it (Stevie Wonder - Susaye Green) - 04:25
10) Free (R. Genovesi) - 02:49
11) September (Willis, Mc Kay, M. White) - 03:44
12) I've got a right (Oleta Angela Adams) - 05:19
13) Message in a bottle (Sting) - 04:06
14) Bonus Track - Ghirinbaduè (R. Artale - R. Genovesi) - 04:24

Antonella Vitale - Voice
Roberto Genovesi - Guitars
Karl Potter - Percussion
Special Guest
Ruggero Artale - Djembé, Dun Dun

PRODUCED BY: HD Music Lab Srls
EXECUTIVE PRODUCER: Rocco Patriarca
GRAPHICS: Stefano Isola
LAYOUT: Tiziano Zuliani
PHOTO: Stefano Isola, Rocco Patriarca

Recorded by Stefano Isola in the summer of 2012. Mixed and mastered by Stefano Isola at Studio Arcipelago in Rome between July and September 2012. Remastered in September 2014

Much more than an acoustic trio

The idea of ​​a minimalist, acoustic album had been buzzing around in my head for some time, in which to exalt the sounds of the instruments and the ability of the performers to use them to serve the quality of the music. The inspiration for a fabulous and poignant song, born by chance from the fortuitous meeting of Roberto Genovesi's guitar and Antonella Vitale's voice, busy recording the album Random, indicated the way for a more complete work, for a rich but at the same time essential project. The secret lies entirely in the mastery of Roberto Genovesi, an eclectic virtuoso of that difficult but extraordinary instrument that is the guitar, in its various meanings. And even without exploring, except in some rare instances, the "electric" aspect of this instrument, he managed to create a musical edifice in which Antonella Vitale's voice, now mature but still full of sincere enthusiasm, is perfectly at ease, protected, indeed exalted by the acoustic sounds perfectly rendered by the recording techniques used, for which all lovers of good quality music can only thank the professionalism of Stefano Isola. And, the perfect complement to the pair, an artist above the lines. There is no need to underline anything about Karl Potter in his long and exciting career. In this work he went beyond the rhythmic support, which he nevertheless ensured. His percussions are dry and sincere, without effects. Simply present, fused in the sound message of which they are the essential support, of which they are an essential element. It was a few months after the recording of this album. Karl Potter left us in a deafening silence. His music, his poetry, lives again during the concerts that, on the occasion of the remastering of the work, Antonella and Roberto offer with growing success. To complete the sounds of the songs, Ruggero Artale, Karl's student and friend, intervened. Ruggero, Antonella and Roberto pay in each performance a dutiful homage to Karl's music and to his latest recording with "Ghirinbaduè", a song freely inspired by Sorsonet, a traditional African rhythm (Baga, Guinea), which we propose as a Bonus Track.

ROCCO PATRIARCH

Technical notes

Ten years later we return to try our hand at a project conceptually very close to “The Island”, Antonella Vitale’s debut CD, published by AudioRecords, also in the The Classics series. That work was very significant for me and for those who participated with me in its creation, as it marked the beginning of my collaboration with this historic “audiophile” label and coincided with the new course of AudioRecords. “Acustic Time” has in common with the previous CD a minimal formation and the reworking of standards (in this case from the American Pop tradition) in an acoustic key. From a technical point of view, the project settings have remained the same, a testimony to their validity: a “live in studio” type production with the reduction to a minimum of recording equipment, relying on a bare set‐up composed of quality electronics. The microphone recording technique follows the same criterion made of few transducers, stereo configurations (at most), possibly mono-compatible on the individual instruments, in order to minimize phase problems on the signal. On the guitars we used a pair of Schoeps Colette CMC-6 stereo matched-pair with MK-4 capsule (cardioid) in X-Y configuration while on the percussions a stereo matched-pair pair of Earthworks QTC 40 omnidirectional in OSS configuration. For the voice instead, a single large-diaphragm condenser, valve-based, equipped with a Peluso capsule with cardioid polar pattern was used. The signal path, from the transducer to the mastering phase, thus underwent only one A/D conversion per track. The processing was limited to minimal interventions so as not to distort the acoustic “sound” of the trio, always in the high-resolution digital domain. Finally, during the mastering phase, the aim was to make the various sessions homogeneous and make few corrective interventions by relying on processors of undoubted quality always in the digital domain, such as the MD3 Stereo Mastering Plug-in by TC Electronic, a multiband processor for the Powercore platform derived from the System 6000, one of the most precise, transparent and musical processors currently available. The result is a dry, natural and defined sound that highlights all the nuances of the original performance, exalting the "lights" and depth of the soundstage.

STEFANO ISLAND