SCOTT HAMILTON & FRIENDS — Tape 1

TAPE 1
The Pink Panther — Henry Mancini — 2'42"
S. Hamilton — sax, P. Birro — piano, A. Kramer — drums

The Pink Panther — Henry Mancini — 3'53"
P. Alfonsi — chitarra, S. Maiore — contrabbasso

The Pink Panther — Henry Mancini — 2'49"
R. Zegna — pianoforte, G. Casati — tromba

The Pink Panther — Henry Mancini — 2'09"
E. Bianchini — voce

The Pink Panther — Henry Mancini — 5'20"
F. Mesolella — chitarra

The Pink Panther — Henry Mancini — 2'30"
E. Pietropaoli — contrabbasso

Stumpy — Hawkins — 5'01"
S. Hamilton — sax, P. Birro — piano, A. Kramer — drums

Canyon — Peo Alfonsi — 5'16"
P. Alfonsi — chitarra, S. Maiore — contrabbasso

Conceived, recorded and produced by Giulio Cesare Ricci
Recording assistant Paola Liberato 

Among the thousand divertissements that revolve in Giulio Cesare Ricci's head, there is a song that seems to have been written for all audiophiles around the world, The Pink Panther, the theme composed by Henry Mancini for the film of the same name by Blake Edwards in the 60s.
The album contains six new interpretations of the historic theme performed for fonè by: Fausto Mesolella, Enzo Pietropaoli, Eleonora Bianchini, Riccardo Zegna and Giampaolo Casati, Peo Alfonsi and Salvatore Maiore, Scott Hamilton in trio with Paolo Birro and Alfred Kramer. 

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Eleonora Bianchini — voce, Enzo Pietropaoli — contrabbasso 

TAPE 1 

The Way You Make Me Feel — Michael Jackson — 3'35"
Perché no — Battisti, Mogol — 4'36"
Vete de mi — Homero e Virgilio Esposito — 3'39"
Hearts and Bones — Paul Simon — 4'33"
Dove — Mattone, Morra — 3'59"
Halo — Knowles, Tedder, Bogart — 4'26"
Se perdo te — Korda, Bardotti — 2'52"
Pajarillo Verde — Tradizionale — 3'21"

The album was recorded on November 7 and 8, 2015 and as usual Giulio Cesare Ricci chose a natural location; in this case we are talking about the Auditorium of the Piaggio Museum in Pontedera, which he loved very much. The Auditorium was created from an environment where the first Vespas were assembled in the early twentieth century and which today offers truly excellent acoustics. 

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Eleonora Bianchini — voce, Enzo Pietropaoli — contrabbasso 

TAPE 1 

 Astor Piazzolla — Argentina (1921–1992)
Tres piezas breves para orchestra da camera

I. Preludio
II. Fuga
III. Divertimento

Héctor Ulises Passarella — Uruguay (1955)
I. Allegro
II. Corale
III. Fuga

This album is the last work that Giulio Cesare Ricci created with the most famous Italian chamber orchestra in the world "I Musici".
"Confluencia" contains very rare songs of great musical interest.
To record this album, Giulio Cesare Ricci chose the Seraphicum Auditorium in Rome, whose acoustics allowed for a natural timbre. 

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Scott Hamilton — sax, Paolo Birro — piano, Alfred Kramer — drums 

TAPE 1 

Stumpy —   5’03”

I Mean You  —  4’09”

Bean Stalkin’ —  5’23”

Leave My Heart Alone —  4’48”

Bean & the boys —  5’44”

Skippy —  5’36”

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TAPE 1
Everything I Love — Cole Porter — 7'18"
from I Could Write a Book
Scott Hamilton — sax, Andrea Pozza — piano

Limehouse Blues — Philip Braham — 5'41"
from I Could Write a Book
Scott Hamilton — sax, Andrea Pozza — piano, Alfred Kramer — drums

Afternoon in Paris — John Lewis — 6'24" (3rd October take)
from I Could Write a Book
Scott Hamilton — sax, Andrea Pozza — piano

On a Misty Night — T. Dameron — 7'33"
from Who Cares?
Scott Hamilton — sax, Andrea Pozza — piano

Sportsman’s Hop — Coleman Hawkins — 4'32"
from Bean and the Boys
Scott Hamilton — sax, Paolo Birro — piano, Alfred Kramer — drums

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TAPE 1
Johann Sebastian Bach — Suite I BWV 1007, Prélude — 2'33"
Rocco Filippini — cello
Teatro Persio Flacco, Volterra (PI)

Wolfgang Amadeus Mozart — Sonata in A minor KV 310/300d, Allegro maestoso — 9'01"
Charles Rosen — piano
Sala Musica “Caetani”, Villa di Ninfa, Giardini di Ninfa, Latina

Ludwig van Beethoven — Romanza per violino e orchestra n°1 in Sol maggiore Op.40 — 7'23"
Salvatore Accardo — violino e direttore
Orchestra da Camera Italiana
Arsenale della Pace, Fondazione Sermig, Torino

Franz Schubert — Quartetto in Sol maggiore D887, Scherzo (Allegro Vivace) — 7'16"
Quartetto Accardo:
Salvatore Accardo — violino, Margaret Batjer — violino,Toby Hoffman — viola, Rocco Filippini — cello
Oratorio del Gonfalone, Roma

Giulio Cesari Ricci wanted to celebrate the 35th fonè anniversary with a selection of the most beautiful pieces from the classical fonè line, with various formations: quartet, cello solo, piano solo, chamber and symphony orchestra.
The recordings are in perfect fonè style, as is the use of places with natural acoustics such as a Historic Theatre, Auditorium, Music Salon and an Ancient Oratory. 

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Salvatore Accardo - Violino, Orchestra da Camera Italiana 

TAPE 1

La Campanella — 9'11"
Cantabile in re magg. — 5'02"
Carnevale di Venezia op.10 — 12'47" 

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TAPE 1
Suite n.3 — Fausto Mesolella — 13'34"
Aria di te (instrumental version) — Fausto Mesolella — 00'00"
La tela — Fausto Mesolella — 03'14"
Aria di te (seconda parte) — Fausto Mesolella — 05'24"
Samba greca — Fausto Mesolella — 08'18"
Il dubbio di Ulisse — Fausto Mesolella — 11'56"

Suite n.4 — Fausto Mesolella — 06'51"
L’improvviso mare — Fausto Mesolella — 00'00"

TAPE 2

Suite n.5 — Fausto Mesolella — 15'08"
Taxidi — Fausto Mesolella — 00'00"

Suite n.1 — Fausto Mesolella — 17'36"
Gymnopédie n.1 — Erik Satie — 00'00"
Osservazione n.1 — Fausto Mesolella — 02'39"
Osservazione n.2 — Fausto Mesolella — 06'27"
Vecchio frak — Domenico Modugno — 08'19"
Fragile — Sting — 09'08"
Vecchio frak (seconda parte) — Domenico Modugno — 09'50"
Osservazione n.3 — Fausto Mesolella — 12'11"

TAPE 3

Suite n.2 — Fausto Mesolella — 19'04"
Era de maggio — Di Giacomo / Costa — 00'00"
Pizzica Ventata — Fausto Mesolella — 05'27"
Era de maggio (seconda parte) — Di Giacomo / Costa — 05'27"
Samba di una nota — Antônio Carlos Jobim — 12'29"
Era de maggio (terza parte) — Di Giacomo / Costa — 14'20"
Ai giochi addio — Nino Rota — 14'59"

Fausto was impressed and fascinated by the sound of Scott Hamilton's sax recorded in the ancient cellar of the Palazzo di Scoto di Semifonte in Certaldo Alto and from there the desire to record a new guitar record was born. 

PRICE for the Tape 1 — 3,290 AED incl. VAT  

Price for Complete version upon request 

Anna Garano — chitarra, Anais Tekerian — voce, Kinan Azmeh — clarinet

TAPE 1

Gulo — 4'26"
Yes Veru Yeghnig Em — 4'18"
Yes Saren Gukai — 2'18"
Bingyol — 4'18"
Menag Jamportem — 4'29"
Lusin Yelav — 3'49"
Hingalla — 2'16"
Mi Lar Blbul — 4'13"

TAPE 2

Yes Karen Gukai — 2'18"
Bingyol — 4'18"
Menag Jamportem — 4'29"
Lusin Yelav — 3'49"
Hingalla — 2'16"
Mi Lar Blbul — 4'13"
Manir Manir — 3'59"
Hov Arek — 3'21"
Chinar Es — 2'36"

Conceived, mastered and produced by Giulio Cesare Ricci

The album is the result of the collaboration between the American singer of Armenian origins Anaïs Tekerian and the guitarist Anna Garano, who met in New York a few years ago. Ansahman – which in Armenian means “unlimited” – is the name of the duo that also gives its name to the album. The guitarist from Trieste arranged and reworked for Anaïs's voice and for her own guitar, rich in Andalusian inflections, the traditional Armenian melodies, some well-known, others unknown, collected on the album. In three songs the two musicians make use of the special presence of Kinan Azmeh, a Syrian clarinetist, whose unmistakable and intense sound has earned him numerous international awards. The duo has already performed successfully in the United States and Europe. 

PRICE for the Tape 1 — 3,290 AED incl. VAT  

Price for Complete version upon request 

TAPE 1

Anima
Quello che non voglio
La giraffa
Tulipani
Ghemmà
Non disprezzare
Tango perpendicular
L’insanguinata
Van Gogh

TAPE 2

Dormiliù
Farewell
La domenica della vita

Musical project featuring the great guitarist Fausto Mesolella and the famous writer/poet Stefano Benni.
Fausto Mesolella composed the music for the songs whose lyrics are poems by Stefano Benni sung by Fausto himself. This project is full of emotion and pathos. The music and lyrics blend perfectly with each other, making the listener experience moments of serenity and beauty. In addition to the presence of Fausto Mesolella, singer and guitarist, the lineup is made up of drums, pedal steel and bass. 

The sound quality is fantastic, the vocals and the instruments are a great quality reference for lovers of beautiful sound.

PRICE for the Tape 1 — 3,290 AED incl. VAT  

Price for Complete version upon request 

 Salvatore Accardo: violin and conductor, Orchestra da Camera Italiana

TAPE 1

Concerto per violino e orchestra in re magg. op.61 — allegro ma non troppo — 25'24"
Cadenza: Fritz Kreisler

TAPE 2

Concerto per violino e orchestra in re magg. op.61 — larghetto — 10'05"
Rondò, allegro — 10'24"
Cadenza: Fritz Kreisler

Romanza per violino e orchestra n°2 in fa magg. op.50 — 8'46"

Among the numerous performances of Maestro Salvatore Accardo recorded by Giulio Cesare Ricci, this album is one of the immortal pages of the violin repertoire.
It is the concert for violin and orchestra in D Major Op. 61 by Ludwig Van Beethoven.
In this album Salvatore Accardo is both violinist and conductor. The orchestra is the OCI - Italian Chamber Orchestra. For this recording Giulio Cesare Ricci chose the Arsenale della Pace – Sermig Association of Turin.  A very natural sound. 

PRICE for the Tape 1 — 3,290 AED incl. VAT  

Price for Complete version upon request 

Eleonora Bianchini — voce, Enzo Pietropaoli — contrabbasso 

TAPE 1

Kashmir — Page, Plant, Bonham — 5'15"
Una palabra — Carlos Varela — 3'19"
Madalena — Ivan Lins — 4'03"
Piccolissima serenata — Ferrio, Amurri — 3'21"
Fina estampa — Chabuca Granda — 3'03"
Una ragione di piu’ — Reitano, Califano — 3'29"
E' scesa ormai la sera — Ferri, Pintucci — 4'19"
Se non avessi più te — Migliacci, Bacalov, Zambrini — 4'37" 

This album is the first work whose protagonists are two special Italian jazz musicians: Eleonora Bianchini voice and Enzo Pietropaoli double bass.
The duo interprets some "songs" from the Italian and international repertoire from an acoustic point of view. From Led Zeppelin to Peppino Di Capri, from Radiohead to Ornella Vanoni, from Ivan Lins to Gianni Morandi, from Chabuca Granda to Gabriella Ferri. The interpretation of these songs by DOS Eleonora Bianchini and Enzo Pietropaoli highlights new colors and new dynamics, creating a very fascinating atmosphere. This time the location chosen by Giulio Cesare Ricci is a place with special acoustics: the parish of the Capuchin convent in Peccioli (near Pisa). This “intense” acoustic created an impressive recording. 

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TAPE 1

Redemption Song — Bob Marley — 3'59"
Nuevo — E. Pietropaoli — 2'56"
Bridge Over Troubled Water — Simon, Garfunkel — 3'52"
Confuso nel vento — E. Pietropaoli — 2'26"
Pescatrici di perle — E. Pietropaoli — 3'55"
Ave Regina Caelorum — Anonimo — 4'11"
E Play — E. Pietropaoli — 4'48"
Just Like a Woman — Bob Dylan — 2'33"  

Conceived, recorded and produced by Giulio Cesare Ricci Recorded at Pieve del Convento dei Cappuccini, Peccioli (Pi). Recording date: October 2014. Recording assistant: Paola Liberato 

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Scott Hamilton - sax, Andrea Pozza - piano 

TAPE 1

I Could Write a Book — Richard Rodgers — 6'48"
We’ll Be Together Again — Carl T. Fischer — 5'42"
No Moon at All — David Mann — 6'14"
Isn’t It Romantic — Richard Rodgers — 7'15"
Boccaccio Blues — Scott Hamilton, Andrea Pozza — 6'12" 

After the successes achieved with the two previous albums, A Jellyfish from the Bosphorus, recorded as a trio between Italy and England, and Gull's Flight, with his European Quintet, the jazz pianist Andrea Pozza, in a duo with Scott Hamilton at sax, signs “I Could Write a Book”, testifying to a career in continuous evolution and growth. The two artists, who have known each other for twenty years and who regularly perform together with concerts throughout Europe, always animated by mutual admiration, had been cultivating the idea of a common project for some time. The opportunity arose with “I Could Write a Book”, their first duo album.  A dialogue between equals, in which leadership does not emerge, but a great interplay and the harmony that the two great musicians have built over the years. [Jazz Italy] 

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TAPE 1

La notte — Battista Lena — 6'25"
Tre voci — Enzo Pietropaoli — 2'53"
Follow the heron — Karine Polwart — 4'26"
Agostino — Battista Lena — 4'25"
L’ombra della sera — Battista Lena — 5'44"
El vuelo de lobato — Enzo Pietropaoli — 2'54"
Peach trees — Rufus Wainwright — 5'46"
Turn out the stars — Bill Evans — 6'11" 

Conceived, recorded and produced by da Giulio Cesare Ricci. Recording assistant Paola Liberato. 

Recorded in Volterra (PI), Teatro Persico Flacco in August 2012 

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TAPE 1

Alexander Scriabin — 1872–1915
Studi n.10 op.8 — 2'00"
Studi n.12 op.8 — 2'27"
Studi n.5 op.42 — 3'38"

Sergei Rachmaninov — 1873–1943
Elegia n.1 op.3 — 4'49"
Preludio n.2 op.3 — 3'26"
Preludio n.6 op.23 — 3'10"
Preludio n.5 op.23 — 3'51"

Isaac Albéniz — 1860–1909
Granada (Suite española n.1) — 4'47"

Conceived, recorded and produced by da Giulio Cesare Ricci. Recording assistant Paola Liberato. 

Recorded in Volterra (PI), Teatro Persico Flacco in August 2012 

PRICE  — 3,290 AED incl. VAT  

TAPE 1

Italian Medley n.2 — 7'53" (arr. Marco Renzi)
In cerca di te — Sciorilli
Nun e’ peccato — C. A. Rossi
Quando una ragazza — L. Luttazzi

Carlo Alberto Rossi Medley — 8'08" (arr. Marco Renzi)
E se domani
Amore baciami
Mon pais
‘Na voce, ‘na chitarra
Conosci mia cugina

Bruno Martino Suite — 8'55" (arr. V. A. Morra)
Baciami per domani
Cos’hai trovato in lui
E la chiamano estate
Estate

Kramer Medley — 4'06" (arr. Marco Renzi)
Domenica è sempre domenica
Merci beaucoup
Un bacio a mezzanotte
Pippo non lo sa

"Italian Big Band was founded in 1993 by Marco Renzi, who is its permanent director. It brings together professors from the most important conservatories and aligns the classic jazz orchestra staff: six trumpets, five trombones, five saxophones, piano, guitar, double bass and drums". [Marcello Piras] 

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S. Accardo / Orchestra da camera italiana 

TAPE 1

Oblivion — per solista e orchestra d’archi — 4'33"
Per solista e orchestra d’archi. Revisione violinistica di Salvatore Accardo

Escualo — versione per violino e archi di Josè Bragato — 3'41"
Versione per violino e archi di Josè Bragato. Revisione violinistica di Salvatore Accardo

Milonga en re — per violino e archi — 5'21"
Per violino e archi

Introduccion al angel — versione per violino e archi di Salvatore Accardo e Francesco Fiore — 5'36"
Versione per violino e archi di Salvatore Accardo e Francesco Fiore

Revirado — versione per violino e archi di Salvatore Accardo e Francesco Fiore — 3'26"
Versione per violino e archi di Salvatore Accardo e Francesco Fiore

Milonga sin palabras — versione per violino e archi di Salvatore Accardo e Francesco Fiore — 6'30"
Versione per violino e archi di Salvatore Accardo e Francesco Fiore

This album was recorded by Giulio Cesare Ricci at the Pontifical Institute of Sacred Music in Rome in May 2001. The absolute protagonist is Maestro Salvatore Accardo, violinist and director of the Italian Chamber Orchestra. Worth highlighting is Accardo's violin revision of the most famous piece “Oblivion” which gives the album its title. The relationship between the musician Astor Piazzolla and Salvatore Accardo was one of friendship and great mutual respect, so much so that Piazzolla wrote a score, La Milonga en Re, specifically for Accardo. 

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