Aramirè Compagnia Di music Salentina - CD

Aramirè Compagnia Di music Salentina
Mazzate Pesanti (Edizioni Aramirè)
$17.99

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Notes from the CD

A very beautiful place.

The Salento is a very beautiful place. For me it's the most beautiful in the world. And its music is very beautiful music. For me the most beautiful in the world. This is the tale that I repeat to my children every once in a while, even though even I don't believe it any more at this point. Or rather, I realise that the Salento is indeed a very beautiful place (as to the most beautiful in the world, forgive me a little parochialism …) but this is true only potentially. In fact, pursuing a certain road already undertaken – seen to be the only possible one by certain administrators and part of the population – I don't believe that the actual and potential beauty of the Salento will remain such for much longer.

Some Salentines seem to be convinced that nothing could change things for the worse and for this reason see themselves authorised to tamper with their territory in an absolutely disrespectful way: From leaving pine woods full of rubbish after every trip to the country, to the randomconstruction of illegal houses and building concessions for mega tourist villages in the most beautiful places along the coast. Demographic pressure is, however, enormous (seeing that the territory is small and the inhabited centres crowded) and as a result, the Salento could, in the future, become a kind of Los Angeles of Southern Italy, with all the inhabited centres united into one single megalopolis from Leuca to Campi Salentina. Not that this couldn't have its positive sides … however goodbye to the so-called uncontaminated environment, the millenarian olive trees, the dry stone walls, and small white-washed houses in the summer sun, so appealing to a certain iconography proposed by our administrators for the promotion of tourism.

What seems to be missing in the current state of affairs is a programme of intervention setting out from the characteristics of the Salento, a small and isolated place: where natural beauties (which can't withstand a great many interferences reducing their rangeyet more precisely because they are few) are defended by zones of protection prohibiting building all around; where development is compatible with the territory and indeed focused on its recovery (by, for example, renovating the often abandoned old farm houses, or masserie, to turn them into places of tourist reception, rather than constructing mega hotels that disfigure the landscape; where the, to some extent, over-dimensional road network is not further increased, but instead every effort is made to improve the existing one; where a serious battle is fought against illegal buildings – both institutional and public – pollution and landscape destruction in favour of interventions that render this territory enjoyable with respect to its landscape, art and archaeology; in favour of a Salento that develops itself, without striving to ape imported models which then reveal themselves to be adapted to other characteristics and therefore disastrous in the province of Lecce, not without first having caused irreplaceable damage. The photos of rubbish dumps inserted here are only a small example of the true Salento, where thousands of small (and large) abusive dumps run along the sides of secondary roads. Refrigerators, washing machines, car batteries, building site material, old toys, shoes, clothes, bottles … the Salento, an open air dustbin.

At the same time, we are witnessing massive transactions of territorial marketing, the organisation of big 'events' and the deliberate manipulation of historic realities for the use of advertising, through the creation of a series of "icons", like that of the spider and the tambourine (just like the pizza and the mandolin of Naples), or that of a hedonistic-dionysian Salento, where at the end of the day the peasants "traditionally" got together on the threshing floor of the masseria to wildly dance the pizzica. "But do me a favour!" Toto would say. "But what pizzica?" Uccio Aloisi actually says, "The pizzica was danced only once a year. And that was it."

And here we come to the matter of Salentine music: "the most beautiful music in the world." What to say? Good fortune, that thanks to some "illuminated" administrators we have had the possibility to "learn it" from Joe Zawinul or Stewart Copeland, or, hear, hear, from Lindo Ferretti who urges us to write new songs. Unfortunately, dear Ferretti, the music of the Salento obeys its own rules, which the old knew to perfection, whilst the young, the revival groupsdon't. To write new songs that may be Salentine – and perhaps speak about current themes – requires an inconvenient and in depth study, but most of all a degree of immersion that risks to become totalising.Not many musicians are prepared to sacrifice the security of the known, the notions of the conservatory to venture into unexplored – melodic, timbric, rhythmic and harmonic – territories. Because this is so, the traditional music of the Salento is entirely open to discovery. The traditional music of the Salento, that of the old, is more innovative than one hundred experimentations. The music of the old is young and becomes old when you stick the special effect of a famous musician, who comes to the Salento, overpaid, to transform everything into a luna park, onto it.

Just as in the field of territorial interventions, the field of music is lacking a developmental project, that sets out from the characteristics of Salentine music with the aim of making it grow from the inside. If our "illuminated" administrators weren't so busy organising musical luna parks, they would have used a small part of the river of money appropriated for these "events", for the foundation of a research centre, a sound archive and research projects. There are still the old who sing. There are, in any case, already a good number of traditional registrations available on CD. But, with long term investment, how much unknown material could still be recuperated?

If the past editions of the "Notte della Taranta" didn't cost a couple of millions of Euro, it won't have been much less. One tenth – one twentieth – of that sum would have been enough to promote true cultural initiatives, aimed at lasting through time whilst complementing tourist promotion obtained with the large concert. This wasn't done. Maybe there is still time. The 2004 edition, as it seems, is characterised by a return to more traditional features of our music. The presence of Ambrogio Sparagna as concert director should be a guarantee in thissense. Maybe the direction pursued until now wasn't the right one? That would, however, be a very meagre consolation for those who have been saying this for years.

In any case, the contents of oral music traditions have not bridged the moatthat divides them from the revival. A superficial use of traditional models is not enough to say that Salentine music is not dead. "Popular music" disappears with people: the main cultural objective should be that of rendering possible the transmission of its most profound characteristics to the young. Only then can this music be revitalised from the inside without becoming fossilised through the sterile repetition of "Lu rusciu te lu mare" in every stew.

This CD is an attempt to propose "new-old" music, along side classics of the Salentine tradition. Maybe it is possible to do better. This is just the CD of a revival group, one of many. All I know is that the new pieces don't displease me and don't seem to clash with the spirit of Salentine music. At this moment, you have them in your ears.Let me know.

Roberto Raheli, Lecce, 5 July 2004.

Notes

Aramirè was born at the end of the summer of '96, but it can boast more robust roots that go back to the work of the Canzoniere di Terra d'Otranto, born in 1989, the first amongst Salentine groups to produce a CD of Salentine music in 1994: "Bassa Musica"; what's more, it has always found inspiration for its activities through the study of traditional rhythms and melodies.

Aramirè has played in Spain (Minorca, Baleari – 1998) and in the United States (L.A. 1998 and 2000), Ireland, the Bretagne and Sardinia (summer 2000).

In the summer 2001, it participated in the festivals of Genua, Sarzana, Terni, Livorno, Pisa, besides numerous concerts in the Salento. Aramirè has moreover participated in all the editions of the Pizzicata festival in the Salento from 1999 to 2003.

In April 2002, the group is in the USA for a series of concerts in Tampa (Florida) and in New York, whilst in September 2002 a new tour takes them to the United States: to Philadelphia, New York, for the Mediterranean Festival, and New Jersey.

In the course of 2003, Aramirè played in Switzerland, at the Pisa Folk Festival, at Teramo, Rome, Forlì, Conegliano Veneto, Civitavecchia, Verona, Modena, Bologna, Latina. It opened the concert of Manu Chao in Pescara, besides numerous concerts in the Salento and Apulia. In 2004 concerts are in Bari, Rome, Urbino, Pisa …

Musical Productions

The CD O pillo pillo pi is from 1998, whilst the CD SudEst came out in 2001, a CD of ample breath offering an extremely varied sliceof the Salentine musical repertory.

Mazzate pesanti is the last born: classical pieces of the traditional repertory come along side new compositions, in which the study of Salentine sonorities,that keep to traditional harmonies, serves new texts on topical subjects.

The Salentine tradition

The Salento, the heel of Italy, a land of 'passing through' and continual exchange between Orient and Occident, has, throughout the centuries, developed a rich musical heritage, made up of numerous currents, often very different from one another.The pizzica is the music used not only for the ritual cure of tarantism, whose syndrome was caused, according to tradition, by the bite of the spider (the tarantula) studied by Ernesto de Martino in '59 (La terra del rimorso – Ed. Il Saggiatore – Milan), but also for festive or ritual occasions. In its concerts Aramirè reproposes various versions, amongst which: the pizzica with violin, inspired by the pizzica that Luigi Stifani, violinist of the tarantate, used as a therapeutic instrument; the pizzica with flute, freelyinspired by shepherd melodies and instruments; the pizzica of the "Ucci", which reproposes the very specific rhythmic variation of the master tambourine player Antonio Aloisi.

The poly-vocal songs of work and love, such as "Fimmene fimmene" (Women, Women) or "Damme nu ricciu" (Give me a curl of your hair) are known as "canti alla stisa" and performed without instruments. This song tradition was born from out of work situations, in which, according to the old people, song constituted the only possible way of communication.

The songs of the Grecia Salentina, the linguistic island of the Griko-speaking minority present in the Salento, for example, "Cali nifta" (Good night) or "Aremu rindineddha" (Who knows, little swallow, from which country you have come and which sea you have crossed), are very gentle lovesongs, which, although being of a specific author, have been completely absorbed by popular tradition.

Other love songs are in Roman dialect, like "Lu rusciu te lu mare", a very beautiful song from Gallipolli. Aramirè performs this, continuing without interruption from the traditional version to a capturing arrangement that goes well with what this piece suggests, in which Spain and Turkey, so distant and yet united by the sea, whose murmuring provides the title of this piece, make up the backdrop for a tender and impossible love story.

Aramirè, both as a musical group and publisher, works with this very rich musical repertory with the aim of making traditional Salentine music and culture known through the publication of books and the production of CDs.

Last night

Last night I went home / to the house of my lady / and I found her in bed / sleeping alone. // I touched her hand / but she didn't notice / and I gave her a kiss / "Ahime, I have been robbed of my purity". / No, you have not been robbed of your purity/ you have not even been touched / if before you were a girl / now you are married. //

Traditional

Source: Teta Petrachi, la Simpatichina

Melendugno (Le)

Roberto Raseli: voice

Raffele Passiante: second voice

Roberto Corciulo: mouth organ

Stop

Stop, you who lights up my day / because you are the ownerof my soul. // When I see you from afar / you are the most beautiful of women. // When then I see you from close by/ you are my only true love. // Hold my heart in your hands / grow this plant and don't abandon it. // Break the bread and let me taste it / if you break it, it's tastier. // Light of the sun and wind of the West / South wind and North wind, you are for me.

Music: traditional pizzica

Text: Roberto Raheli

Roberto Raheli: voice and harmonica

Raffele Passiante: guitar and chorus

Roberto Corciulo: mouth organ

Stefania Morciano: tambourine and chorus

Samuele Tommasi: Tambourine

1. The chorus 'beddha l'amore e ci la sape fa' (love is beautiful and so are those who know how to make love) is traditional

Heavy blows

Down in the Salento we have the sun and the beautiful sea / and with the tambourine people dance and play / but this "ethnic music" has become like a postcard / of a fake Salento of nights and tarantulas / I am "ethnic" but infuriated (Mary, Roberto uses the word 'incazzato' and feels infuriated might be a bit strong – any ideas?) because the tambourine / mustn't become like a ring through the nose / applaud the administrator / who invent the festivals and so everything seems to go well // (Chorus.) And so I say: / heavy blows with sounds and songs / heavy blows for all and without mercy / I am an infuriated "ethnic" and one thing I have to say / if we don't speak now, tell me when we should speak. // The nuclear slag in Basilicata / they wanted to deposit it and had to turn back / but the ENEL power plant of Brindisi at Cerano uses coal / to produce electrical energy they poison us. // The mafia and the Camorra place the bombs / the people endure blackmail at their place of work / illegal houses constructed along the coast are condoned / hotels on the beach and the illegal rubbish dumps // and so I say: // (Chorus) … // Hotels on the beach, nights and tarantulas / the merchandising of a Salento that is only a façade / if the Salento today is in fashion, this fashion is consuming us / we are ruining everything now and then nothing will be left for us // the "ethnic" musicians have multiplied / but if they know five pieces they don't arrive at six / but there are the festivals that attract crowds / applaud the administrators // and instead I say: // heavy blows with sounds and songs / heavy blows for all and without saints / I am an infuriated "ethnic" and one thing I have to say / if we don't speak now, later it will be late to speak.

Text and music:

Roberto Raheli

Roberto Raheli: voice and guitar

Roberto Corciulo: mouth organ

Stefania Moricano: tambourine and chorus

Samuele Tommasi: tambourine

Prison

Prison that holds me imprisoned / to the joy of my enemies / let me come out as inside here I am suffering / so I will explain to you the mistake I made // It's fifteen years that I have been imprisioned / nobody has sent me a greeting / they don't even call me from the gates / I believe that my name has been forgotten. // Oh when I hear the gates slam / I want to cryand I think of my home / my sisters took me in their arms / and gave me to my mother. // Oh mamma, if you knew the jail / you would say, my son, what have you gone through / outside garlanded with flagsand inside a natural hell. // Oh mamma, how ugly the jails are / those who see them remain terrorised / you don't hear clocks or bells / only the sound of fetters and chains.

Traditional

Source: Teta Petrachi, la Simpatichina

Melendugno (Le)

Roberto Raheli: voice

Raffele Passiante: guitar

Roberto Corciulo: mouth organ

Stefania Marciano: second voice

Excuse us, Gentlemen

Excuse us, Gentlemen, for our company/ we have come here to sing you a piece of poetry / excuse us dear friends / not all men are alike / there are the tall and the short, the beautiful and the ugly / and we, poor peasants, in front of a plate of maccheroni, without meat or cheese, we take it through the nose (Mary: this is a nice way of saying 'lo prendiamo nel culo' or 'they fuck us up' - help!!?) / we are cheated by our mothers, the most stupid of all / acting as procurersfor their own daughters. // (Chorus.) … // The Madonna with the saints sat out in procession / and the priest with the cross gave absolution to all. // Those who works receive a sardine and those who don't a sardine and a half / Jesus gives bread to those who don't have teeth / Just as well that on television the young ladies exhibit themselves / who with their beauty stupify you / Just as well that the government declares that there aren't any increases / with this new money our salary is not enough / It's just as well that the government says they are making reforms / in a little while I will need a passport to go to Milan. // (Chorus.) … // But when the summer arrives I have to make myself large and wide (Mary, the Italian is: devo farmi tondo, tondo, meaning I have to earn well, fill my own stomach) / I will sell even the stones of the Salento to the tourists / with the tambourine I will make everybody dance / I will say that my grandmother taught me and make myself admired / with new shoes I will go to Saint Paul (in Galatina) / I will pretend to be a tarantata and make money like the devil / spiders and tarantate are precious goods / tarantism is dead but tarantism is life. // (Chorus.) …

Traditional

Source: Alan Lomax Collection.

Italian Treasury. Puglia: The Salento

Rounders Records – U.S.A.

Elaboration of text: Roberto Raheli

Roberto Raheli: voice

Raffele Passiante: voice, guitar and special effects

Roberto Corciulo: mouth organ

Stefania Marciano: voice and tambourine

Samuele Tommasi: tambourine

Tell me, tell me

Tell me, tell me where you came in from / from that little window / you pointed to me. // When I came in / I saw her by herself / she was in bed sick / and moved me to pity. // I darted / to kiss her/ she gave a deep cry / and said: "traitor". // I am not / that traitor / I am that young man / (who is asking you) if you want to make love.

Traditional

Source: Teta Petrachi, la Simpatichina

Melendugno (Le)

In: Musiche e canti popolari del Salento

Albatros (Mi) 1977; Aramirè (Le) 2002

Come: L'amante

Stefania Marciano: voice

Roberto Corciulo: mouth organ

Raffele Passiante: guitar and second voice

Roberto Raheli: violin

O pillo pillo pi was composed in the seventies by Salvatore Caldarazzo of Sternatia, "Cici" Cafaro of Calimera and Giovanni Pellegrino of Zollino, with the adaptation of a political protest text to a traditional melody. Of the verses presented here, the first two are part of the original text, the other two verses, are more recent and mine. The ending is a type of anti-hymn to Berlusconi, a redoof the verses of "Cici" Cafaro who composed them on the occasion of the Centre-left's victory in the past 1996 elections. I believe that in Italy there is – still – freedom of speech, but if this is not so, the full responsibility of the final verses is entirely mine. Roberto Raheli.

Dear Pasqualino, dear granddad Salvatore / leave your sons free to think for themselves / and you, dear Leonardo, how many nights is it that you don't sleep / because your masters crush you like worms / and you, dear Francesco, can't go to school / because if you learn something you will harm the master. // Chorus: O pillo … // And then, don't always say that the world will remain as it was / if we don't ask you what is happening in Vietnam / what is happening in Chile, in Portugal and in Palestine / what happens in Africa and all of Indochina. / The world is changing, the world is rebelling / because those who don't work always have a good life / the world is rebelling, the world is changing / because those who work never manage to have a lira. // Chorus: O pillo … // 1970 has passed by now / we are singing this song in the world in which it was sung / but we also have to say, excuse us dear friends / the problems of then have remained just the same/ before the Italians were constrained to emigrate / today the Albanians cross the sea / from Marocco, Africa, Senegal, Turkey / the poor move looking for a way.// Chorus: O pillo … // In comparison to these disasters I can't complain / because in this our Italy you don't die from hunger any more / they speak about freedom and continue to speak / liberty for the master, yes, however to sack/ if the Christian Democrats no longer exist / there is the "Lord's anointment" (Mary, do you know this expression from the bible?) that has flown all the way down here / and this Left capable only of going into opposition / because it seems to be in terror of making a winning political move / with these televisions you no longer understand a thing / rubbish programs stupifythe people / and so to end I must tell you / I have travelled the world and something I have understood / I have travelled the world and I have seen the bad and the good / the worst of all remains Silvio Berlusconi. // Chorus: O pillo … //

Music: traditional

Text: Caldarazzo, Cafaro, Pellegrino, Raseli

Roberto Raheli: voice and mouth organ

Mauro Toma: guitar

Raffele Passiante: mandolin and chorus

Stefania Marciano: chorus

Roberto Corciulo: mouth organ

Samuele Tommasi: tambourine

Pizzica for Adriano Sofri

This song was born during one of the trips of Aramirè, when the car motor seemed to act as bourdonfor the unravelling of the melody. It is articulated in three parts. The first has a slow modulation inspired by the melodies of Salentine work songs. The second, characterised by the pressing role of the accordion, uses the rhythm of the pizzica as a base, whilst in the third, the slow melody of the initial song is picked upby the rhythm of the tambourine – continuing without interruptionfrom the first to the second part – and underlined by the melodic playof the accordion.

The initial image of the flower which breaks out again with the good season, is taken from an article by Adriano Sofri. The continuity of nature, even in the stuntedflowering of a rare plant on a grey prison wall, shifts the worries of the individual, even if of grave importance, into second place, and provides comfort.

I find it unjust that Sofri is in prison, especially after such a contorted and obscure trial process, which didn't clarify anything at all. I find it unjust that the death of Calabresi and his assassins is destined to remain forever amongst the number of Italian mysteries, together with other deaths and massacres that have afflictedour country. Not being able to do much else, I will say this in a song. Roberto Raheli

Adriano, Adriano, they say that the prison is a galley / but when the sun heats that wall / that flower breaks outagain and you cheer up / so I tell you, don't get discouraged / because out here we won't forget you. // They say you killed Calabresi / that you're the mandator of the homicide / I don't know if it's true or a lie / but when they put you in prison / you went on your own legs / you went and you remained without objections / saying always that you are innocent / but they treat you like a criminal / and outside of the prison there are banditswho make the laws / laws to keep Italy under control / the thieves are outside and the innocent in prison. // Adriano, Adriano, keep up your courage / and keep up our courage too because we no longer have any.

Music: Roberto Raheli and Roberto Corciulo

Text: Roberto Raheli

Roberto Raheli: voice

Raffele Passiante: guitar and second voice

Stefania Marciano: second voice

Roberto Corciulo: mouth organ

Samuele Tommasi: tambourine

Song of the trades

Now I will tell you about the trades / the shoemakers come first / they fill up their belly / with a plate of lupins. // Now I will tell you about the carpenters / all day long they smoothenthe wood / at the end of the day / they eat all of the pot. // Now it's the turn of the carters / they lead a life of gentlemen / but when they get to the upward slope / they curse the Immaculate. // Then I will tell you about the blacksmiths / all day long they beat the iron / but when they use up all the coals / they scratch their balls. // Now it's the workers'turn / they lead a godly life/ and when it's the twenty seventh / they demolishthe government. // And the poor peasants / cut the figureof the tramps / at the end of the season / the don't harvest anything at all.

Traditional

Source: "Cici" Cafaro

Calimera (Le)

Roberto Raheli: voice

Raffele Passiante: guitar, tambourine and voice

Roberto Corciulo: mouth organ

Stefania Marciano: tambourine and chorus

Samuele Tommasi: tambourine

The tabacco-working woman

The clock strikes seven / all the girls to the warehouse / with shiny little shoes / and the usual tiny steps / oilà, oilà, oilà / the tobacco girl moves and turns. // At ten past seven / the working girl arrives / and the doorman tells her / that the hour's passed. // Who is the headmistress / of this warehouse? / Send her out / to gather parsley / send her out / to gather soap and washing soda. // We get up during the night / to gather tobacco / all day long we thread it together (the leaves are strung together with thread and hung up to dry) / without earning a single lira. / oilà, oilà, oilà / the tobacco girl moves and turns.

Traditional

Source: Leonardo Vergaro, Antonio Aloisi and Antonio Bandello

Cutriofiano (Le)

in: Musiche e canti popolari del Salento

Albatros (Mi); Aramirè (Le) 2002

Roberto Raheli: voice

Raffele Passiante: guitar, mandolin and chorus

Roberto Corciulo: mouth organ

Stefania Marciano: chorus

Samuele Tommasi: tambourine

When you walk

When you walk you strike a pose / that I have not seen any other beloveddo. // I want to know if you do this because you are capricious / or because only you can do this. // For every strang of hair you have a rose / I had to fall in love. // You have eyes like a black snake / which painter was able to paint them. // If I was a painter, I would paint you / I'd make a portrait of you. // I'd carry it to my room / and I'd admire it night and day. // If one day I'd fall ill / I'd get well looking at your portrait. // Oh skies, why don't you start to throw lightning/ for this woman who kills me. // She makes me turn like the sun turns / she makes me fly like a birt. // And I say to you capricious beloved / treat me well and don't abandon me.

Traditional

Source: Canti di terra d'Otranto e della Grecia Salentina – 1977 – Fonit Cetra (To)

Stefania Marciano: voice

Raffele Passiante: guitar and chorus

Roberto Raheli: accordeon and chorus

Roberto Corciulo: mouth organ

Samuele Tommasi: tambourine

In Tricase they don't sing anymore

Let's go to see my boys / out there the revolution is breaking out. // The are shooting grape shotsat the tobacco-working women / with nails and rusty irons. // Blood is flowing in the streets / in the middle of the streets and on the roads. // The wheel tracks are full of blood / since that day nobody sings anymore. // The soldiers have killed five / the others they have locked up in prison.

Text and music:

Roberto Raheli

Roberto Raheli: voce

Raffele Passiante: second voice

1. Inspired by an interview by L.Chiriatti with a tabacco-working woman. In memory of the Tricase (Le) massacre of 1935. A demonstration of the workers of the Acait, the tobacco factory, was repressed in blood. See Tabacco e tabacchine nella memoria storica – A cura di V.Santoro e S.Torsello. 2002. – Manni, Lecce

Don't get her

Don't get a tall wife just to pick figs / if you don't have any figs you'll keep her as a candlestick. // Don't get a short wife who needs a chair to remake the bed / if she can't reach with her hands, she's good to give to the farmer.// Don't get a beautiful wife, she will make you into a sentry / if you don't want to be one, you will loose her day and night. // Don't get an ugly wife because people then speak ill of you / but if the devil makes me go blind, I will get an ugly wife. // Don't get one in bad health, or your house will be transformed into a hospital / the doctor comes and goes; you will hear her say "ahi! Ahi!"

Traditional

Source: Collettivo di

Ricerca Popolare

Salice Salentino (Le)

Raffele Passiante: voice and mandolin

Roberto Raheli: guitar and chorus

Roberto Corciulo: mouth organ

Stefania Marciano: chorus

Samuele Tommasi: tambourine

This road

I would like to pave this road with roses and flowers / with roses and flowers I'd like to cover it / I'd let only your mother pass / because she raised you, flower of love. // Only she would be allowed to walk / and to enjoy all the scents. // The road to Martano is dusty / but there my heart pushesme to go. // What must I do to see you / I will dress as a little monk.// Monk, you have taken the wrong road / this isn't the road to the convent. // I will come to knock on your door // asking you for something for the beggingmonk // Go, away, little monk, go away in peace / because my daughter is ill. // If she is ill, she must confess herself / Let me be her confessor. // I must give her a big penitence / so that she doesn't forget her first love.

Traditional

Source: Rocco Gaetani

Martano (Le)

Roberto Raheli: voice

Raffele Passiante: second voice

Mauro Toma: second voice

Samuele Tommasi: tambourine

We would like to thank: Mauro Toma, Vincenzo Mancini, Nanni Surace by Pure rock studio - Brindisi, Vincenzo Santoro, Mario Rugge, Stefania Castrignanò, Ivan and Gabriele, Roberto Pagliara, Sergio Sciolti, Fabrizio Trono & Co, Mary Ciuffitelli.

Moreover, all those whom we have forgotten to thank and all those who like us and/or don't like us.

All the pieces, even if traditional, have been arranged by Aramirè Compagnia di Musica Salentina.

This CD contains non-traditional material. Handle with care!

STOP SPIDER ABUSE! No spiders have been used for the production of this CD.

This work is dedicated to all those who sung and played before us, in particular: … and to all the unknown traditional Salentine singers.

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