"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!

 

 

  

IL SEGRETO CANTICO DEGLI ELEMENTI

"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

 

CONTATTI

- Jenny Sorrenti -

https://www.facebook.com/jenny.sorrenti3/

https://www.facebook.com/SaintJustJennySorrenti/

https://www.facebook.com/JennySorrentiofficial/ 

mail: jennysorrenti@gmail.com


- Tullio Angelini -

http://allfrontiers.it/

https://www.facebook.com/AllFrontiers/

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).

 

 

 

   THE SECRET CANTICLE OF THE ELEMENTS

"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 clandestinity. Since 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

 

CONTACTS

- Jenny Sorrenti -

https://www.facebook.com/jenny.sorrenti3

https://www.facebook.com/SaintJustJennySorrenti/ 

https://www.facebook.com/JennySorrentiofficial/ 

mail: jennysorrenti@gmail.com

- Tullio Angelini -

http://allfrontiers.it   

 

https://www.facebook.com/AllFrontiers

 

mail: momusit@yahoo.it

 

no©2020 LucaChinoFerrari (unless you intend to make a profit. In which case, ask first)

1972 Japanese esoteric article on the TEB.

Here's we have a very exclusive and extraordinary thing from the past, as an old rare fossil found by chance! Thanks my friend Koro Ito, a very big jazz  records collector, I've got this five-pages article about the Third Ear Band published by Japanese music magazine "New Music Magazine" in July 1972 (!!!). The essay was written by Tadanori Yokoo. Titled "When I died, I heard this sound. The Nostalgic Scary Sound of Third Ear Band", I think is one of few psyco-philosophical/esoteric/paranormal analysis of TEB's sound published, a psychelic trip through the sound and his human and spiritual meanings. 

Tadanori Yokoo is one of Japan's leading contemporary artists, known to music fans for his designs for Santana's "Abraxas" and Miles Davis' "Agartha" jackets. He is also an accomplished writer and has published several books of essays.

 

 

When I died, I heard this sound. The Nostalgic Scary Sound of Third Ear Band.

Yokoo Tadanori

When I first heard the sound of the Third Ear Band, I thought it was definitely my sound, because I felt like I had been searching for that sound all my life. Because I think I was born in this world and I've been looking for this sound all my life. That's how nostalgic I am about this sound. But when I listen to this sound, it makes me afraid of it. Because I have to go back to this sound someday. 

I remember hearing this sound a long time ago, maybe in a dream. I have the memory of this sound in my cells, whether it was in a dream or in my mother's womb or when I was in this previous world. So this sound reminded me that I had died before, and I always had the memory of this sound in my mind. Maybe I was always reminiscing about my previous life in my mind. The world I will leave is also where this sound is. When I hear this sound, I feel like I could die. But I feel as if I am dying right now. Maybe that's why I miss the sound so much, because it's exactly the same thing that happened before. 

I'm very afraid of dying. It's a physical fear of extinction, it doesn't mean the death of the spirit. I'm afraid of being left alone with my spirit. But This Sound separates me from the body and makes me only the spirit. And it flies me from the present world to the next present world, to the spirit world, to the spiritual world. At times like this, I have the illusion of reaching cosmic consciousness, or God consciousness, and I am almost drenched in a shower of light from the divine world. But it would have taken me hundreds or thousands or tens of thousands of years in Earth time to walk this far. But this sound remains a reminder of my time in this world, even when I'm only a spirit.

My thoughts were mostly ego dominated by negative thoughts, so my spirit is still wandering in the great dark universe. It's like a bitter taste, like Lugol's fluid attached to the parallelepipedal gland, such an earful thought. But my afterlife must be like that. Of course, it was the same bitter taste when I died before.
I love to get along with death. I love to get along with death because I'm so afraid of it. To get rid of the fear of death, I would have to become the object of my own fear, the death. In that sense, This Sound makes me feel safe. That's why I always want to taste death when I'm alive. My life is a continuation of death. My life is a part of death. My life is a part of death, so I would like to call life the opposite of death. I'm not so much afraid of the afterlife as I am of death. I used to be very scared of it, but now I'm only a little bit scared of it, but the spirit has left the body. But I'm afraid of the pain of the body when the spirit leaves the body, I'm afraid of the moment of death. I'm afraid of the moment of death.
 

I have died three times in my life. 

The first time was when they cut my head off. One moment I felt icy coldness in my neck, and the next moment it was fiery heat. But it was only for a second, and after that, I still felt the same bitterness as the taste of Lugol's liquid. As soon as my neck was cut off, my spirit left my body and fell into a dark, dark well of space. And I remember the pain of the bitter taste of that Lugol's fluid in my neck. My spirit still remembers the pain of my body after death, which really disgusted me. I'm so unlucky that an eternal and immortal soul can remember such physical pain forever. How long has it been since the fall of the spirit? Suddenly I realized that I was walking with my guardian spirit along a footpath beside a stream that runs behind the gravestone store. The sound I heard at this time sounded exactly like this sound.
 

The second time I died was when I dropped something precious in the deep river. I crawled deep into the riverbed to pick up the prized item. No matter how hard I dug in, I couldn't reach the bottom of the river. By and by, I began to feel suffocated. So I hurriedly tried to surface, but no matter how hard I tried, I couldn't get to the surface. However, I couldn't get to the surface, no matter how hard I tried. I must have gone too deep into the water. Finally, I was out of breath before I reached the surface. When I realized how much time had passed, I found myself floating in the water near the bottom of the river.
As it was. But strangely enough, even though I was underwater, there was no water around. Yet I was floating through the waterless space of the riverbed as if I were swimming in the water. This was the first time I realized that I was dead. I looked behind a rock on the dark riverbed and saw a woman lying there naked on her back, in a pose as if waiting for my body. I immediately went to hug her. But what happened was that neither she nor I had any sex organs. But still, the lust that was building up in me continued to intensify. I don't know how much time passed. Suddenly, I felt the presence of people behind me, and when I turned around, I saw many spirits lined up in a long line to the bottom of the river in the distance. The sound I heard at that time was exactly the same as this sound.

 

And when I finally died, my body was nowhere to be found at all. All I had was my spirit, which seemed to be floating in the air. Almost the whole area was covered with a white haze. After a few moments, the haze in front of them disappeared for a moment, revealing a part of the mountain surface that looked like autumn leaves. It looked like a reddish-brown colour, like autumn leaves. I raised my head and started to cry. Without a body, I had to lean on something with an indescribable sense of anxiety. As with my two previous deaths, I was immediately aware that I was dead. I hadn't been afraid or regretful of dying before, but for some reason, this death felt like a real death. It is an indescribable fear. The obsession with the material world, with not being able to return to this world anymore, really drove me crazy. And finally I started to cry out loud. But I don't know what happened, I couldn't cry a single tear as I was crying so sadly. A few tears would have saved me from this immense sadness, but at last the tears wouldn't wet my cheeks. Only the single thought of wanting to go home hits me like a tidal wave. Soon, the faces of my wife and two children appear in the space in front of me. At this point, my obsession with the material world became more intense. I was a little tired of the struggle with this obsession with the material world, and I seemed to fall asleep for a while. The next time I woke up, I found myself in a world of darkness. I felt that I was about 50,000 feet from the earth. This is where the mothership of the flying saucer is flying in the sky. I felt as if my spirit, which had left my earthly body, was now possessing the body of a creature from another planet. No longer did I think about Earth at all. I think the sound I heard at this time was this sound.

 

This sound inevitably appears at the beginning and the end of my life. So, this sound may be the sound of my spirit.
There are countless sounds in this great universe.
The sounds of the Sun, the Earth, the Moon, Venus, Saturn, Mars and the other twelve planets in our solar system each produce a different sound. From this solar system to the other solar systems, the entire island universe is filled with sound. This may be the sound of everyone's spirit soul in their own matter. When I listen to this sound, I know that my life is infinite. But still I am afraid. I am not afraid of infinity, but I am afraid of the finitude of my body. Unfortunately, the body itself is my soul now. I guess I love the crippled body of this ganjigalame more than the spirit that flies freely to the far side of the universe. That's why this sound is a cruel sound. It's not the sound of a spirit, it's the sound of the energy of the material world. Really, I'm crazy. This sound makes me crazy, like a hallucinogen. Anyway, it's a strange sound. It's a straight line, and somewhere along the line, it connects the ends of the line with each other with a whimper. It's like a Möbius wheel, inextricably linked to each other. And I become an eternal slave of this space and time. It is the world of the fourth dimension. I fell into the Möbius circle and I learned about my samsara for the first time. But the sound of the this sound recorded has a beginning and an end. I always have to get out of bed and go to the player to listen to it again, and then put the needle back on the record's head. Then I had to bring the needle back to its original position at the head of the record. What is this all about? I don't know.

 

The afterlife doesn't work the way I want it to. My body, my sensuality, and my material energies, such as material greed and ego, rule the afterlife just as they did when I was alive. It's troubling. But in this material world, I am not so sure about my improvement. Apparently, my body is an obstacle to my spiritual improvement. Sometimes I have to fight against this ego incarnation in my dreams.
In dreams I can at least go to a place a little higher than the present world, the next realm. Of course, the world is invisible to the naked eye. In physics, it would probably be called a molecule. But sometimes we are approaching the world of atoms, or even smaller electrons, made up of even smaller particles than molecules, and we are getting closer to the spirit world and the spirit world. It seems to me that this sound is coming from this area. I think it's more like the sound of an evil spirit from the depths of the earth than the sound of the heavenly realm. It is the sound of the earth, which, when heard from the far reaches of the vast solar system, is more terrifying than the sounds of other planets. It is the sound of the whole earth's thoughts. And one day this sound of the earth may destroy the balance of the solar system. Then it could be the collapse of the solar system, and even the entire island universe. The sound is my sound, humanity's sound, the earth's sound, and it could one day become the sound of the solar system and the entire island universe. It's not a good sound. It's more of a sound of negative thoughts. Now this sound is warning me, warning humanity and the Earth. That's how dangerous the sound is. The sound itself is not dangerous, but the fact that this sound is now being heard in this way is dangerous.
I'll have to die someday. I don't want to think about it, but that's what this sound is all about. I don't want to think about it, but this sound makes me think about it. Maybe that's why I've been thinking about death a lot lately. Next time I want to be reincarnated on another planet. Perhaps on other planets, there is no this sound and it's peaceful. I think death is peaceful by nature. By the way, as long as you die on Earth, I don't think there is going to be a peaceful afterlife by any stretch of the imagination. It seems to me that life to other planets is equal to or greater than the comfort of death. The length of life itself should be about 2,000 years in Earth time. People of the time of Kyristo and Buddha are still worshipped by their cosmic brothers as profound elders in the farthest reaches of the universe.

 

My soul is always sending vibrations to these cosmic brothers. But because my sound is demonic and full of anxiety and fear, like this sound, I don't get a good communication. Still, on a couple of occasions I've succeeded in making contact with them in my dreams. But each of these was not peaceful, and was filled with anxiety and fear. I think it was because of my own fears and insecurities. My soul is pathetic and poor as it continues to have this subconsciousness about them. So it's weird, but this sound is a sound for poor, poor earthlings like me.
I may be far from peaceful as I like this creepy sound, I am fascinated by this sound, but if I had to leave the world of this sound itself, I might become irresistible. The more I listen to this sound, the more I pull it into my spirit. As I start with this sound and end with this sound, I think, "Why can't I escape this sound? It really hurts my spirit." Just as it hurts when the body is strongly stimulated, it hurts when I listen to This Sound, as if my spirit is prickling and stinging. What have I told you so far? It's a strange feeling, as if I'm dreaming because I'm involved in this sound. Talking about this sound confuses me more and more. But my spirit really looks like a picture of this sound. 

 

no©2020 LucaChinoFerrari (unless you intend to make a profit. In which case, ask firs

Spirits Burning asked Ursula Smith to play cello on a forthcoming record.

Spirits Burning has recently invited Ursula Smith to play cello on two pieces on an acoustic album "that has some tendencies towards Third Ear Band and folk", according the leader of the collective Don Falcone (who is in the U.S.A. but the band includes people for all over the world). 

The album is expected to complete mixing and mastering in early 2021, and then be released later in the year.

You can listen to an example of an instrumental Spirits Burning album here: https://www.youtube.com/watch?v=OVDwVmK5jWQ&t=14s

"Spirits Burning celebrates space rock, progressive rock, new music, and other music. Since 1998, Spirits Burning has brought together over 250 musicians (from the family trees of Blue Öyster Cult, Gong, Hawkwind, Van Der Graaf, and many, many more groups).
Musicians (such as Daevid Allen and 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."

 

Other Spirits Burning infos at: 

http://www.spiritsburning.com/ 

https://www.facebook.com/spiritsburning

 

Spirits Burning on Wikipedia:

https://en.wikipedia.org/wiki/Spirits_Burning 

 no©2020 LucaChinoFerrari (unless you intend to make a profit. In which case, ask firs

TEB book outtakes (part 4): all the other stuff left.

Here's below some the other pictures not included in my recent TEB book...

Hydrogen Jukebox's Jim Gypsy Hayes (1978).

 

 

Morgan Fisher with VCS3 in the Seventies (courtesy M. Fisher).

 

 

Jim Gypsy Hayes recording vocals for the HJ's album (1978).

Mick Carter rehearsals for the H.J.'s album (1978).

As above

Rod Goodway in the Seventies.

The Hydrogen Jukebox with a sound engineer (1978).

 no©2020 LucaChinoFerrari (unless you intend to make a profit. In which case, ask first)

KRIS NEEDS' piece about the TEB for Shindig!

One of the best piece about the TEB ever written, this special feature edited by Kris Needs for Shindig! magazine is very good one; a real qualified tribute to the band, "remained the most intriguingly strange and mysteriously evocative of all"...

 

 

 no©2020 LucaChinoFerrari (unless you intend to make a profit. In which case, ask first)