SUITE N.3 13.34

Aria di te 00.00 Instrumental version Fausto Mesolella Ed. Sugar

La tela 03.14 Fausto Mesolella Ed. Musicacè

Aria di te 05.24 Seconda parte Fausto Mesolella Ed. Sugar

Samba greca 08.18 Fausto Mesolella Ed. Musicacè

Il dubbio di Ulisse 11.56 Fausto Mesolella Ed. Musicacè

SUITE N.4 06.51

L’improvviso mare 00.00 Fausto Mesolella Ed. Musicacè


SUITE N.5 15.08

Taxidi 00.00 Fausto Mesolella Ed. Musicacè

SUITE N.1 17.36

Gymnopedie n.1 00.00 Erik Satie

Osservazione n.1 02.39 Fausto Mesolella Ed. Musicacè

Osservazione n.2 06.27 Fausto Mesolella Ed. Musicacè

Vecchio frak 08.19 Modugno

Fragile 09.08 Sting

Vecchio frak 09.50 Seconda parte Modugno

Osservazione n.3 12.11 Fausto Mesolella Ed. Musicacè


SUITE N.2 19.04

Era de maggio 00.00 Di Giacomo / Costa

Pizzica Ventata 05.27 Fausto Mesolella Ed. Musicacè

Era de maggio 05.27 Seconda parte / Di Giacomo / Costa

Samba di una nota 12.29 Jobim

Era de maggio 14.20 Terza parte / Di Giacomo / Costa

Ai giochi addio 14.59 Nino Rota Ed. Cam

Fausto was impressed and fascinated by the sound of Scott Hamilton's sax recorded in the ancient cellar of the Palazzo di Scoto di Semifonte in Certaldo Alto and from there the desire to record a new guitar record was born. Giulio Cesare had asked Fausto to bring everything he normally used for a concert, his amplification system to spread the sound and “all his bullshit”', as they jokingly called each other. Giulio Cesare had placed Fausto with his guitar in the acoustically optimal point of the cellar, tuning the amplification system with the space. He had placed the legendary Neumann microphones as if he were recording acoustically, recording what we heard live, the sound of the cellar. The result was fascinating, intimate, unique. Fausto played expressing his art and his soul in freedom. A magical atmosphere..... a journey, as he defi ned it. The album title Taxidi came up while we were at Red Ronnie's at the Roxy Bar, I translated the word into Greek and here is the title. Fausto liked it very much. The 2 days of recording were really a journey for us who were there listening to him and fixing that moment, trying to engrave all the deep emotions that came from his music and his "Bloody" guitar. He played his Suites thinking about the duration of the vinyl. “Only vinyl,” he said. In fact, he had asked me to warn him when we were around 18' of music (one side of the vinyl contains about 20') but he was so busy playing that in a Suite he really didn't see my signals and I had to get so close to the microphones that you can hear my breath obviously remained in the incision.

The Suites are whole takes, played in one go, full of pathos and poetry. How many emotions, how much beauty.... Taxidi, a journey together with Fausto Mesolella.

Paola Liberato


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