July 27, 2021

Three underrgound/Prog compilations with TEB's tracks in.

Three compilations that was pubblished in the last years have TEB's tracks in. 

The first one, published in UK in 2019, is titled "Beautiful Freaks" (TAD Records TAD2CD) and among original tunes by Allen Ginsberg, Fugs, Grateful Dead, Incredible String Band, Gong and Hawkwind, offers TEB's "Earth" from the second album.

The concept here is to celebrate an age (1966-1970) when the 'popular music' was mainly counter-culture, with a strong political impact to the mainstream. There are two editions available: one on CD, the other one in a 2LPs set.

The second anthology, titled "The Psychedelic Rock Box" (Music Brokers MBB7253), published in 2018 in Mexico, is a 6CDs compilation with 66 tracks from the Sixties to the Eighties, documenting some original USA and UK bands (The Crazy World of Arthur Brown, The Deviants, John's Children, Spencer Davis Group...) and more recent ones (Plasticland, Fuzztones, Sun Dial, Monochrome Set...).

Even if the concept of "psychedelic music" is always quite vague and few definite, and this compilation suffers of too much omissions, Our Holy Band is here included with "Behind The Pyramids".

The third one, in my opinion the best, it's titled "Lullabies for Catatonics: A Journey Through the British Avant-Pop/Art Rock Scene 1967-1974" (Grapefruit Records CRSEGBOX056), compiled and annoted by David Wells
It's a 3CDs box edited in 2019 including some of my favourite bands/musicians of the era: Soft Machine, Matching Mole, Nirvana, Ron Geesin, Giles, Giles & Fripp, The Strawbs...). On the CD titled "The Spontaneous Underground", the Third Ear Band plays "Druid One".
After the passage of copyrights to Cherry Red Records, some tracks from the original Harvest catalogue are re-emerging on compilations. An important way for letting people to know the Thirds and maybe explore their amazing story...
no©2021 LucaChinoFerrari (unless you intend to make a profit. In which case, ask first

July 22, 2021

A very interesting quotation of the TEB and my book on a blog.

A very intriguing quotation of my book was posted in May on a blog titled "On An Overgrown Path" at https://www.overgrownpath.com/2021/05/how-mahler-became-sound-upholstery.html

Titled "How Mahler became sound upholstery", it's a very sharp reflection about the nature of TEB's music, starting with its objective relationships with the academy. This below is the full text:

"Two members of the original Third Ear Band were classically trained, Paul Minns on oboe and recorder, and Richard Coff violin and viola. With founding force Glen Sweeney on hand drums and tabla, and Mel Davis on cello they cut the bands first two legendary all-acoustic albums Alchemy and Elements in 1969 and 1970. For their equally legendary1972 soundtrack for Roma Polanski's Macbeth, Richard Coff was replaced by another violinist from a classical background Simon House, and Royal College of Music cello graduate Paul Buckmaster joined the band*. This classical connection was reflected in the venues where the Third Ear Band played, which included the Purcell Room, Queen Elizabeth Hall, Festival Hall - where they appeared with musique concrète exponent Bernard Parmegiani - and the Royal Albert Hall.

All three albums were released on EMI's newly-formed Harvest label aimed at the emerging progressive rock market. However the Third Ear Band's iconoclastic style did not sit comfortably with EMI's culture. So the band's refusal to allow the 'must haves' of reverberation and phasing added to their master tapes resulted in a stand-off with EMI's Abbey Road engineers. While back at head office the Harvest label managers were sparing with promotional support due to the perceived occult sub-agenda of the Alchemy album, a perception not helped by the band's involvement with Druids. Despite this the Third Ear Band attracted a cult following with their early albums, largely due to advocacy by influential BBC DJ John Peel who also played jew's harp on one track of Alchemy. In fairness however, the failure of these albums to crack the mass market is not surprising. Because, masterpieces as they undoubtedly are, on first hearing they can sound like a cross between the music of David Munrow and Cornelius Cardew.

In his sleeve note for Alchemy Glen Sweeney described the Third Ear Band as creating "music of its time, of course but not bound by it - still with new things to tell us". That uncanny ability to tell us new things is developed by the band's biographer Luca Chino Ferrari in Glen Sweeney's Book of Alchemies: the Life and Times of the Third Ear Band, 1967-1973.

"I'm not persuaded that the sound of a certain historical period in a certain society forecast the times and the social models to come, as the French writer Lacques Attali claimed in his landmark essay Noise: the political economy of music in 1977 (English translation 1985).
The immersion of sounds or noises we are submitted to these days seems to reflect the times - of triviality, superficiality - we live in; actually it seems to describe them perfectly - speaking of the deep social and cultural crisis into which Western countries have fallen, and the strong negative impact technology and the record industry have had on the music created and used by people.
The anonymous non-places (this suggestive expression was coined by the ethnology researcher Marc Augé) in which music is casually used as a simple sound upholstery - keeping company with consumption - suggests the idea that the re-production of sounds and the hidden possibilities of listening to music everywhere, have made the listening experience less the product of an active and conscious process and more the result of a passive and unconscious behavior.
Advertisers have understood this process and use music to persuade us "in a pleasant way" to buy, revealing our presumed needs to us.
The music that goes deep into our daily life has turned into a non-place itself; , deprived of any identity, history or relation with the time and the place of living, it becomes a sort of undefined and virtual phenomenon."

Luca Chino Ferrari originally wrote that in 1996 before technology changed the music industry for ever, and how prescient he was. Mobile technologies and streaming have moved music into non-places, where it now simply fulfils the role of sound upholstery. Music is now listened to passively and unconsciously everywhere. Great music that goes deep into our daily life has become sound upholstery in non-places - listening to Mahler while jogging is an example. But upholstery and furniture are just one component of a living environment. An even more important component is the space around the upholstery. And since the Third Ear Band was around, the sound upholstery has become bigger and bigger, which means the vital space where it is possible to push the creative envelope has become smaller and smaller.

* Roman Polanksi's Macbeth is available on Amazon Prime Video. It is well worth watching as a reminder of how fifty years on visual upholstery, lile sound upholstery, has eroded creative space.

 no©2021 LucaChinoFerrari (unless you intend to make a profit. In which case, ask first

June 01, 2021

Third Ear Band Harvest's three albums in a boxset out soon.

Third Ear Band: Mosaics – The Albums 1969-1972, 3CD Clamshell Box Set
Third Ear Band


Released July 30, 2021.




Asking Mark Powell (Cherry Red Records-Esoteric Recordings) about this new release, he says that "the Third Ear Band boxed set is simply a gathering of the three Harvest albums (with no bonus tracks) in a clamshell box. It is to appeal to the more casual fan, it is not a deluxe boxed set. The releases aimed at the hard core aficionado are still the three expanded individual albums we issued a few years back. They will be issued in mini replica LP sleeves, but we aren't doing an expanded book etc.".

More detailed infos and pre-order at the Esoteric Recordings page: https://www.cherryred.co.uk/product/third-ear-band-mosaics-the-albums-1969-1972-3cd-clamshell-box-set/ 

no©2021 LucaChinoFerrari (unless you intend to make a profit. In which case, ask first

May 25, 2021

Blackhill's manager Andrew King continues to sling mud on Glen...

As I wrote in the book recently published by Recommended Records, Glen was a really funny chap, sometimes a comedian, but he had a huge spirituality and a rare deepness for the typical worn rock standards. With a very ugly memory, pulled out of his usual hat of cheap falsehoods for the bad "Mojo" magazine, Blackhill's manager Andrew King says: "Glen always claimed that he was a junkie who cured himself of heroin taking lots of acid".

Apart the ethic question of talking about a dead person in such horrible way, this memory is totally false, there's nothing in Sweeney's personal story that can be related with heroin or other hard drugs. 

Glen always claimed... what?!

I was so pissed off and outraged that I sent to the magazine this short letter:

"Dear editorial staff, on page 102 of your latest issue (issue 331 of June 2021), in an article dedicated to Third Ear Band's "Macbeth", Ian Harrison manages to write more than three thousand lines without mentioning yours truly, curator of the CD booklets remastered by Cherry Red, author in 1996 and 2020 of the only two volumes dedicated to the band (the last one published by Recommended Records), curator since 2009 of Ghettoraga, the band's official online archive.

Add to this some questionable recollections of Andrew King, one of which was even insulting to Glen Sweeney, related to his alleged heroin addiction.
Is this your idea of journalism?"

Asking Glen's partner and my friend Carolyn Looker what she thinks about it, she writes me: 

"Ciao Luca. Brilliant letter to Mojo! I'm debating weather to write to them also. I was furious at first by Andrew Kings ridiculous words about Glen but actually its such a stupid and unbelievable thing to say that l'm sure no-one will take it seriously. Its such a pity that he gets interviewed for his memories as they are now ramblings of a senile old man. In interviews with other band members things have been said which were totally untrue also and made me very angry. I guess Glen did annoy a lot of people and also talk nonsense and put them on!!! He was a very strong personality and the guys were all happy to follow his ideas at the time.
Peace love and freedom...

All in all, this is a typical cynic way to make music journalism for the most magazines, disinterested in providing objective information to their readers. It's better to gossip, to feed falsehoods and clichés, to exaggerate things as an adolescent would do in his bedroom in front of the poster of his favorite rock star. This is the rock imagery on which rock magazines speculate (and I've ever detested it!). 

As long as they have readers....


May 12, 2021

The idea of journalism of "Mojo" magazine...

The same old story. A one-page long article dedicated to TEB's "Macbeth" on the last issue of Mojo magazine (# 331, June 2021) with useless Andrew King's memories on the band (one on Glen quite distasteful...) and  some vague considerations by overvalued 'rock star' Paul Weller. Author Ian Harrison doesn't spend a word to inform the readers that the CD reissue was edited by me, that a book on the band has been recently published, that since 2009 this free Web archive does exist...
This is their idea of journalism, based on evident acts of remotion of facts. The question here is not that to express a judgement about things, but the basic right for a reader to be informed about the facts that happened.

Just this.   

But at Mojo they are so pretentious and arrogant to rewrite the history of popular music... Very sad, indeed. 

no©2021 LucaChinoFerrari (unless you intend to make a profit. In which case, ask first.

May 07, 2021

Spirits Burning's new album with Ursula Smith playing in one track!


Just today Noh Poetry Records sent to me the press release about Spirits Burning's forthcoming album involving 'our' Ursula Smith on violin in one track ("Strolling into the Future" (listen to it HERE). 

Here below the full text:


"Spirits Burning Featuring Family Members of King Crimson, Steeleye Span, Tangerine Dream, Van Der Graaf Generator, & Curved Air Release New Instrumental Album.

California – “Evolution Ritual” is the 16th studio album from the Spirits Burning collective. It includes 17 new songs, and is the band’s first acoustic-based instrumental album. The album features an impressive group of violinists and other instrumentalists: violinists David Cross (King Crimson), Steeleye Span family members Peter Knight and Jessie May Smart, Hoshiko Yamane (Tangerine Dream), Graham Smith (Van Der Graaf), Darryl Way (Curved Air), and Jonathan Segel (Camper Van Beethoven); wind/reed players David Jackson (Van Der Graaf), Theo Travis (Soft Machine), Bridget Wishart (Hawkwind), Robert Rich, and Dave Newhouse (The Muffins), as well as famed novelist Michael Moorcock on harmonica. The album also includes performances by bassists Alan Davey (Hawkwind) and Steve York (Dr. John), drummer Albert Bouchard (Blue Öyster Cult), percussionist Monty Oxymoron (The Damned), pianist Cyrille Verdeaux (Clearlight), guitarist Harry Williamson, cellist Ursula Pank (Third Ear Band), and others musicians.

Says founding member and band leader Don Falcone, “ ‘Evolution Ritual’ builds on the mystery and connectivity of our past releases, this time focusing on acoustic instruments and real-world sounds. The album mixes folk (English, Greek, and Americana), prog, experimental, and other music genres. The contributions each musician made to this album are amazing. I hope everyone enjoys this change of pace, before we return to our next space rock adventure.”

Since 1998, Spirits Burning has brought together over 265 musicians (from the family trees of Blue Öyster Cult, Gong, Hawkwind, Van Der Graaf Generator, and many other groups). Musicians (such as Clearlight’s Cyrille Verdeaux) have recorded parts in our home base in Northern California, while captain Don Falcone has also done remote recordings (such as flying to Austin to record Michael Moorcock). Other crew members (such as Bridget Wishart and Albert Bouchard) have recorded their parts in their respective local studios. The result is an ongoing series of albums created by an incredible array of musicians.

Evolution Ritual is available now on CD, or as a digital album.

1. Evolution Ritual – featuring Monty Oxymoron & Bridget Wishart
2. Caves – featuring Darryl Way, Monty Oxymoron, & Bridget Wishart
3. The Laws Of Umber – featuring David Jackson, Bridget Wishart, & Steve York
4. Abandoned Habitat – featuring Michael Moorcock & Mick Slattery
5. The Dream Find – featuring David Cross, Cyrille Verdeaux, & Robert Rich
6. Far & Away The Lands Escape, Bias Of Recency – featuring Graham Smith
7. Strolling Into The Future – featuring Albert Bouchard, Andy Dalby, & Jessie Mae Smart, Ursula Smith
8. Shadow Language – featuring Bridget Wishart
9. Seasiders – featuring David Jackson, Michael Moorcock, & Jonathan Segel
10. Lookout Point – featuring Alan Davey
11. Outside World – featuring Jonathan Segel & Bridget Wishart
12. Your Better Angels – featuring Peter Knight
13. As The Sky Was Being Painted – featuring Alan Davey & Harry Williamson
14. Theatre On The Other Side Of The Sea – featuring David Jackson & Michael Moorcock
15. Alternating Universes – featuring Theo Travis & Steve York
16. Spruce – featuring Harry Williamson
17. Night Of The Moon Dial – featuring Hoshiko Yamane

Official release date: June 4, 2021
To purchase CD/Digital Album or Digital Album: https://spiritsburning.bandcamp.com/album/evolution-ritual
To purchase CD: "Spirits Burning "Evolution Ritual" CD"

For more Spirits Burning information:

 no©2021 LucaChinoFerrari (unless you intend to make a profit. In which case, ask first.

April 20, 2021

A new long good review from a web magazine.

Italian journalist Mario Calvitti writes a long good review on the TEB book on AllAboutJazz web site at 

This is a quick translation from Italian:

"One of the historical groups of the London underground scene of the late '60s, the Third Ear Band founded by percussionist Glen Sweeney is experiencing a moment of renewed interest. First Esoteric Recordings has reissued the three albums released by the group between 1969 and 1973, in remastered and expanded editions with plenty of unpublished material of extreme interest; now ReR Megacorp (independent record label well known for its activities in the field of avant-garde and committed music) is printing (only in English) a book about the group edited by the Italian freelance journalist Luca Chino Ferrari, their biggest fan and official biographer, and already author of their return on the scene between 1988 and 1992.

The book is not a real history of the band, but rather a collection of various materials (mainly a series of interviews with Sweeney, the band members and other characters that orbited around them) collected by the author in years of research and already largely present on the site ghettoraga.blogspot.com created by him and soon became an obligatory reference point for anyone looking for news or information about the group. Through the testimonies of the protagonists of that historical period we can reconstruct not only the history of the band and its members in all its incarnations, but also the musical scene of the time that saw them among the protagonists, with all the contour of esotericism and mysticism due to the interest in Eastern philosophies, which for Sweeney was a way of life and not just a fashion of the time. Just the figure of the percussionist (died in 2005) emerges strongly from the pages of the book, as was also expected since the band was a direct emanation of him. In addition to interviews in which he tells the story of the group, the book contains sections devoted to his writings, poems and various quotations that reveal the complex personality.

The book is completed by a photographic section, a complete discography, and a chronology of all the main events related to the band's life. Moreover, to the volume is attached a CD with some unreleased tracks recorded for what should have been the third album of the group, never published, containing a little less than half an hour of music.

Perhaps the rich and abundant material could be organized differently to be more accessible to those who are less familiar with the group, but the book is definitely a must for anyone interested in a first-hand testimony by those who lived that unique and unrepeatable period, and to (re) discover one of the most original groups that emerged from that scene."

no©2021 LucaChinoFerrari (unless you intend to make a profit. In which case, ask first.

April 05, 2021

Another review about the TEB book.

A new (controversial) review of the book dedicated to Glen Sweeney and TEB has been published by the UK site/magazine Northern Sky edited by Allan Wilkinson. The reviewer seems to dislike the structure of the book, deliberately a "non-biography"...

Text of the review on the Web page:


no©2021 LucaChinoFerrari (unless you intend to make a profit. In which case, ask first

April 04, 2021

Three historical magazine ads of TEB gigs found.

Here's below three historical ads for 1968, 1970 and 1971 TEB gigs, I've recently found in the Web.

TEB-Al Stewart English tour, January 3rd, 1970

November 29th, 1968

March 8th, 1971
no©2021 LucaChinoFerrari (unless you intend to make a profit. In which case, ask first)

February 01, 2021

A new review on the TEB book by Italian magazine!

Here's is the first (and probably the only one) review on the TEB book published on Italian monthly magazine "Rumore" #349 (February 2021). 

Thanks  to Alessandro Besselva Averame for his kind attention.


English translation:

Glen Sweeney was an unusual character, even by the standards of a time when almost everything was unusual; he was a bit mystic and a bit trickster, an experimenter of ways and worlds, a man of another era (it seems that he was 45 years old in 1969 when the apocryphal and ancestral raga of his Third Ear Band made their debut). It's a great challenge to tell his story, and Luca Ferrari, a freelancer who has always been interested in heretics and outsiders, succeeds in doing so, drawing on the materials of the boundless online archive on the English band, which he has been feeding for a decade, ghettoraga.blogspot.com.
The book, in English, collects interviews with Sweeney (who died in 2005), his writings, illustrations, photos, correspondence with the author (responsible in the '80s for a brief reunion of TEB) and testimonies of anyone who crossed the path of this syncretist who perceived every single percussive beat "as if it were a symphony".  He provides at the same time a nice cross-section of the British underground '60s and '70s. Manic chronology and video/discography also attached a CD with unreleased recordings of the '70-'71. 

Alessandro Besselva Averame

no©2021 LucaChinoFerrari (unless you intend to make a profit. In which case, ask first)

January 31, 2021

TEB's Gonzo Multimedia titles disappeared from the web site.

The drastic changes of the global record market forced Gonzo Multimedia to limit the production of physical albums, selling just digital editions of the records.

For this simple reason, Gonzo Multimedia's owner Rob Ayling recently explained to me that "we are now selling digital versions - the demand for physical copies drops off after the first pressing."

So this is the reason why all the TEB's catalogue (apart from some few last copies of "Spirits") is not available anymore with the original physical CD editions.

However, even though this is now established, I don't like the digital edition of an album, and I still prefer to have a traditional CD with a physical disc, case and paper booklet...

 no©2021 LucaChinoFerrari (unless you intend to make a profit. In which case, ask first)

December 02, 2020

"Il Segreto Cantico Degli Elementi". JENNY SORRENTI e TULLIO ANGELINI celebrano la Third Ear Band!

All'inizio del 2020 la musicista italiana Jenny Sorrenti e il musicista/promoter Tullio Angelini hanno scritto un breve pezzo sul loro album psichedelico preferito per un numero speciale dedicato alla musica psichedelica dalla rivista Classic Rock
Davvero sorprendentemente, hanno scelto il secondo album della Third Ear Band ispirato agli elementi primordiali. Non una semplice recensione, la loro, ma un vero atto d'amore per la band, traboccante passione ed emozione.

Quella che segue è una versione più estesa del pezzo scritta da Jenny e Tullio (che hanno selezionato anche le immagini) esclusivamente per i lettori di Ghettoraga!



"Era il mese di marzo dei primi anni ‘70 quando qualcuno mi disse di una casa del Vomero, quartiere nella zona collinare di Napoli, dove si ascoltava dell’ottima musica e infatti i vinili erano appena usciti e importati dall’Inghilterra. Noi giovani musicisti, afflitti da quel processo di decadimento che stava subendo la musica, sempre più povera di emozioni, esclamammo parole di grande soddisfazione.

Era un fotografo napoletano che apriva la sua casa all'ascolto delle ultime novità nei vari generi musicali: dall’underground alla psichedelia, dal folk al rock. Visse due anni a Londra, lavorando nel campo fotografico e vendendo giornali fuori dalla metropolitana.
Dunque fu in quella casa napoletana che mi sintonizzai, per la prima volta, con le vibrazioni e le frequenze della Third Ear Band, ed ecco che
il segreto mi fu subito rivelato.

Di preciso non ricordo dove, ma in quel periodo acquistai il secondo disco del gruppo, quello omonimo, dedicato all’Aria, alla Terra, al Fuoco e all’Acqua. Questo ascolto mi comportò un significativo cambiamento personale. Quello della Third Ear Band è un suono rarefatto, ancestrale, costantemente in bilico tra sistemi di scrittura non ordinari. Le ambientazioni descrivono forme e composizioni in costante dialogo tra Oriente e Occidente. Frequente è il riferimento al raga indiano integrato dalla pratica improvvisativa, autentico punto fermo della formazione. 

Un particolare interesse sembra essere dedicato al recupero di alcune sonorità, memorizzate senza alcuna dichiarazione formale e interiorizzate come se fossero in clandestinità. La percezione della musica e della vita furono totalmente nuove, a tal punto che questa profonda trasformazione, aiutarono a liberare la mia mente. Un processo e un’alchimia che mi portò a vivere di visioni, colori, sensazioni mai provate prima e senza dover ricorrere a chissà quali sostanze psicotrope. 

Questo disco mi lasciava presagire la mutazione, eccellente, sapiente e così mi avvicinai all'ascolto con sorpresa, stupore e timore. Timore come di qualcosa d’ignoto ed esoterico. Gli intrecci tra oboe e violino, sostenuti in modo ipnotico dalle percussioni, costituivano il paradigma di un linguaggio in divenire che io avevo intercettato e intrapreso e che infrangeva quella classicità, fino a quel momento, così preminente nella struttura e forma dei brani. Quelle note, quel susseguirsi di fraseggi ed esecuzioni mi condussero a una visione naturalmente alterata della realtà e m’incoraggiarono a esplorare nelle profondità del mio cuore e delle mie sensibilità... Senza alcuna esitazione, fu il disco “psichedelico” più bello mai ascoltato e infatti, poi, nel nostro primo album dei Saint Just, intitolato con lo stesso nome del gruppo, li ho meritatamente ringraziati nei credits.

JENNY SORRENTI (foto di Francesco Desmaele)

Ricordo che… nel ’74 venni a sapere che Paul Buckmaster, già membro della Third Ear Band, in "Macbeth", partecipò, come musicista, al primo album di un mio amico percussionista napoletano. Mi incuriosiva il personaggio. Scoprii così che aveva studiato violoncello presso il Conservatorio di Musica San Pietro a Majella di Napoli, proprio dove anch’io diedi alcuni esami, quando studiavo lirica. Paul era di madre napoletana e padre inglese… esattamente l’opposto di me! Sua madre, pianista diplomata, per lui aveva scelto dove farlo crescere e studiare, quindi preferì la mia città natale. Mi sentii onorata.  

Quando poi andai a Londra per contattare alcuni musicisti avrei voluto incontrare anche Paul Minns. Ci tenevo ma non ci sono riuscita. Avevo poco tempo. Dovevo ritornare in Italia per continuare la lavorazione di "Suspiro", il mio primo album solista.
Nonostante il susseguirsi di generose e onorevoli trame di violino, oboe e cello, sorrette dall'incedere percussivo, la musica degli Elementi è ancora oggi inalterabile, al pari di una roccia lavorata da braccia vigorose e capaci di scolpire sopra, immagini e raffigurazioni resistenti al procedere del tempo. 

Viene un dubbio…! Riuscivamo davvero a interpretare tutto questo?

Un'officina di suoni e simbologie che, all'inizio, ci sorprese come uno spirito quasi sinistro e subito dopo ci riempì i cuori con la sua grazia iniziatica. Gli strumenti usati erano come dei battenti nella notte, che facevano crescere la nostra devozione ancora e ancora di più... fino al punto che, per mezzo dei loro messaggi, la musica stessa diventò parte del nostro essere. Pure adesso il loro suono è forte, vigoroso e noi stessi sembriamo e sappiamo poter ancora arrossire all’ascolto. Nel disco degli elementi si dispiegano i cieli, si distendono le terre, si sprigionano le acque e si scatenano i fuochi. Se vi è dunque una musica che ha aiutato il nostro sé artistico a diventare più creativo e coraggioso, quella musica è stata senza dubbio questa e ci rivelerà ancora tanto mentre continueremo a camminare per la nostra via, per la stessa via... attraverso le vite. 

TULLIO ANGELINI (foto di Luca D'Agostino).

È così che suonava e che suona la musica della Third Ear Band. Come una straordinaria meraviglia sonora che ci fa immaginare di essere tra i rari e fortunati testimoni segreti.
Quello che viene da evidenziare in questo album è l’ascesa del suono, il suo divenire. Si percepisce un qualcosa di non immaginato e tanto meno organizzato o redatto. Nemmeno l’improvvisazione è in grado di sancire questo superamento. Oltre alle note dello spartito, dietro di esse, o forse al loro interno, sembra esserci una zona nella quale succedono cose straordinarie. A guisa di un’estensione temporale capace di porre gli stessi musicisti fuori controllo.  
Del resto, l’Aria, la Terra, il Fuoco e l’Acqua appartengono alla Natura, alle sue divinità e alla formazione del mondo, non condizionato da scansioni del tempo esistenziale e senza distinzioni tra passato, presente e futuro, ma dalla contemplazione dell'eterno. Le armonie, i ritmi, le melodie delle quattro tracce dell'album sono funzionali sempre e solo alla creazione di dimensioni che hanno la comune caratteristica dell’ineludibilità.

Piano piano si è quasi liberata la conoscenza di condividere un’inalterata e nel tempo mai sopita attrazione per questa band… così ineffabile. E’ la principale motivazione per tale scritto, che abbiamo firmato a quattro mani.
Da riportare che l’oboe di Paul Minns (e sinceramente diciamo che seguita a essere il nostro eroe), con la sua timbrica, continua a emettere segnali che ci giungono da lontano… forse vincolati al segreto di ritualità remote e non cogliendoci mai impreparati, anzi, sempre ricettivi alla sublimazione dei… segni".

Jenny Sorrenti e Tullio Angelini
Roma, novembre 2020



- Jenny Sorrenti -




mail: jennysorrenti@gmail.com

- Tullio Angelini -



mail: momusit@yahoo.it 

no©2020 LucaChinoFerrari (a meno che tu non intenda farne un profitto. In tal caso, prima chiedi.)

"The Secret Canticle Of The Elements". JENNY SORRENTI and TULLIO ANGELINI celebrate the Third Ear Band!

At the beginning of 2020 Italian musician Jenny Sorrenti and musician/promoter, Tullio Angelini  wrote a short piece about their favourite psychedelic record  for a special issue on psychedelic music published by Italian magazine Classic Rock. They selected TEB's second album inspired by the primordial elements. A piece that's a real act of love for the band, full of passion and emotion. Here below you can read a more extensive version of it, written by them later, exclusively for Ghettoraga Archive (Jenny and Tullio also proposed the pictures included).

"It was March in the early '70s when someone told me about a house in Vomero, a neighbourhood in the hilly area of Naples, where some guys were listening to great music. At the time the vinyl was 'just out' and imported from England. We young musicians, afflicted by that process of decay that music was undergoing, increasingly more deficient in emotion, expressed words of great satisfaction for this.
He was a Neapolitan photographer who opened his house to let us listen to the latest news in various musical genres: from underground to psychedelia, from folk to rock. He had lived two years in London, working in the photographic field and selling newspapers outside the subway.
So it was in that Neapolitan house that I tuned in, for the first time, with the vibrations and frequencies of the Third Ear Band, and the secret was immediately revealed to me.  
I don't remember exactly where, but in that period I bought the second record of the band, the one with the same title, dedicated to Air, Earth, Fire and Water. This listening brought me a significant personal change. The Third Ear Band's sound is rarefied, ancestral, continually hovering between non-ordinary writing systems. 
The settings describe forms and compositions in a constant dialogue between East and West. Frequent is the reference to the Indian raga integrated by the improvisational practise, a band's true staple. A particular interest seems to be dedicated to the recovery of some sounds, memorized without any formal declaration and internalized as if they were in clandestinitySince that time my perception of music and life were totally new, to the point that this profound transformation helped to free my mind. A process and alchemy that led me to live with visions, colours, sensations never experienced before and without having to resort to who knows what psychotropic substances.
This record let me foreshadow the excellent, wise mutation, and so I approached the listening with surprise, amazement and fear: a fear as of something of unknown and esoteric. The weaves between oboe and violin, hypnotically supported by percussion, were the paradigm of a language in progress that I had intercepted and undertaken. It had broke that classicism, until that moment, so prominent in the structure and form of the songs.
Those notes, that succession of phrasings and performances led me to a naturally altered vision of reality, encouraging me to explore in the depths of my heart and my sensibilities... Without any hesitation, it was the most beautiful psychedelic record ever heard: in fact, in our first album of Saint-Just, titled with the same name of the band, I deservedly thanked them in the sleeve credits. 
Jenny Sorrenti (photo by Francesco Desmaele).

I remember that... in '74 I discovered that Paul Buckmaster, already a member of the Third Ear Band, in Macbeth album, had participated, as a musician, to the first album of a Neapolitan percussionist friend of mine. I was intrigued by the character. So I discovered that he had studied cello at the Conservatory of Music San Pietro a Majella in Naples, where I also had done some exams when I was studying Opera. Paul was of Neapolitan mother and English father... precisely the opposite of me!
His mother, a graduate pianist, had chosen for him where he would grow up and study, so he preferred my hometown. I felt honoured by it. When I went to London to contact some musicians, I also wanted to meet Paul Minns. I wished that, but I couldn't, I had a little time. I had to return to Italy to continue working on "Suspiro", my first solo album.
Tullio Angelini (photo by Luca D'Agostino).

Despite the succession of generous and honourable plots of violin, oboe and cello, supported by the percussive procession, the music of the Elements is still unalterable today, like a rock worked by strong arms and able to carve over, images and representations resistant to the passage of time. 
A doubt arises...! "Could we really interpret all this?"
A workshop of sounds and symbols that, at first, surprised us like an almost mischievous spirit and immediately afterwards filled our hearts with its initiatory grace. The instruments used were like knockers in the night, which made our devotion grow even more... to the point that, through their messages, the music itself became part of our being. Even now their sound is powerful, vigorous and we seem and know that we can still blush when we listen to them. In the album of elements the heavens unfold, the earth stretches out, the waters flow, the fires are unleashed. So if there is a music that has helped our artistic self to become more creative and courageous, that music has undoubtedly been this and will reveal so much more as we continue to walk our way the same way... through lives. 
That's how the music of the Third Ear   Band sounded, that's how it sounds, an extraordinary sonic wonder that makes us imagine that we are among the rare and lucky secret witnesses.
What is highlighted in this album is the rise of sound, its becoming. You can perceive something not imagined and even less organized or edited. Not even improvisation can sanction this overcoming. Along with the notes of the score, behind them or perhaps within them, it seems to be a place where extraordinary things happen, in the guise of a temporal extension capable of putting the musicians out of control. 
After all, air, earth, fire and water belong to Nature, to its divinities, to the formation of the world. This is not conditioned by scans of existential time, without difference between past, present and future, but by the contemplation of the eternal. The harmonies, rhythms, melodies of the four album's tracks of the album are always and only functional to the creation of dimensions that have the common characteristic of inescapability.
Slowly the knowledge of sharing an unaltered and in time never dormant attraction for this band... so ineffable. This is
the first motivation for this writing, which we signed with four hands.

Paul Minns playing at the German TV in 1970.
Finally, we would like to affirm that Paul Minns' oboe (he is still our hero!), with its timbre, continues to emit signals that reach us from afar... perhaps bound to the secret of archaic rituals. It never caught us unprepared but, on the contrary, always receptive to the sublimation of... signs."

Jenny Sorrenti and Tullio Angelini
Rome, November 2020



- Jenny Sorrenti -




mail: jennysorrenti@gmail.com

- Tullio Angelini -

mail: momusit@yahoo.it

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