From birdistheworm.com:
If I had to point to one album that exemplified the thriving state of Jazz, and it's undeniable hope for the future, it would be The Imaginary Delta. By mixing traditional instruments and forms with modern instruments and composition, Fairhall is simultaneously forward-thinking while still tending to the roots of Jazz's past. And, really, both those things are important. Jazz is about tradition, just as Jazz is about innovation. Most jazz musicians are able to do one of those things well, a smaller group are able to do one of those things great… but it's a rare thing for an artist to do both of those things, simultaneously, great. Fairhall has done that here. Inventive music that echoes the spirit of Charles Mingus. The Bird is the Worm 2012 Album of the Year.
From thejazzmann.com:
This excellent album by Manchester based pianist and composer Adam Fairhall was released in May on George Haslam's Slam label but with Fairhall due to bring his group to London to perform this material at the 2012 London Jazz Festival in November the time seemed right for me to take a rather belated look at it.
I know Fairhall's playing through his work with fellow Mancunians Matthew Halsall (trumpet) and Nat Birchall (saxophones), he appears on Halsall's "On The Go" and Birchall's "Sacred Dimensions", both of which have been reviewed elsewhere on this site. He has also been part of Halsall's touring line up.
But there's more to Fairhall than just his sideman role. He also works as a solo pianist and runs a trio featuring Tim Fairhall (bass, presumably his brother although I'm not totally certain of this)) and drummer Gaz Hughes. The seeds for "The Imaginary Delta" project would appear to stem from his duo with electronics artist Paul J. Rogers who provides samples of 1920's blues recordings which Fairhall then merges with more contemporary musical influences such as the piano stylings of McCoy Tyner. Their album "Second Hand Blues" was released on ASC Records in 2011.See Fairhall's websitehttp://www.adamfairhall.co.uk/for further information on this and his other projects.
"The Imaginary Delta" grew out of his experiments with Rogers and was commissioned by the 2011 Manchester Jazz Festival. The album was recorded live at the city's Band on the Wall venue on 26th July 2011 and features an expanded line up of Fairhall on piano plus the horns of James Allsopp on clarinets, Chris Bridges on trombone and jug, and Steve Chadwick, leader of cult Manchester band the Magic Hat Ensemble, on trumpet. His regular trio colleagues Tim Fairhall (bass) and Gaz Hughes (drums) complete the rhythm team with Rogers acting as the wild card contributing the modern musical accessories of laptop, electronic processing and turntables alongside arcane instruments such as the diddley bow and novelty items including chains and pepper grinder. In this sense he's a kind of Leafcutter John figure. Steve Mead, the Artistic Director of Manchester jazz festival spoke of Fairhall's ambition to "draw upon the early language of jazz and make it speak to us in the 21st century". Acclaim for the festival performance and subsequent live album (the latter mixed on an analogue desk to preserve the warmth of the live sound) has been virtually unanimous resulting in an invitation to bring this music to the capital as part of the 2012 LJF.
"The Imaginary Delta" is a suite in six parts that blends Rogers' early blues sources with the writing of Fairhall. Sampled sounds are merged with real time instruments to create a fascinating patchwork of ancient and modern. Opener "Baptist Prayer Meeting" contains a sample of George "Bullet" Williams "Middlin' Blues" and features Rogers on diddley bow (now you know where Mr. McDaniel got his stage name from) alongside the more conventional jazz instrumentation. The piece grows out of Rogers' samples and diddley bow to embrace a more contemporary modal sound with rich, deep bass clarinet voicings from Allsopp and Tyner style piano from Adam Fairhall. The sound generated by the three horns is pleasingly full and the piece eventually concludes with a passage of solo piano.
"Sedalia Rag" combines the rhythms and syncopations of ragtime with more contemporary free jazz leanings. Rogers' electronic whooshes and bleeps contrast nicely with the more conventional jazz instrumentation in a series of free jazz exchanges informed by the spirit of the past. There's a prolonged passage for the trio of the Fairhalls and Hughes with Tim's muscular bass stalking Adam's piano as the chatter of Hughes' drums provides both punctuation and comment. When the horns return the piece becomes more obviously a "rag", albeit one filtered through the prism of Charles Mingus and the whole sixties free jazz movement.
"Arabian Fantasy" includes a highly effective sample of Ivy Smith singing Cow Cow Davenport's "Cincinnati Southern Blues" which is grafted seamlessly onto a seductive, undulating modal theme. Allsopp's subtly bluesy clarinet solo, Bridges' growling trombone and Chadwick's slow burning trumpet feature then evoke the spirit of New Orleans but in a wholly contemporary setting.
"Tutwiler Train Stomp" begins with spooky free jazz sounds but Fairhall's piano gradually leads the piece into an exuberant romp with some terrific horn interplay, Chadwick's brassy trumpet contrasting superbly Allsopp's woody low register bass clarinet. The horns also get the chance to solo at length with Allsopp going first sketching sinuously mesmerising bass clarinet lines above the propulsive rhythms of bassist Tim Fairhall and drummer Gaz Hughes. Bridges then rasps away fruitily on trombone before Fairhall brings it all home with some torrential piano runs. The solos are punctuated by squalling collective passages and the piece eventually fades away to end as mysteriously as it began. Quite a railroad trip.
Not surprisingly "Victoria Spivey" features the sampled voice of the lady in question singing "Nightmare Blues". The piece begins with the crackle of Rogers' electrics and a sound like ghostly pump organ, perhaps meant to simulate the steam whistles of the Mississippi river boats. Fairhall's piano delicately wanders around these atmosphere setting effects before settling into an authentic blues pattern onto which the disembodied voice of Spivey is superimposed. Chadwick's trumpet slurs and growls offer suitable embellishment and the other horns are subsequently added to the mix. The band keep the blues mood going after Spivey is faded out with Chadwick and Allsopp on bass clarinet contributing pithy statements. There's also an extended solo bass feature for the consistently excellent Tim Fairhall who later enters into dialogue with Bridges with Chadwick, Allsopp and Hughes later joining in as the blues edges closer to free jazz. Adam Fairhall picks up the blues baton again with a solo piano feature that embraces a number of jazz and blues styles. The ghost of Victoria Spivey then returns to sing us out.
The closing "Harlem Fast Shout" sees the group tearing it up in uproarious fashion beginning in Cotton Club era Ellington style before veering off into a free jazz squall and back again. The mood is exuberant and playful with trumpeter Chadwick's fiery opening solo an undoubted highlight.
"The Imaginary Delta" is a superbly realised project with Adam Fairhall as the fulcrum but all the musicians involved play well and make significant contributions. The merging of different jazz and blues styles and of divergent technologies is seamlessly done and the entiree album represents a remarkably coherent whole. Fairhall is to be congratulated for his vision which blends his extensive knowledge of jazz and blues styles with strong compositional skills to present an entity which is entirely convincing. "The Imaginary Delta" conjures up the ghosts of not only of the musicians sampled on the soundtrack but also those of Ellington, Mingus, Tyner, Ayler and more and (to paraphrase Steve Mead) makes their spirits speak to a 21st century jazz audience.
4 out of 5 stars
Also from birdistheworm.com (full review):
It is a remarkable challenge to create a piece that is both innovative and nostalgic, one that blends the influences of the past with a vision of the future, and to do it without sanitizing one or the other. On The Imaginary Delta, UK pianist Adam Fairhall does exactly that.
Originally commissioned by the Manchester Jazz Festival (and premiered live at Band On The Wall), Fairhall harnesses the disparate sounds of an ensemble built around obscure, traditional, and modern instruments and technology, and sets them upon a suite of compositions informed by traditional and modern musics alike. Instruments like piano, trombone, clarinets, trumpet, drums, and bass team up with jug, didley bow, sampling, turntables, and effects, for a series of tunes informed by the blues, ragtime, stride, free jazz, modern and traditional jazz.
And Fairhall doesn't just play it straight. These are deconstructed jazz tunes that leave the heart intact. The influences are just that… influences. This is modern, forward-thinking music that just so happens to conjure up voices from the past. In many ways, the artist most logically referenced by this album is Charles Mingus, who himself, also made experimental innovative music that, also, was heavily indebted to traditional jazz and blues. It as if Fairhall isn't channeling the music of Mingus, so much as he is the spirit with which Mingus gave life to his music.
Now, about that music…
Your album personnel: Adam Fairhall (piano), Chris Bridges (trombone, jug), Steve Chadwick (trumpet), James Allsopp (clarinets), Tim Fairhall (bass), Gaz Hughes (drums), and Paul J Rogers (laptop, turntable, diddley bow).
The opening track starts with the processed sampling of an old recording, used as an interlude to the menacing, yet boisterous "Baptist Prayer Meeting." As the samples diminish into the background, the other musicians enter the recording with bass clarinet sneers and stormy skies piano. Drums rattle off stark warnings, and diddley bow adds a percussive element that doesn't cheer the mood. The is Jazz composition as balled-up fist.
But the thing of it is, that initial menace gives way to a joyous energy as the band surges more emphatically into the tune, trumpets and trombones lending their voice to the rising tide of sound. When the tide quickly recedes, and the sound returns to the opening menace… well, it just doesn't sound that ominous anymore. Beauty need not always source from pretty sounds. There is beauty in scars, in shouts, in growls, in ferocity… just so long it's arranged properly and played with heart and soul. The song ends as it began, quiet, eerie, and the samples of sounds from another time.
Second track "Sedalia Rag" opens with prancing horns and the scratch of turntables. The two forces wrestle, and become as one, their sounds indistinguishable from one another and from their moments of individualism. Hints of traditional ragtime peek out from the free form nature of the tune, especially if the ear follows the breadcrumbs laid out by Fairhall's piano (most distinctive in the second half of the tune). But, again, Fairhall's incorporation of those elements into the composition, ultimately, serve to emphasize its modernity, not its ties to the past.
On "Arabian Fantasy," the mix of slow blues and sampled vocals is equal parts warm and haunting, like hearing the voice of a dearly departed from beyond the grave. Pace picks up with some nice solo sections, especially from trombone.
Fourth track "Tutwiler Train Stomp" is a nice blowing session tune. Bass clarinet takes the spotlight, both on its own and when matched with the higher pitched trumpet. The tune begins with effects, but the traditional instruments take over. The trumpet section is particularly riveting.
Fifth track "Victoria Spivey" begins with a repeated sample of skewed piano. It's the type of unsettling sound one would expect to hear on a (indie-rock) Mark Linkous song. Fairhall begins playing over it, and adds an element of elegance to the proceeding. Then vocals are sampled in, with Fairhall's piano and Bridges' trombone playing over it. The rest of the ensemble slowly files in, adding quiet accompaniment. The tune takes several sharp turns in tempo and style, but ends the way it began, with Fairhall's piano and the sampled vocals. It's a nice bit of cohesion to a tune that showed many facets.
Album ends with "Harlem Fast Shout," a hopping tune that conjures images of dance floors filled with Friday Night revelers and musicians on the bandstand playing into the wee hours of the night.
Nearly three months back, I mentioned in my brief synopsis of this album for eMusic that this is "An album of outstanding scope and vision." Now, three months later, and plenty more listens under my belt, the truth of that statement hasn't lost any of its strength. The Imaginary Delta is a stunning achievement.
From emusic.com:
Adam Fairhall, The Imaginary Delta: Originally commissioned for the Manchester Jazz Festival, pianist/composer Fairhall bought together a mix of early jazz forms and current technology and music approaches. So what you have are piano, drums, trumpet, trombone and clarinets joined by didley bow, jug, electronics, turntables, and samples of vintage jazz. It has that same synthesis of haunting and nostalgic warmth as anything that Charles Mingus recorded during his most creative moments, and switches from futuristic avant-garde to Olde Tyme swing with alarming seamlessness. An album of outstanding scope and vision. co-Pick of the Week.
Also from emusic.com:
On The Imaginary Delta, pianist and composer Adam Fairhall speaks with a forward-thinking attitude of innovation while channeling the voice of jazz's past. A traditional rag becomes a futuristic avant-garde deconstruction. The use of effects and turntables enhance, rather than preclude, the expression of a soulful blues. A blowing session doesn't miss a beat with the incorporation of sampling. Fairhall has united these disparate elements to create a remarkably engaging album of both scope and vision, and is vivid evidence of the strength represented by a new generation of UK jazz musicians. 4 out of 5 stars
When I first started listening to this record, I wasn't sure what to make of it.
But since it is a live recording, I decided to let the audience reaction guide me.
The audience loved it.
My first reaction, once I settled down and got what was going on, could be
described as an English jazz band paying homage to their American roots.
The band captures the spirit of ragtime and of New Orleans and they mix
it with contemporary sounds and samplings from original pieces. All original
music was composed by Fairhall.
The use of samples, or actual recordings, from the1920s is a fascinating idea.
For me the best use of the technique was on "Victoria Spivey" where the band
members play over her singing at the start and finish. In the middle we hear
some interesting solos and ensemble work. The sample of "Cincinnati Southern
Blues" by Charles "Cow Cow" Davenport on "Arabian Fantasy" also works well.
The CD opens with some kind of sounds. The piano enters, followed by others,
including the diddley bow, which adds a new touch to an old style piece.
On "Tutwiler Train" the band sounds like a slow train under the piano, then speeds
up. There is some great bass clarinet playing by Allsop. Maybe because of the
bass clarinet I hear the influence of Mingus in the compositions and ensemble
work in spots, both in terms of "Blues and Roots" and in a more general way in
how Mingus used collective improvisation.
All players capture the early styles well and mix them with a more contemporary sensibility.
This is especially the case with Fairhall's piano.
But after multiple listenings I am still not sure what I think of the whole thing.
Bernie Koenig
http://www.cadencejazzmagazine.com/membersonly/admin/assets/cadencejan2013twopages.pdf
The blues is, of course, a phantom presence in a lot of jazz, but it's rarely summoned as explicitly or to such beguiling effect as on Manchester-based pianist Adam Fairhall's six-part suite The Imaginary Delta. As the title suggests, Fairhall is concerned with evoking the lost American South that gave rise to blues and early jazz, captured and viewed through an electronic 21st century prism. So, that means combining acoustic instruments (including the primitive, twanging diddley bow of poor rural blues) with modern laptops and turntables: Paul J Rodgers' exquisitely placed samples from crackly blues records are stunningly evocative, making full use of the romantic allure of analogue sound. There's some stunning musicianship on these originals that veer from free-jazz to ragtime to deep swing - and Fairhall's piano is a questing, quixotic voice with a comprehensive "inside and out" vocabulary that recalls some of Sun Ra's solo passages. This is armchair time travel of the highest order.
Daniel Spicer Jazzwise, June 2012.
This is a recording of the immortal night at Band On The Wall during last year's Manchester Jazz Festival when pianist Fairhall and his musicians ma nagged to dissolve the partition between early 20th century Storyville and modern Ancoats. How did they do it: And will the magic survive on CD? Well, the inspired ploy of using voices from the past - the musicians interact in real time with samples of Ivy Smith and Victoria Spivey - works even better when everyone is disembodied. And the variety of the music is more pronounced, ranging from Ellingtonian harmony to free tumult, yet all refracted through an antique prism. The accretions of 60 years of so of revivalism are stripped away, incidentally revealing the real torment of Buddy Bolden more convincingly. Quaint it ain't. The supporting cast, who somehow channel musical legions without sacrificing individuality, include Steve Chadwick on trumpet (dignified and elegant); Chris Bridges on trombone (an instrument good at straddling hot and free jazz); James Allsopp on clarinets (Simultaneously detached and urgent); wild card Paul Rogers (on diddley bow and electronics); Tim Fairhall (rich-toned on bass) and Gaz Hughes (juggling beats and styles). And then there's Adam Fairhall himself, whose fractured, compelling from stride-to-Stan piano proposes unity rather then schism. So does the magic survive? Yes, yes, yes. Mike Butler, Manchester Evening News, 20 April 2012.
ADAM FAIRHALL/ The Imaginary Delta (SLAM Productions)
Le pianiste britannique Adam Fairhall propose sur ce disque de post-moderniser le "delta blues". Au fil de six compositions originales, il combine instrumentation traditionnelle (clarinette, trombone, trompette, basse, batterie, "jug") et électronique (ordinateur, tourne-disque) et s'inspire à la fois du delta blues, de l'improvisation libre et du mash-up. Paul J. Rogers fait tourner des extraits d'enregistrements d'époques qu'il manipule et intègre au jeu de Fairhall (mélange de ragtime, de stride et de "free"). Arrangements solides, moments déroutants, une grande réussite artistique.
With this record, UK pianist Adam Fairhall is rethinking the delta blues in post-modern terms. Through six original compositions, he manages to combine traditional instrumentation (clarinet, trombone, trumpet, bass, drums, jug) and electronic devices (laptop, turntable), drawing inspiration from the delta blues, European free improvisation, and the mash-up culture. Paul J. Rogers spins period recordings, which he treats and integrates to Fairhall's playing (a blend of ragtime, stride, and free). Strong arrangements, puzzling moments, a very successful artistic proposition.
Francois Couture http://blog.monsieurdelire.com/2012/05/2012-05-23-black-cracker-adam-fairhall.html
Questo bel progetto che fonde mirabilmente sensazioni tradizionali che arrivano dagli inizi del novecento con lo spirito dei giorni nostri è stato commissionato dal Manchester Jazz Festival dove è stato poi eseguito a fine luglio del 2011. La Slam lo pubblica dopo averlo registrato mirabilmente in quella occasione.
Il leader del gruppo è il pianista inglese Andy Fairhall che si circonda di ottimi musicisti suoi conterranei e soprattutto infiltra un alieno come Paul J Rogers che coi suoi sampling e processi computerizzati mina nelle fondamenta ogni tentativo di revival tradizionalista. Quindi questo Delta è per davvero immaginario e i revisionisti non riusciranno mai ad azzannare le loro preda, per fortuna.
L'effetto è qua e là mingusiano, proprio per lo scorrere grasso delle pulsioni e dei sentimenti. A volte anche la raffinatezza ellingtoniana fa capolino, ma è solo una suggestione che poi svanisce nella luce del crepuscolo. La musica gode di una scrittura robusta e di interpreti assolutamente all'altezza. In particolare, emerge il trombone di Chris Bridges, grumoso ed essenziale al punto giusto, nelle sue uscite solistiche che profumano di magnolia. Le sottolineature argute del leader al pianoforte sono un valore aggiunto di notevole spessore. Anche la sezione ritmica è di ottima qualità e la musica scorre via come se davvero fossimo a bordo di un battello che naviga nel maestoso fiume che sa di Mississippi. Apparentemente dalle parti di New Orleans, ma con le brume del Tamigi. Riprogrammare il GPS?
di Maurizio Comandini http://italia.allaboutjazz.com/php/article.php?id=8171
TRANSLATION:
This beautiful project that admirably combines traditional feelings that come from the early twentieth century with the spirit of the day was commissioned by Manchester Jazz Festival where it was executed at the end of July 2011. The Slam the public after recording admirably on that occasion.
The leader of the group is the English pianist Adam Fairhall who surrounds himself with great musicians and especially his fellow infiltrate an alien like Paul J Rogers with his sampling and computerized processes undermines the foundations of any attempt traditionalist revival. So that Delta is for real and imaginary revisionists never be able to bite their prey, thankfully.
The effect is mingusiano here and there, just to grease the flow of impulses and feelings. Sometimes the refinement ellingtoniana peeps, but it is only a suggestion that then vanishes into the dusk. The music has a strong writing and interpreters to match. In particular, there is the trombone of Chris Bridges, lumpy and essential at the right point in his solo releases the scent of magnolia. Underscores the witty leader at the piano are a value added of considerable thickness. Even the rhythm section is of excellent quality and the music flows away as if you were aboard a boat that sails the majestic river that knows Mississippi. Apparently the parts of New Orleans, but with the mists of the Thames. Reprogram the GPS?
ADAM FAIRHALL With JAMES ALLSOPP/CHRIS BRIDGES/STEVE CHADWICK et al -
The Imaginary Delta: Live July 2011 (Slam 289; UK) Adam Fairhall on
piano & compositions, James Allsopp on clarinets, Chris Bridges on
trombone & jug, Steve Chadwick on trumpet, Paul J. Rogers on laptop,
electronics, turntable & diddely bow, Tim Fairhall on bass and Gaz
Hughes on drums. The Slam label has a long history of discovering new
and often unrecorded musicians from Great Britain, as well as South
America and Italy. Pianist & composer Adam Fairhall is a new name for
me and here debuts an impressive septet. This disc was recorded live
at the Manchester Jazz Festival in July of 2011. Starting off with a
strange mutated blues sample the group soon jump into a strong,
hard-swinging groove. The team of frontline horns - clarinet, trumpet
and trombone, has a distinctive sound that seems to dip into some New
Orleans-like rambunctious. This band is consistently tight and
spirited with exuberant piano from Mr. Allsopp. "Sedalia Rag" does
actually sound like a rag and the entire vibe does make me smile.
Utility player, Paul J. Rogers, knows how to insert certain samples
or sounds to enhance those old school references from jazz's long
history. There is an ancient blues/jazz voice by Ivy Smith sampled on
"Arabian Fantasy" and "Nightmare Blues" by Victoria Spivey used on
another piece. The band erupts on "Tutwiler Train Stomp" which
features some smokin' clarinet, trombone and piano solos. Mr.
Fairhall's septet do a good job of keeping one foot in the past and
the other in the present without resorting to copying an older style
too closely. I guess this makes sense since this is "The Imaginary
Delta". - Bruce Lee Gallanter, Downtown Music Gallery
TRANSLATION
Usually publications of Slam Productions are dedicated to jazz
more modern, but of course we take the liberty to publish even
something special, like this amazing live concert of the band
around the pianistAdam Fairhall.
apprezare The reasons are many who do.Certainly the crowds
and special atmosphere that musicians communicate to those who now listen, and
the music of course, that brings together past and present without
conflict of any kind, from Duke Ellington's early atmosphere of the things
modern, post-bop jazz from with some reference to the free.
A mosaic that gives rise to a fascinating painting with color, which
blends the past and the present as they have already done great
as Charles Mingus
The group is made only by the leader on piano, byJames Allsopp
to clarinets (a great solo on dolphianoTutwiler Train
Stomp, while elsewhere it makes us feel the archaic sounds of the band
New Orleans),Chris Bridges trombone,SteveChadwickon trumpet,Tim Fairhallon
bass,Gaz Hughesondrums andPaul J.Rogers,who with
his turntables and electronic instruments with which launches the samples so
as to add special effects to sound magma.
The music is simply fun, unconventional, created by a mind
that is inspired visionary, distantly, to precendenti of Mingus who
willingly invited pianists of his groups to play stride and between
clusters.
The samples of the voices that sound archaic blues make us understand, if
we had forgotten, what is really the swing, while the
emotional participation of the musicians do the rest.
A hard, in short, everything to which he escape aseptic atmosphere
of a recording studio, yet you need tools tomodern communication dall'addetto
managed to work well.The pianist and leader is just an original mind from
which we expectreally
ORIGINAL ITALIAN
Di solito le pubblicazioni della Slam Productions sono dedicate al jazz
più moderno, ma ovviamente ci si prende la libertà di pubblicare pure
qualcosa di speciale, come questo stupendo concerto live della band
intorno al pianistaAdam Fairhall.
I motivi che lo fanno apprezare sono tanti. Certo il calore del pubblico
e l´atmosfera speciale che i musicisti comunicano a chi ora ascolta, e
la musica ovviamente, che mette insieme presente e passato senza
conflitti di sorta, da atmosfere del Duke Ellington degli inizi a cose
più moderne, da jazz post bop con qualche accenno al free.
Un mosaico che dà origine ad un quadro dai colori affascinanti, in cui
si mischia il passato ed il presente così come hanno già fatto grandi
come Charles Mingus
Il gruppo è costituito, oltre che dal leader al piano, daJames Allsopp
ai clarinetti (un grande assolo dolphiano suTutwiler Train
Stomp, mentre altrove ci fa sentire i suoni arcaici delle band di
New Orleans),
Chris Bridges al trombone,Steve Chadwickalla tromba,Tim Fairhallal
contrabbasso,Gaz Hughesalla batteria e daPaul J. Rogersche con i
suoi giradischi e strumenti elettronici con cui lancia dei samples così
da aggiungere gli effetti più speciali al magma sonoro.
La musica è semplicemente divertente, spregiudicata, creata da una mente
visionaria che si ispira, alla lontana, ai precendenti di Mingus, che
volentieri invitava i pianisti dei suoi gruppi a suonare fra stride e
clusters.
I samples che suonano le voci del blues arcaico ci fanno capire, se
l´avessimo dimenticato, cosa è veramente lo swing, mentre la
partecipazione emotiva dei musicisti fa il resto.
Un disco, insomma, che da di tutto per sfuggira all´atmosfera asettica
di uno studio di registrazione e che tuttavia si serve di strumenti di
comunicazione moderni ben gestiti dall´addetto ai lavori.
Il pianista e leader è proprio una mente originale da cui ci si aspetta
veramente molto.
Vittorio lo Conte http://www.musiczoom.it/?p=7350
