Fausto Mesolella: Live at Alcatraz (XRCD review)

Fausto Mesolella, guitar and loop pedal; Ferdinanda Ghidelli, pedal steel. Master Music/JVC XRCD24-NT017.

It's an expensive proposition; remasterings such as this one always are. I suspect that the current album might appeal to one or more of four kinds of people: (1) lovers of guitar music; (2) fans of guitarist Fausto Mesolella; (3) folks who simply enjoy pop/jazz musical arrangements; or (4) audiophiles bent on obtaining the best possible recordings for their collection.

In the case of Fausto Mesolella: Live at Alcatraz, I would further speculate that it's the fourth option that might attract the most attention, since there is already a plethora of guitar music and pop/jazz music at much more reasonable prices and since Mr. Mesolella isn't exactly a household name. But as a purely sonic treat, this JVC XRCD24 isn't bad.

Italian guitarist, composer, arranger, and producer Fausto Mesolella began playing professionally in 1969, winning awards, performing solo as well as with a number of bands, making recordings, and working in his own studio. Here, he plays guitar and loop pedal while accompanied on some of the tracks by Ferdinanda Ghidelli on pedal steel guitar.

Incidentally, the Alcatraz of the album's title does not refer to Alcatraz Island in the San Francisco Bay or the famous federal prison once located there. This Alcatraz is a school in Italy. Disappointing, I know.

On this live recording, Mesolella plays mostly a fusion of pop and jazz, as I noted above. Mesolella's style is tight yet flexible, providing solid realizations of many old favorite numbers. He never showboats but presents the music with faithfully, with feeling, and on occasion with much intensity. While he may not display quite the virtuosity we find in some celebrated classical guitarists, the music hardly demands it.

Here's a rundown on the program:
1. Mesolella: "Sonatina Improvvisata D'Inizio Estate"
2. Rota: "Ai Giochi Addio" (from Romeo and Juliet)
3. Capurro/di Capua: "O Sole Mio"
4. Piazzolla: "Libertango"
5. Lennon: "Imagine"
6. Bottrell/Jackson: "Black or White"
7. Newton: "Amazing Grace"
8. Mesolella: "La Principessa"
9. Arlen: "Somewhere Over the Rainbow"

Fausto Mesolella
If there is any downside to all of this, beyond the relatively high price of the remastered album, it's that there isn't a lot of it at only forty-four minutes. And, for me, there's the business of the live recording, which I don't care for but which I understand many other listeners do. Be that as it may, let me reflect on a few of my favorite selections.

The first track, the "Sonatina Improvvisata D'Inizio Estate," is a good example of what's to come. Mesolella's playing is fluid and light, the music wafting over one as airily as a spring breeze. If you're a fan of Franco Zefferilli's Romeo and Juliet, you'll probably enjoy Mesolella's performance of the love theme Nino Rota wrote for the film. It's lovely, breezy, lilting, and enchanting. Although "O Sole Mio" and Piazzolla's tango come off a bit too sentimentally for me, Mesolella's version of John Lennon's "Imagine" appears sweet and appealing without being too cloying. And so it goes. The pedal steel in "Amazing Grace" sounds wonderful in its rich resonance, and Mesolella's version of Harold Arlen's "Somewhere Over the Rainbow" may leave you in tears. A fine album; I just wish there were more of it.

A final note on the album's presentation: JVC have packaged the disc in a beautiful, glossy, hard Digipak-type case, with the disc fastened to the inside back and booklet notes bound to the inside. It's unfortunate, though, that whoever translated the notes from Italian into English did such a slapdash job of it. Most of it seems as though an automated translation program did the writing, which is sometimes downright hard to decipher.

Fausto Mesolella recorded the album live at the University of Alcatraz, Santa Cristina di Gubbio, Italy, in August 2013. Producers Kazuo Kiuchi and Shizuo Nomiyama and engineer Tohru Kotetsu at the JVC Mastering Center, Japan, remastered the original analogue tape in February 2016, using XRCD processing, JVC's K2-24bit AD converter, and a digital K2 rubidium clock.

OK, so the first thing we have to get out of the way is the whole subject of live recording. Yes, there is no doubt a certain spontaneity involved in performing in front of an audience, a greater feeling of informality, naturalness, and ease. And for some listeners there is the fun of almost being in the crowd listening to the performance. Nevertheless, it comes with its own burdens: There is always audience noise, and there is the inevitable applause, which erupts before and after every number. For me, it becomes tiresome. For other listeners, it probably adds to the charm of the experience.

Beyond the noise, the album sounds terrific. The guitar rings out loud and clear, its vibrations resonating throughout the room in with light, realistic, natural bloom. It is, in short, one of the best guitar recordings I've ever heard. Of course, to obtain such a healthy sound, the engineers have miked the instrument rather closely, so it probably isn't a good idea to play the music too loudly. At the right level, though, this can be some of the best audiophile material available.

You can find JVC products at any number of on-line marketplaces, but you'll find some of the best prices at Elusive Disc: http://www.elusivedisc.com/

JJP

To listen to a brief excerpt from this album, click on the forward arrow:

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John J. Puccio

John J. Puccio

About the Author

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.

Mission Statement

It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job.

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa