Impresionante proyecto Internacional a cargo del gran Antonio Zambrini con uno de los grandes del contrabajo en Europa, el danés Jesper Bodilsen y con nuestro grande y querido amigo Martin Andersen a la batería. Bellísimo proyecto

Antonio Zambrini / piano
Jesper Bodilsen / Bass
Martin Andersen / drums

CD Pinocchio e altri Racconti / Fiorenzo Carpi

Antonios english version:

I chose for this album a selection of Fiorenzo Carpi’s songs, partly familiar to me since my childhood, like the themes from “Pinocchio”,
the 70’s tv movie directed by Luigi Comencini.

Working on this little exerpt from Carpi’s amazing and various repertoire for Cinema and Television, I could find melodic echoes of the great italian tradition to which the Maestro belongs, together with Nino Rota, Ennio Morricone, Piero Piccioni and so on…

In these songs you could also recognize some mediterranean but sycncopated, somehow “American” acoustic sound (the “Pinocchio” songs), traces of some british Rock music from the late 60’s (“Moby Dick”), but also the pastoral style of “Il prete bello”, the intimate harmonic conception of “Incompreso”.

With “Notte Italiana” i chose a brasilian Choro’s approach… as a matter of fact, Italian Opera was among various elements that led to Choro’s
birth in Rio De Janeiro, in early 20th Century.

Recently, luckily for me, I had chance to collaborate with Jesper Bodilsen and Martin Andersen, and I thought that their different,
“nordic” approach could bring more freedom in the execution of my arrangements.

Martins english version

For this album I chose a selection of Fiorenzo Carpi’s songs, partly familiar to me since my childhood, like the themes from “Pinocchio”, the 70’s tv movie directed by Luigi Comencini.

Working on this little exerpt from Carpi’s amazing and rich repertoire for cinema and television, I found melodic echoes of the great italian tradition to which the maestro belongs, together with Nino Rota, Ennio Morricone, and Piero Piccioni.

In these songs I find that there is a certain mediterranean, yet syncopated and somehow “American” acoustic sound (the “Pinocchio” songs), mixed with traces of british rock music from the late 60’s (“Moby Dick”), the pastoral style of (“Il prete bello”) and the he intimate harmonic conception of “Incompreso”.

With “Notte Italiana” I chose a brazilian Choro’s approach, as a matter of fact, Italian Opera was among various elements that led to the creation of the choro’s style Rio De Janeiro, in the early 20th Century.

Recently, luckily for me, I had the chance to collaborate with Jesper Bodilsen and Martin Andersen, and I thought that their different, “nordic” approach could bring more freedom in the execution of my arrangements.

//

Nella scelta dei brani per questo piccolo omaggio a Fiorenzo Carpi
ho proceduto per affinità e, in un certo senso, per familiarità.
A partire da alcuni dei temi per il Pinocchio televisivo diretto da Luigi
Comencini, che ricordavo dalla mia infanzia, mi sono aggirato nella
copiosa produzione di colonne sonore del Maestro tra gli anni 70 e
i primi 80, ritrovando echi e melodie della grande scuola italiana, di
cui Fiorenzo Carpi è stato figura determinante, assieme a Nino Rota,
Ennio Morricone, Piero Piccioni, per citarne solo alcuni.
Tra le sue influenze musicali ho così ritrovato, e cercato di restituire
a mio modo, un certo suono acustico, mediterraneo ma anche vagamente
sincopato e “americano”, nei temi per “Pinocchio”. Ho poi
cercato di sviluppare lo stile pastorale del “Prete bello”, quello intimo
e complesso di “Incompreso”, le vestigia di un certo Rock inglese
di fine anni 60 in “Moby Dick”, mentre per “Notte Italiana” ho sentito
la possibiltà di adottare lo stile “Choro” brasiliano, stile che per altro
nacque da influenze musicali anche italiane nella Rio de Janeiro del
primo 900.
Ho la fortuna di collaborare con Jesper Bodilsen e Martin
Andersen da alcuni anni, e ho pensato che un loro approccio
“da nord” alla sensibilità italiana potesse portare ad interpretare
in modo più libero i miei arrangiamenti. Non mi sono ovviamente
addentrato nella grande e ben nota produzione di Fiorenzo Carpi
per il teatro, ma ci sarebbero voluti parecchi dischi, non uno…
Rimanendo in ambito cinematografico ho però aggiunto un mio
brano, “Giovedì”, che appartiene alla mia lunga collaborazione con
Cineteca Italiana di Milano, cui va il mio ringraziamento per aver
messo a disposizione alcune foto di scena dal “Pinocchio” di Luigi
Comencini, che potete scorgere nel progetto grafico del disco.
Ringrazio poi in modo particolare Martina Carpi per aver seguito
con interesse e partecipazione questo lavoro, Mario Caccia e Marina
Barbensi di Abeat Records per il loro supporto nel tempo e il mio
grande amico Giuseppe Giliberti, instancabile promotore culturale e
“ideologo” di alcuni dei miei progetti musicali.
Ant onio Zambrini

I chose for this album a selection of Fiorenzo Carpi’s songs, partly
familiar to me since my childhood, like the themes from “Pinocchio”,
the 70’s tv movie directed by Luigi Comencini. Working on this little
exerpt from Carpi’s amazing and various repertoire for Cinema and
Television, I could find melodic echoes of the great italian tradition to
which the Maestro belongs, together with Nino Rota, Ennio Morricone,
Piero Piccioni and so on… In these songs you could also recognize
some mediterranean but sycncopated, somehow “American” acoustic
sound (the “Pinocchio” songs), traces of some british Rock music
from the late 60’s (“Moby Dick”), but also the pastoral style of “Il
prete bello”, the intimate harmonic conception of “Incompreso”. With
“Notte Italiana” i chose a brasilian Choro’s approach… as a matter of
fact, Italian Opera was among various elements that led to Choro’s
birth in Rio De Janeiro, in early 20th Century.
Recently, luckily for me, I had chance to collaborate with Jesper
Bodilsen and Martin Andersen, and I thought that their different,
“nordic” approach could bring more freedom in the execution
of my arrangements.

I did not touch the enormous Carpi’s repertoire for theater.
On other hand it would require much more than a CD.
But I added to the selection a tune that I wrote during my long collaboration with
Cineteca Italiana in Milano.

I’d like to thank Cineteca for giving us some backstage pictures from “Pinocchio”, which you can see in the
album’s layout.

I especially thank Martina Carpi too, Maestro’s daughter, for following
and encouraging this work, and Mario Caccia and Marina Barbensi
of Abeat Records for their support; finally, special thanks to my good
friend Giuseppe Giliberti, who tirelessly promotes culture and music in
his hometown, and who was inspiring some of my musical projects.