Andrea Guzzoletti | Invisible Cities

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Invisible Cities

by Andrea Guzzoletti

Just like the book, the record too is a metaphysical voyage where the predominant themes are the dual nature of language and communication, closed versus open environments, movement and stasis in the sense of actual physical movement as opposed to mental travel.
Genre: Electronic: Nujazz
Release Date: 

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  Song Share Time Download
clip
1. Kaleidoscope City
Andrea Guzzoletti Stefano Onorati Roberto Cecchetto
5:12 album only
clip
2. Industrial City
Andrea Guzzoletti Stefano Onorati Roberto Cecchetto
6:28 album only
clip
3. Mirrored City
Andrea Guzzoletti Stefano Onorati Roberto Cecchetto
7:13 album only
clip
4. Toy City
Andrea Guzzoletti Stefano Onorati Roberto Cecchetto
3:22 album only
clip
5. City Of God
Andrea Guzzoletti Stefano Onorati Roberto Cecchetto
5:40 album only
clip
6. Terminal City
Andrea Guzzoletti Stefano Onorati Roberto Cecchetto
5:46 album only
clip
7. Underground City
Andrea Guzzoletti Stefano Onorati Roberto Cecchetto
8:52 album only
clip
8. Rainbow City
Andrea Guzzoletti Stefano Onorati Roberto Cecchetto
12:14 album only

ABOUT THIS ALBUM


Album Notes
The recording "Invisible Cities" draws its inspiration from "Le Città Invisibili" by Italo Calvino, and as the book itself it is an often mental voyage through imaginary cities which exist only in the mind of the storyteller.In the book the central character is Marco Polo who, at the court of Kublai Khan and by way of his dispatches to the Sovereign, describes the cities along the routes of his travels within the immense Empire. In these reports he speaks of the men who built the cities, their form, the relationship between their inhabitants and the actual architecture. However; these cities exist only within the mind of the venetian explorer: in fact Marco Polo goes from detailed descriptions and minute detail to ensemble visions; but always looking where others cannot see, towards that which appears invisible to them. The cities in Marco Polo's story are intended as separate entities in their own right: these invisible cities are not in contact with one another. Thanks to the narrative it is Marco Polo who 'creates' them during his storytelling - just as Calvino the writer 'creates' his imaginary worlds in his work.

There are many points of interest in the novel: first of all the relationship between the 'Stranger' and the strange land in which he finds himself. An interesting and recurring theme is the relationship between language and communication: Marco Polo initially has great difficulty in speaking the language of the Monarch and therefore expresses himself through gesture and sound to describe the cities he has 'visited'. Subsequently he learns the language and becomes fluid in its expression; however he will discover new obstacles inherent in the use of this mediated and less direct form of communication. The attitude and expectation of the Sovereign himself with regards to his desire to establish order within his vast dominions is also worthy of consideration: the Khan is on the one hand terrorised by the sheer scale of his empire and the impossible task of enforcing order, whilst on the other he is reassured by the paradox of equilibrium established by the opposing forces at work within it.

Just like the book, this too is a metaphysical voyage where the predominant themes are the dual nature of language and communication, closed versus open environments, movement and stasis - in the sense of actual physical movement as opposed to mental 'travel'. The trumpet is both traveller and listener; but this role is also exchanged with and between the other instruments: Piano and Guitar. As with the novel, the objective is to create order from a multitude of sounds and colours often in contrast with one another, in fact in this work there appear to be no precise structures but a particular attention which encompasses everything from the minute detail to ensemble visions; but always looking where others cannot see, towards that which appears invisible to them.

The work consists of a total of 8 tracks plus an hidden track with Hector Zazou, composed and arranged by Andrea Guzzoletti, featuring important contributions from three other elements who, as well as being close friends, are also superb musicians : Roberto Cecchetto, Stefano Onorati and Antonio Inserillo.

The record is dedicated to the memory of the great musician Hector Zazou who tragically passed away in September 2008, and will contain a previously unreleased live track which gives us further valuable insight by way of a performance by Andrea Guzzoletti on stage together with his friend Hector Zazou.

Andrea Guzzoletti (b. 23/05/72 – Barga – Lucca – Italy).Graduated at the Lucca Conservatoire “L. Boccherini” in ‘93 as a trumpet player. Following this he continued to perfect his technique with M° Pierre Thibaud in Paris. In 1994 he obtained the High Professional Qualification for Musicians EEC Masters Degree – Jazz and Contemporary Derivations with Paolo Fresu. In 2000 he completed the Berklee College of Music Masters Course at Umbria Jazz. He has been a member of the Italian Jazz Youth Orchestra, on tour with the Peter Erskine John Taylor and Palle Danielsson trio and subsequently with the flautist James Newton. Since 1995 he is an established member of the Barga Jazz Orchestra directed by M° Bruno Tommaso. In December 2006 he founded his independent publishing house, Even Eights Records, with which he has promoted a variety of projects together with a couple of friends who are considered amongst the top contemporary jazz musicians active in Italy Stefano Onorati and Roberto Cecchetto. Together with them he has consolidated his compositional output with scores for promotional videos commissioned by Iveco and the All Blacks during the World Rugby Championship in France. However his most important venture is the experimental mix of Jazz and Improvisation and Dance and Underground Music. At present he is also collaborating with Dj Luca Bacchetti.

www.andreaguzzoletti.com

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