CLAUDIO MILANO (NICHELODEON) — L'urlo Rubato

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CLAUDIO MILANO (NICHELODEON) - L'urlo Rubato cover
4.91 | 2 ratings | 1 review
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Album · 2004

Tracklist

Ma le Serve di Genet? (The surreal and amusing part of a drama) total time: 9:54
01. Movimento #1
02. Movimento #2
03. Ne me quitte pas (J. Brel)
04. Le deserteur ... marseillaise (B.Vian/H. Berg/R. De Lisle)
05. Vedrai, vedrai (L. Tenco)
Hamlet (A dumb humanity reduced to a ghost of passions) total time: 35:56
06. Introduzione
07. Tema d'infanzia
08. Ripresa
09. Tema per il corte funebre
10. Prima apparizione dello spettro
11. Fanfara nuzionale e danza
12. Apparizione dello spettro (flauto solo)
13. Rivelazione dello spettro
14. Lettere
15. Ofelia (canto d'amore)
16. Separazione (gradi di)...
17...Danza macabra
18. Spettacolo a corte
19. Pentimento di Claudio
20. Dialogo con lo spettro
21. La colpa di Gertrude
22. Follia e morte di Ofelia
23. Duello
24. Finale
Building up a cathedral from me (Thought and action have no real correspondence in life) total time: 31:58
25-35. parte prima: Stanze da 1 a 11
36-42. parte seconda: Stanze da 12 a 18
43. Exit?

total time: 77:48

Line-up/Musicians

Music, lyrics and arrangements by Claudio Milano

Personnel:
Ma le serve di Genet?
Claudio Milano: grandpiano, voices, field recordings
Giovanni Zerbi: flute, tenor and baritone sax (track 1), soprano sax (track 4)
Federica Della Janna: violin (track 1)
Paolo Siconolfi: electronic treatments, sound designer

Hamlet
Claudio Milano: keyboards, bass-baritone voice, harmonic & ethnic singing, field recordings
Silvia De Frè: flute (tracks 10-13-19-22)
Ignacio Guarrochena: flute (tracks 6-8-9-11-12-14-15-21-24)
Federica Della Janna: violin (tracks 6-17-18-20-21)
Marco Sicca: violin (tracks 22-23)
Giuliano Marco Mattioli: harp (tracks 14-15-24), counter-tenor (tracks 6-8-9)
Elio Marchesini: percussion (tracks 10-13-19-23)
Sebastiano Morgavi: percussion (tracks 6-8-9-11-12-15-18-24)
Laura Catrani: soprano (tracks 10-13-19-22-23)
Estibaliz Igea: soprano (tracks 6-8-9-15)
Giorgio Tiboni: tenor (tracks 13-19-22-23)
Giorgio Foglini “Hamlet child”: readings (track 24)
Marc Vincent Kalinka: readings (track 9)
Richard Falco: readings (track 9)
Paolo Siconolfi: electronic treatments, sound designer

Percussion arrangements by Sebastiano Morgavi, Claudio Milano and Elio Marchesini
Lyrics freely adapted from Hamlet (Richard Shakespeare)

Building up a cathedral from me
Claudio Milano: voices, keyboards, field recordings, magnetic tapes
Paolo Siconolfi: electronic treatments, programming (tracks 32-34-37-38-41), readings (track 42), sound designer

with:
Francesca Badalini: synthviolin (tracks 29-32)
Cristiano Coltro: electric guitar (tracks 34-43)
Marilu Ponce Muente: readings (track 35)
Andrea Di Cesare: electric guitars (tracks 37-38-40-41-42)
Luca Di Cesare: keyboards (tracks 36 to 42)
Serena Bruni: flute (track 43)
Lorenzo Gervasi: keyboards (track 43)

About this release

self released SCR02CD (Italy)

“Exit?” was recorded live in Vigevano (PV), Italy, with the folk prog band Lethe, during the Camelot Prog Day (July, 20 1996)

Thanks to Andrea and Luca Di Cesare for their contribution to the arramgements of Building up a cathedral from me – parte seconda

Thanks to snobb for the addition

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Members reviews

1967/ 1976
It is not easy to put the feelings in the foreground. Often look far is the first thing I do. Even in love. Fantasizing I try to study situations that could happen. Above all, I happened recently. Also because it is from February to seek an opportunity to declare my feelings for a girl who is half my age. I'm afraid of losing it as a friend, because I do not think she can understand me. Even for just the age difference. Of course, then I know people who married despite 15 years of age difference and feel that I must try. We are advocates of our existence and our actions and we must be to defeat what it is not just moving the pieces correctly. I like to go into a monastery or in a medieval church and try to read the stones, trying to feel the power involved, invoking God and the magic of the place. I like to love and be loved. The sexual act should not, for me, just be the penetration. To me enough caresses, kisses, sharing of feelings. Share with my wife, listening to a CD, watching a flower... The joy and pain. This is, for me, love. I know that Giulia is a girl who has visions similar (and equally certain to me) because I know his family very well and I know that we would complement each other.

Listening to "L'urlo rubato", the first CD of Claudio Milano, I feel really strong pulse. Meanwhile, "Ma le serve di Genet?" is a good start, however I remain imprinted in the mind as it should. Probably because the medley catch my mind most of the first two compositions, which have a very good piano. For me, because of what I wrote above, is "Hamlet" to conquer more my mind. All that is medieval catch me, abducting my soul. There are moments in "Hamlet" I, personally, I do see the scene described, it becomes almost impossible for me to isolate the music from virtual reality built from my mind. I visited many medieval places and I have to admit that see them again when I listen to "Hamlet". And, always listening to "Hamlet" I think Giulia and all the girls that I have not been able to understand and, consequently, I could not love. "Building Up A Cathedral From Me" provokes in me similar sentiments. In this case the music is more modern, baroque, dare I say. Even Rock, what if I may. But, other than as described, equal to the music of "Hamlet"! Why are the sounds, instruments and electronic sounds to be different. There is something Gothic, something locked up in ourselves that we must not explode. What can not explode. But that inevitably explodes. A snowfall... Hot chocolate with our beloved woman in a cold day in winter and spring magically becomes!

Certainly listening to the "stolen The Scream" goes beyond music. it is all a search for an answer that is not there, trying to lift our soul to something that does not exist. That, however, is before our eyes. It is not easy utopia!

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