I Fall in Love Too Easily

I Fall in Love Too Easily
I fall in love too fast
I fall in love too terribly hard
For love to ever last

My heart Should be well-schooled
'Cause I've been fooled in the past
And still I fall in Love Too Easily
I fall in love too fast

My heart Should be well-schooled
'Cause I've been fooled in the past
And still I fall in Love Too Easily
I fall in love too fast

On Air: Quoyle i fall in love too raised easily -1944 (Cahn, Styne)

Angel Eyes

"Have you ever had the feeling
That the world's gone and left you behind "

(On Air Fight Quoyle & Angel Eyes)

Duets - What are the clouds

A busy week, with notes, books and words, small fragments have remained etched in my little head, phrases, small irrelevant details. extracted from their context, influences, emotions, interference and fragments, some comic episode, all very experienced indeed too hard, and often a phrase was opening a world of reflections, little snapshots of an evening, my brain snapped and started in his usual ruminations.

The surreal
One of the first things that happened in my enoserate are alone at a table there 'an odd couple, much applauded at the end of the evening, he approaches and we begin to speak, resembles very much the lead singer of Broadway Danny Rose Lou ... Canova. And it tells me that he does revival of Frank Sinatra, the real piano to a time which has many contacts (I was expecting at any moment to get to see the type of publlicita 'swamps that meets Woody Allen and escapes woman with Lou) and at one point I exclaimed:

"I have the same voice of Frank Sinastra, only with more 'extension'

Quoyle has a jaw that does not stand well, and does not hide the very fact that this sentence has something absurd.
Its so scary woman who resembles the woman Lou Canova, a bolus dose of pure Leghorn pushed

"Oh, I have a good one that says good, but really has the voice of Frank Sinatra"

Here I am sitting at the table with their drinking and listening to his stories on how to come out, directors, party with people well. This plunge into madness and human 'one thing I really like these enomusical evenings.

Many different musicians for each night, and this is' always a good, different energies, different stories, in a duo, then we talk a lot before, during and after the tune, the complicity, 'simplicity' is a fundamental part. Old friends returning, with whom talks can resume interrupted even by 10 years.
A trumpet, a sax, voices, percussion.

The percussion
Tough night, the difficulties' of life, playing my drums just for money and not to please you all feel, the sounds of percussion sink in alcohol and in sorrow. The evening did not at first did not he just a very sad right after the disqualification of my percussionist with the aftermath and recovery assistance. A bitter taste in the mouth, over the embankment at dawn with the alarm clock at five to go and get tipsy percussion stops at dawn.

The trumpet
Complex character, that of my trumpet, very multifaceted person with whom, and 'hard to get in tune, they were several years since we played together, and the energy of the evening' was very strong, little inventive on his part, especially a lot of weight rhythm on my shoulders. So many stories of life, however, 'and see the changes after so many years and find news of mutual friends more than I hoped' to have.

The sax
The most crazy 'total of my sax. The discontinuity ', his chronic lack of confidence in himself until' no wields the saxophone, the total recklessness, by appointment at 19 arrives at 22.15 just before the concert. Energy crazy, dirty, poor, dense dialogue, complicity 'total audience transfixed by the power of our notes, sax noise, amplified by an amplifier up to 40w of luck because' the speakers are out, a few tables completely captured through the show. Liberta 'total sound as if there was no one, free and uninhibited, risking more and more and recover, find, ignore the music and social infrastructure, not caring of all, there is music and the childlike joy of hearing the notes of the other beef up their quotes and wonder, inspiration and understanding. There 'was a before and after a while but only, perhaps the metaphor for how life should be, ideally, only live in the moment and you', regardless of the will 'and that which' was.

The voice
The understanding and 'strong shadows are many, each other, the distance does not change the agreements, not playing together since November, but the good things you know will not change with the space-time dimensions. There 's a very intense first of confluence and dialogue, and understanding the concerns are similar. The music and 'crystal clear and conscious. Clean power, quiet joy. I am amazed by what comes out from cleaning the vision of the song from when I started knowing where to take it, are satisfied with this happy coincidence of thought and action, hands should be the guide where instinct and the brain feels that the first there will be 'later. Some moments are very strong emotion, I wish the voice was more 'free and conscious of its own means, by leaving infrastructure, and will happen' I am sure everything happens only when you can 'happen, if I had been told that I would been able to hear some things in this way 5 years ago would not have believed, in fact I would not have thought possible just.

The written word
And the readings, this week's 'holiday' from the official labor that absorbs a lot of energy from the creative and emotional, to the south of the border to the west of the sun, Murakami notes are always vibrating with mine, the world it portrays and 'I see often, the colors of anxiety and melancholy, the receptors that music can open, the deep parts of memories, jazz, Star Crossed Lovers, Ballad of the divine genius Strayhorn and Duke, I was convinced to study universe complex and complicated until you let yourself be swept away by its simplicity ', can not alter anything, loyalty' absolute music.

Even in the sleepless nights, tidying the library and find a Librino infintesimale, the highest for the musician Schumann and stand of pearls: "Do not ever help to spread the bad compositions," what 's true, the usual theme of respecting the music and quell'angolino small and the chance 'to communicate and try to spread the beautiful compositions, against the logic of marketing, consumption. "Do not strum never, never leave in the middle 'a song you're playing," always follow the notes, and music, and' true and nothing 'more' bad left in the middle of a song ', I remember my uncle when I was small and taught me how to play the piano when I resumed I sketched something and then went on in my inconstancy in half and let 'what I was playing.

All these notes have created something in me, always live deeply every note I play, more than 88 keys and those people who play with me, and the duo 'a rather beautiful form of expression, of complicity' very strong, with great empathy. Knowing how to vacate the fusion of two musical thoughts, leave out the other's ideas without sovrastarle with your own, working and living music. I am glad of this opportunity 'for dialogue with many different musicians, and introspection in my way of thinking and playing that these comparisons can give me.

(On Air Star Crossed Lovers Paolo Fresu Ballads)

The prism

Commonly we are dealing not with light colored white. A prism separates white light and see the components of which 'consists. White light enters the prism and separates it into its components to show the spectrum that composes it.

The components of music, the music exists, musician and 'the prism, and what you hear, and' the audible spectrum that has gone through that prism, there is much more 'beyond which we can not hear or imagine, only the prism knows what and 'was crossed. It would be nice it were possible to listen with their ears, the music that exists, and goes through in its entirety 'the prism. Depends partly on what comes out of the prism, from what is left to cross, what others can see.

Then there are the sensitivity 'personal, everyone sees what you can see, by refraction, everyone hears what you can hear at that moment, this does not diminish the value of the prism, which is known to cross. The value lies in the purity of the components of the prism. The simplicity 'and complicity' between the musicians have some guarantees of purity, the technique provides the other, there will always be imperfections, the magnitude of the musician is in limietare interference in step, limiting the imperfections.

It 's a nice feeling to be crossed by the music as such, even when one realizes that imperfections are introduced, even when it' s frustrating to know that he heard something and not be able to translate it and let it live its own life, limited the interference. With Charlotte, the first time we met we decided that the first song we played together was raised easily I fall in love too, and so 'and' was about a year ago, then every time we played together, that song together and calling you 'was always present, a link to our past, a link to a beautiful relationship of friendship and complicity' music. It 's been a year, things will have happened in their lives a lot, we slowed down our activities in recent times' music together, and tonight we took the tests, and' natural state of being left with the fall in Love Too Easily, she cooled I tired, and I decide to register anyway, and dim the lights and play just for the heck of it, to feel, with the pleasure of accompanying and give the right support for his voice. And close your eyes and let the music pass through the prism of the most 'pure as possible, leaving aside the interference. And 'play like that, with complicity' that gives me peace ', playing to communicate, to tell, to try to let go, the musice and emotions that derive from this passage.

I Fall in Love Too Easily (Styne / Cahn)

I Fall in Love Too Easily
I fall in love too fast
I fall in love too terribly hard
For love to ever last

My heart Should be well-schooled
'Cause I've been burned in the past
And still I fall in Love Too Easily
I fall in love too fast

(On Air I Fall in Love Too Easily Take3 Pisa March 8, 2006)

Perugia April 27, 2005 (Can not help singing)

I always prepare to play in a state of perception of reality 'special, I do not know if abnormal or takes me to the real world, however, feel that changes in a certain sense the way I see things.
This evening, and 'was pretty special,' cause the piano to accompany you only compares directly with yourself, in a sense forces you to confront your musical ideas, with your technical limits, feel a strong responsibility 'of give a soft carpet on which to place the voice, no sharp edges, but soft curves and delicate passages. A duo situations and 'even more' easily influenced by external events, the type of audience, from the energy that there 'in the air, the feeling between piano and voice, the feeling among musicians and audiences.
Never before that night I realized how the inner energy can affect a concert, a performance. So for various reasons, I was in a bit of thought that I would have gladly left running in a protected memory area, groped to not do harm, others who would gladly have come out of that area and left free to float and I was wearing a discreet physical fatigue as saying that it helps in not taking immediate action situations.
Another fundamental mistake to delegate to others the decision of the ladder, and this 'was pretty obvious to me at the end' cause the ladder was terribly unbalanced in my knowledge, all the pieces that I had read the beginning, the ones I knew every corner of the end, leaving me free to begin the contract and not listening to the musical thought and struggle peacefully.
The first part of the concert 'was so sharp, looking for a sound that never came, a noisy audience, a piano sounds too metallic completely free' medium, as often as you reflect upon your merciless contraction, 'was a 'difficult hour, going forward in the lineup, I'm beginning to see the light, Lullaby of Birdland, Gee Baby Is not the good for you ... and no there was never any flicker of imagination, I could not pull out maledettisime those notes had something that made sense, broken speech, interference of negative thoughts, suffering through the noise and buzz of the crowd so 'the first time and' flew away with a sigh of relief. The pause, to gather the forces and ideas groped to learn from what happened in the first part, an exchange of glances, trying to sort your thoughts and leave to unleash the energy I felt inside.
The second part begins with a quiet piece called "slow" i fall in love too raised easily and immediately I realize after 4 notes, playing with the plan that is changing the direction of the wind, I do not think and sound .... the noise of the audience and 'fell, people listen, Fight begins to empathize with what we are doing, and start another phase of the concert, I can close my eyes, breathe, let go all away and fall in Love Too Easily and 'pretty exciting, we start immediately with the dead leaves, a single pedal ostinato, a couple of minutes with your eyes closed playing intro on foot, leaving the issue to grow slowly, letting it get out of the corners of those familiar harmonies, piano building it quickly without a piece one note at a time, preparing to enter the voice that comes naturally when and 'right to do it, and just close my eyes, and go with no inhibitions, a hands free slide talk about the other answers talk come out of those thoughts were in a protected area and would not have had to stay there, the applause at the end of the song and 'liberating for me,' cause I felt the breath of public silence, and as always I realize that the important thing in a concert and not 'speed' or the volume of music, but thought if someone of you talk about trying to explain 'desire to understand you, you take what you are saying with your limitations. Calling you is the culmination of this concert, I feel the silence, a few notes, her voice quiet patiently let the song grow until it exploded in the middle.
Now the dams are really fun jump start, and then the pieces are one behind the other in wonder, until you reach a version of Summertime never experienced before, where I let my right hand just playing a few bluesy notes, then only the left , slowly meeting at the center of the keyboard and each does what he must do, quiet, I hear the voice of Struggle smiling, a quick look around and I was so eloquent that when sound became even more 'shy, and really play the harmony of piece, leaving the audience blinking my hands in time (or nearly so,,, :-)) but leaving our emotional release and that of the public of this second set that allowed us to express ourselves as we did. The end of the concert, that's when it starts to spin as it should and 'over, embarrassed smile as always when I have to leave the piano, I feel naked without the keyboard in front, and do an encore, a sweetly melancholic version of My Funny Valentine, I let go imagination, replace some chords, always keeping in mind Fight to be quiet on those notes and also this version vibrates, it vibrates the emotions I have inside of happiness' Fighting perceived in their own voice inflections, and this time the concert and '... and I actually ended up meeting with the meaning altered, with the way I hear things, see the events, the eyes perceive, feel, smell, hear thoughts amplified (and I always wonder how in the opening, and if' the feel real when it comes out after slumber and 'every day or forced and' just a magic that music, being able to abstract it for a few hours of everyday life 'petty, brings as dowry and gift, when you have the courage to overcome a certain threshold and to venture where you normally can not go)

Can not help singing (EY Harburg-Kern)

Can not help singing
Of the promised this evening is Bringing
I am floating along
On the crest of a song

There are bells in my heart
And They Are ringing
Can not help glowing
I'm so glad to be here That I'm glowing

I do not mind what i say
You Affect me that way
And i just feel like singing all day