http://thecharlesbradley.com

http://www.myspace.com/charlesbradleymusic





Origine du Groupe : North America

Style : Soul Blues

Sortie : 2012

Durée 00:53:06

Par http://liveweb.arte.tv



Coupe afro seventies, blouson de cuir à même la peau ou col pelle à tarte ouvert sur une chaîne en or qui brille : chez Charles Bradley, il n’y a pas que la musique qui vit dans le passé. Et
c’est tant mieux. Comme Sharon Jones ou Naomi Shelton, cette autre grande voix de la soul a su attendre son heure. C’est le label new-yorkais Daptone Records, avec ses Reborn Soulmen, qui lui a
permis de sortir son premier album en 2011. A 62 ans.



Sur la scène de la Cigale, accompagné de ses musiciens, ses « extraordinaires » en français dans le texte, sa voix éraillée trahit le nombre des années et de litres d’alcool avalés. Sa soul,
elle, est intacte. Elle navigue entre la langueur du vieux prêcheur et l’allant d’un afro-beat soutenu de cuivres et de chœurs. Si son talent s’est développé dans l’ombre tutélaire de James
Brown, dont il a longtemps joué les sosies, il apparaît aujourd’hui comme le fier filleul du Godfather of soul.





• Artistes : William Aukstik, Charles Bradley, Thomas Brenneck, Vincent Chiarito, Michael Deller, Tony Jarvis, Carlos Sanchez • Réalisateur : David Ctiborsky • Cadreurs : Marion Boutin, Hugo de
Castelbajac, David Ctiborsky, Elie Girard, Jérémie Vial • Son : Jean-Baptiste Aubonnet, François Clos • Production : La blogothèque - Supermouche

http://www.daptonerecords.com

https://www.myspace.com/sugarman3





Origine du Groupe : North America

Style : Funk Jazz Instrumental

Sortie : 2012

By Exy  from http://exystence.net



The Sugarman 3 will release their first album following a ten year hiatus, entitled What the World Needs Now, on May 15 via Daptone Records. Recorded at the Daptone Records ‘House of Soul’ studio
in Bushwick, Brooklyn over five days, the album features members of Sharon Jones & the Dap Kings—including Dave Guy (trumpet), Fernando Velez (conga), Joe Crispiano (guitar), Bosco Mann
(bass)— in addition to the core lineup of saxophonist Neal Sugarman, Hammond organ player Adam Scone, and drummer Rudy Albin. The album comes as the long awaited follow-up to 2002’s Pure Cane
Sugar.

Group founder Neal Sugarman believes the group’s comeback record might be their best to date.”I am really excited about this record,” he says.





“Not only has it been almost a decade since the Sugarman 3′s last recording, but without a doubt this feels to me like our best effort yet. The album was recorded at the Daptone Records ‘House of
Soul’ studio in Bushwick, Brooklyn in just over three nights, and from the moment we all started playing together, sparks were flying.”





Tracklist :

01 – Rudy’s Intervention

02 – Your Friendly Neighborhood Sugarman

03 – Got To Get Back To My Baby

04 – But It’s Alright

05 – Witches Boogaloo

06 – Brother T

07 – What The World Needs Now

08 – Dirty Water

09 – Jealous Moon

10 – Mellow Meeting

11 – Love Went Away

http://www.slightlystoopid.com

http://www.myspace.com/stoopid





Origine du Groupe : North America

Style : Indie , Alternative Fusion , Reggae , Funk , Rock

Sortie : 2008





From Wikipedia :



Slightly Not Stoned Enough To Eat Breakfast Yet Stoopid is an album by California band Slightly Stoopid, which was released July 22, 2008. It contains all 7 tracks from the EP of the same name,
"as well as other outtakes, rarities, and brand new studio joints."



While many of this album's tracks are originals, there are some tracks that are either covers or re-recordings. The track "Tom and Jerry" originally appeared as a hidden track in the group's
previous album, Closer To The Sun. "Sensemillia" first appeared as a live track from their acoustic album, Acoustic Roots: Live & Direct. "Digital" first appeared on the group's Chronchitis.
"I Know You Rider" is a traditional blues song, also covered by other artists such as The Grateful Dead. "I Would Do For You" is a cover of UB40. The album includes one hidden track: an alternate
version of the title track from Closer To The Sun.





Tracklist :

1.Thinkin Bout Cops

2.Circle House Blues

3.Supernatural

4.Chaunch

5.I Would Do For You

6.The Fruits (Legalize Them)

7.Ain't No Reason To Go

8.Sinsemilla

9.No Cocaine

10.London Dub

11.Shoobe

12.On and On

13.Train 1

14.Train 2

15.Know Your Rider

16.False Rhythms

17.I Metal

18.She Bang

19.Digital

20.Foreign Land

21.Tom & Jerry

Origine du Groupe : North America

Style : Soul , Funk

Sortie : 1975



From http://www.funkmysoul.gr



I always was looking for this vinyl and finally I got my hands on it.



A modern soul classic — and a darn hard record to find! The Reflections were an obscure male quartet with a sound that mixed deep soul vocals and smooth modern production, and as far as we know,
they only ever cut this one LP for Capitol. Melba Moore gave the group their start, and the album features arrangements by the likes of Paul Griffin, Bert DeCoteaux, and JJ Jackson. Includes the
wonderful spacey soul cut "She's My Summer Breeze", plus "Are You Ready", "One Into One", "Now That You've Taken Your Love", and "Love On Delivery". Great stuff — and one of those gems that keeps
us diggin through rare vinyl!





Tracklist :

A1 Day After Day (Night After Night) 4.35

A2 Love On Delivery (L.O.V.) 5.30

A3 Now You've Taken Your Love 5.40

A4 Are You Ready (Here I Am) 3.49

A5 She's My Summer Breeze 4.23

B1 All Day, All Night (Runnin' Around) 3.31

B2 One Into One 4.15

B3 Telephone Lover 4.03

B4 How Could We Let The Love Get Away 4.12

B5 Three Steps From True Love 3.43

http://bbpiratesradio.over-blog.com





Origine du Groupe : V.A

Style : Funk , Soul , Groove , Compilation

Sortie : 2012





Tracklist :

01 - Gil Scott-heron - Free Will

02 - Andy Bey - Tune Up

03 - Nancy Dupree - James Brown

04 - The Eleminators - Love Your Woman

05 - The Stance Brothers - Dynamite

06 - Sharon Jones & The Dap-Kings - He Said I Can

07 - Buddy Miles -  Dreams

08 - Spacek - Light up my life

09 - The Pepper Pots - Dreams of Coming Back

10 -  Lee Fields -  I don't know where i'm going

11 - Signor Wolf - Porno Gun Theme

12 - Otis Grove - Waiting

13 - Pretty Purdie - Modern Jive

14 - Adrian Younge presents Venice Dawn - Sound of a Man

15 - Sapan Jagmohan - Meri Aakhon Mein Ek Sapna Hai

16 - Tara Priya - Memories

17 - The Excitements - Fat back

18 - The Make Up - Drop The Needle

19 - Garnet Mimms - A Quiet Place

http://www.bernardpurdie.com





Origine du Groupe : North America

Style : Soul Funk , Instrumental

Sortie : 1967 - 1968



From Wikipedia :



At an early age Purdie began hitting cans with sticks and learned the elements of drumming techniques from overhearing lessons being given by Leonard Heywood. He later took lessons from Heywood
and played in Heywood's big band. Purdie's other influences at that time were Papa Jo Jones, Buddy Rich, Gene Krupa, Joe Marshall and Art Blakey.



In 1961 he moved from his home town of Elkton, Maryland, to New York. There he played sessions with Mickey and Sylvia and regularly visited the Turf Club on 50th and Broadway, where musicians,
agents, and promoters met and touted for business. It was during this period that he played for the saxophonist Buddy Lucas, who nicknamed him 'Mississippi Bigfoot'. Eventually Barney Richmond
contracted him to play session work. In the same year original Beatles drummer Pete Best and guitarist Tony Sheridan recorded tracks in Hamburg with the Beatles. Later Bernard Purdie added drum
overdubs to tracks from these sessions,including "Ain't She Sweet", "Take Out Some Insurance on Me Baby" and "Sweet Georgia Brown". The main reason for this was to give them a punchier sound for
the US market. These tracks were eventually released on January 31, 1964 by Polydor. Ringo Starr's physical approach to drumming was probably influenced by Purdie's Motown style.



Purdie was contracted by arranger Sammy Lowe to play a session with James Brown in 1965 and recording session records also show that Purdie played on "Ain't That A Groove" at the same session.
This was one of several sessions he played with Brown and the track "Kansas City" from Brown's album Cold Sweat (1967), displays one of the most sophisticated and driving shuffles recorded for
Brown's catalogue. Purdie is also credited on the albums Say It Loud-I'm Black and I'm Proud (1969) and Get on the Good Foot (1972) on which "Ain't That A Groove" appeared.



Purdie started working with Aretha Franklin as musical director in 1970 and held that position for five years, as well as drumming for Franklin's opening act, King Curtis and The King Pins. In
1970 he performed with both bands at the Fillmore West; the resulting live recordings were released as Aretha Live at the Fillmore West (1971) and King Curtis's Live at Fillmore West (1971). His
best known track with Franklin was "Rock Steady", on which he played what he described as "a funky and low down beat". Of his time with Franklin he once commented that "backing her was like
floating in seventh heaven".





Tracklist :

1. Soul Drums

2. Bee 'N' Tee

3. Caravan

4. Soul Bossa Nova

5. Jimmy's Back

6. Funky Donkey

7. Bill's Groove

8. On The Outskirts Of Minitown

9. Testifyin'

10. Modern Jive

11. Blow Your Lid (But Watch Your Cool)

http://www.sharonjonesandthedapkings.com

http://www.myspace.com/sharonjonesandthedapkings





Origine du Groupe : North America

Style : Soul Funk

Sortie : 2011



By Daryl Easlea from http://www.bbc.co.uk



Few acts have created their own universe as successfully as Brooklyn-based Sharon Jones and the Dap-Kings. Forming in 1996, the band’s quest to create bona-fide funk-soul has long outlived their
original critics’ view that the 10-piece band was merely some form of extended pastiche. Using only original instruments from the 60s and 70s and recording in glorious analogue, they eschew any
post-modern references and create full-on, joyous grooves which achieve their aim of sounding like they were dug up in some dusty old vinyl shop.



Having cemented their reputation in the UK as being Mark Ronson’s house band and featuring strongly on Amy Winehouse’s Back to Black album, their albums have never quite captured their full force
as a live act. Soul Time!, a compilation of singles, B sides and live favourites of the past decade comes pretty close though, and serves as a perfect introduction to the band. Showcasing
bandleader Bosco Mann’s soulful writing, Soul Time! scores with its note-perfect emotion and keening brass arrangements.



Genuine (Parts 1 and 2), a single in 2004, opens here, complete with its fade and return; it sounds like something from James Brown’s People label, and sets the album’s relentless, upbeat tone.
New Shoes, written by guitarist Binky Griptite, is a pounding northern soul-influenced stomper. The 2009 Christmas single, Ain’t No Chimneys in the Projects, is the most successful track here and
underlines their formula perfectly – taking a beguiling title and subject matter (how a little girl receives Christmas presents in a chimney-less flat) with sensitive, nostalgic arrangements.
Co-writer Jones, of course, is the star, and sings of her mother, soulfully conveying her emotion and strength.



The Dap-Kings have also recorded cover versions sparingly (remember their version of Janet Jackson’s What Have You Done for Me Lately?) – and were therefore able to dodge carefully the Live
Lounge-inspired tribute craze of the mid-00s. The lone cover on Soul Time! is a beautiful, tender reading of Shuggie Otis’ Inspiration Information that fills out the sketchiness of the original
without losing any of its tentative, fragile wonder.



There is nothing modern about Soul Time!, yet it sounds both refreshing and contemporary. The exceptional musicianship and impeccable vocals may not be to everyone’s taste, but for 40 very happy
minutes, you can revel in SJDK’s very discrete world.





Tracklist :

01. Genuine Pt. 1 (3:58)

02. Genuine Pt. 2 (3:04)

03. Longer and Stronger (3:43)

04. He Said I Can (2:52)

05. I'm Not Gonna Cry (3:24)

06. When I Come Home (2:54)

07. What If We All Stopped Paying Taxes? (4:41)

08. Settling In (2:48)

09. Ain't No Chimneys In The Projects (2:21)

10. New Shoes (2:18)

11. Without A Trace (3:51)

12. Inspiration Information (4:08)

http://www.mochalab.com

http://www.myspace.com/mochalab

Origine du Groupe : North America

Style : Alternative , Funk Rock , Reggae , Expreimental

Sortie : 2009

By http://www.cdbaby.com



Funk, reggae, H.P. Lovecraft, blasphemous monsters, planetary annihilation, and cannabis. What more do you possibly need to know? Cthulhu: The Funksical is a half hour, rather ridiculous, musical
story cycle centered around some H.P. Lovecraft monsters (in particular, Yog Sothoth, Nyarlethotek, and Cthulhu). Two additional tracks are included as free bonus tracks.



The entire project was recorded and produced in Belgrade, Serbia, although the composer, Paul Shapera, is in fact an American who technically resides in New York. The part of Cthulhu is sung by
the wonderful Zoe Kidah, and additional thanks also goes out to Zemlja Gruva and MC Milovan in particular for providing immense help and resources for a foreigner in a foreign land.



The vocals and lyrics for Lady Chatterlaine were written and sung by The Matthew Show.



Mocha Lab is the non de plum of musician and composer Paul Shapera. Born in Tucson, AR raised in Pittsburgh, PA, resident of New York and currently residing in Belgrade, he travels extensively,
writing albums and creating music for a variety of medias, including theater, film, commercials and dance. His other albums include a psychedelic, funk beat album using recorded snippets from
interesting customers at a bohemian coffee shop (The Coffee Cellar), a downtempo, Latin groove album featuring beautiful songs sung by Milena Jelic (Subduction), and a moving indie album dealing
somewhat abstractly with religion (Anamnesis). He is currently building an eco village in Eastern Europe.





Tracklist :

1. Yog Sothoth 05:45

2. The Story So Far 1 01:39

3. Nyarlathoptek 04:05

4. The Story So Far 2 02:01

5. Sothoth Meltdown (Yog) 06:15

6. Cthulhu 03:32

7. Sothoth Meltdown (Cthulhu) 02:05

8. Solomon 03:24

9. Lady Chatterlaine (free) 04:58

10. Marionettes Of Bone (free) 04:58

11. A Melancholy Tale From The Icy Lands 20:34

http://gilscottheron.net

Origine du Groupe : North America

Style : Jazz , Soul , Funk , Spoken word

Sortie : 1999

Wikipedia :



Scott-Heron est né à Chicago. Il est le fils d'une bibliothécaire et du footballeur jamaïcain Gil Heron, également connu sous le nom de Black Arrow (flèche noire) lorsqu'il portait le maillot du
club du Celtic FC, le célèbre club de football de Glasgow (Écosse). Après le divorce de ses parents, il passe son enfance dans le Tennessee au côté de sa grand-mère Lillie Scott, puis déménage à
New York dans le quartier du Bronx pour y suivre ses études secondaires. Après avoir passé un an à la Lincoln University en Pennsylvanie, il publie son premier roman, The Vulture (Le Vautour) un
polar qui brosse un portrait satirique de la société américaine, mais qui ne reçoit aucun écho à sa sortie .



Il commence à enregistrer en 1970 avec le 33-tours Small Talk at 125th & Lennox avec le soutien de Bob Thiele et comme coauteurs Brian Jackson, Hubert Laws, Bernard Purdie, Charlie Saunders,
Eddie Knowles, Ron Carter et Bert Jones, tous musiciens de jazz (voir 1970 en musique). L'album, avec une chanson comme Whitey On The Moon, contient une diatribe contre le monde des médias,
possédé principalement par des Blancs, et contre l'ignorance qu'ont les classes moyennes américaines des problèmes des populations pauvres des centres-villes.



L'album Pieces of a Man (1971) est de facture plus conventionnelle comparée aux chansons libres et souvent scandées du premier, mais il ne connut le succès qu'en 1975 avec Johannesburg. Son plus
grand succès fut The Bottle (1975), produit par Scott-Heron et son associé, qui atteignit la 15e place sur la liste des meilleurs ventes de R&B (voir 1978 en musique).



Pendant les années 1980, Scott-Heron continue d'enregistrer, attaquant souvent le président Ronald Reagan et sa politique conservatrice :



    « The idea concerns the fact that this country wants nostalgia. They want to go back as far as they can – even if it’s only as far as last week. Not to face now or tomorrow,
but to face backwards. And yesterday was the day of our cinema heroes riding to the rescue at the last possible moment. The day of the man in the white hat or the man on the white horse - or the
man who always came to save America at the last moment – someone always came to save America at the last moment – especially in “B” movies. And when America found itself having a hard time facing
the future, they looked for people like John Wayne. But since John Wayne was no longer available, they settled for Ronald Reagan – and it has placed us in a situation that we can only look at –
like a B movie. »

        — Gil Scott-Heron, "B" Movie



Scott-Heron fut écarté du label Arista Records en 1985, et arrêta d'enregistrer, bien qu'il continuât à tourner. En 1993, il signa pour TVT Records et sortit Spirits, un disque contenant le
morceau Message To The Messengers. La première piste est une prise de position à l'attention des rappeurs de l'époque, et contient des commentaires comme :



    « Four letter words or fours syllable words won't make you a poet, It will only magnify how shallow you are and let ev'rybody know it. »

    « Tell all them gun-totin' young brothers that the 'man' is glad to see us out there killin' one another! We raised too much hell, when they was shootin' us down. »

    « Young rappers, one more suggestion, before I get outta your way. I appreciate the respect you give to me and what you've got to say. »



Gil Scott-Heron y lance un appel envers les nouveaux rappeurs afin qu'ils recherchent le changement au lieu de perpétuer la situation sociale, pour qu'ils aient un discours plus clair et
produisent des chansons plus artistiques : « There's a big difference between putting words over some music, and blending those same words into the music. There's not a lot of humour. They use a
lot of slang and colloquialisms, and you don't really see inside the person. Instead, you just get a lot of posturing »



En 2001, Gil Scott-Heron fut incarcéré pour consommation de drogue et/ou violences domestiques. Apparemment, la mort de sa mère alliée à la consommation de crack et de cocaïne l'entrainèrent dans
un cercle vicieux.[réf. nécessaire] Sorti de prison en 2002, Gil Scott-Heron enregistra et apparut sur l'album de Blackalicious, Blazing Arrow.



En 2010, il signe son grand retour avec l'album I'm New Here , dont treize morceaux sont remixés par Jamie Smith des XX dans We're New Here .



Tombé malade au cours d'un récent voyage en Europe, Gil Scott-Heron s'éteint le 27 mai 2011 dans un hôpital de New York .





Tracklist :

01 - Paint It Black

02 - Evolution (and Flashback)

03 - Free Will

04 - Whitey On The Moon

05 - The Vulture

06 - Small Talk at 125th and Lenox

07 - Billy Green Is Dead

08 - Ain't No New Thing

09 - Get Out Of The Ghetto Blues

10 - The King Alfred Plan

11 - No Knock

12 - Enough

13 - Who'll Pay Reparations On My Soul?

14 - Home Is Where The Hatred Is

15 - The Revolution Will Not Be Televised

http://www.bandaolifante.it

http://www.myspace.com/bandaolifante

Origine du Groupe : Italia

Style : Alternative Fusion World Music , Afro Jazz Funk , Brass Fusion

Sortie : 2009

By George De Stefano  from http://www.rootsworld.com



Brass bands became popular in Italian towns and villages in the 1800s, performing for funerals and religious processions and rituals. The bande also brought the music of opera houses and symphony
halls - albeit in easily digested excerpts - to the workers and peasants who hadn't the means or inclination to enter those temples of high culture. Italian immigrants formed bande in North
America, often under the auspices of Catholic parishes, and the tradition still endures. On religious feast days and other holidays, the marching band of St. Mary's Church parades through the
streets of my Queens, New York neighborhood, playing their repertoire of hymns, marches, arias and Neapolitan songs.



In Italy, some noted jazz and pop artists have turned to banda as a vehicle for new forms of expression. Sicily's Roy Paci, who started out as a trumpeter in jazz bands, has collaborated with two
groups, Banda Ionica and Banda D'Avola. The latter, which specializes in secular marches, is a typical Sicilian marching band, full of brassy exuberance. Ionica, especially on their Paci-produced
album "Matri Mia" (2002), are far less traditional and much more irreverent - check their madcap version of folksinger Rosa Balestreri's lament, "Mi votu e mi rivotu." With its cabaret cum banda
arrangement and vocal in Sicilian and German, it sounds like Paci's channeling Kurt Weill.



With his band Aretuska, Paci made something wonderful out of that cheesy bit of americanata called "Mambo Italiano." Paci's "Cantu sicilianu" opens with the horn section playing a slow and solemn
intro before the full band bursts into rollicking ska, as if the coffin being carried through the streets of Palermo in a funeral procession suddenly popped open and the corpse leapt out and
started dancing.



The debut CD of Banda Olifante isn't as innovative as Paci's work with Ionica and Aretuska. But Olifante has made a well crafted and thoroughly enjoyable recording that is grounded in the Italian
banda tradition but isn't limited to it, either in repertoire or instrumentation. Besides brass and woodwinds, the 13-piece ensemble includes double bass and drum kit, as well as African and
Afro-Cuban percussion. Led by two veteran jazz players, Stefano Bertozzi and Massimo Eusebio, this self-described "brass fusion band" exudes an infectious energy and joy in music-making.



The band's name refers to a medieval carved ivory horn - hence the rendering of an elephant on the CD jacket - celebrated in the Chanson de Roland. Most of the medieval olifants made in southern
Italy were the handiwork of Arab craftsmen, according to the Oxford Companion to Musical Instruments. Perhaps in homage to this lineage, Banda Olifante serves up several Maghrebi-influenced
numbers. But the record, which deftly straddles jazz and world music, also has the Balkans, Jewish Eastern Europe, Spain and Latin America, India, New Orleans, and Africa in the mix.



The album opens with a folksy touch - the creaky but jovial voice of an elderly Italian man offering a blessing of "pace and fortuna" (peace and good luck). That nicely sets the tone - warm and
ebullient - for the twelve tracks, most of them original compositions, which follow. The band kicks in with "La Madonna dell'Uso," a stirring, echt-Southern Italian number that sounds traditional
but was written by reedman Stefano Bertozzi. The players don't hang around the Mezzogiorno for long. The next track, the misleadingly titled "Casbah Funk," evokes Manu Dibango and the Average
White Band. "Los Peces," a Christmas carol popular in Spain and Latin America, is of unknown authorship, but the melody has definite Arabic qualities. Olifante's rendition, however, brings the
song closer to klezmer.



There's a pronounced klezmer flavor throughout the record - Italians are crazy for shtetl soul - and one of the best tracks, "Biba Zoom," features The Klezmatics' trumpeter Frank London. The band
turns to India with "Man Chali," the theme of a popular 1970s Hindi film of the same name, while "Big Noise" is Latin jazz, complete with the rhythmic scrape of a guiro and a clave heartbeat.
Saxophonist-composer Oliver Lake's "Africa" is the album's only other straight-up jazz number. It's well played, but I wish the soloists had been given a little more space to cut loose.



The members of Olifante are all strong players - it's no secret that the level of musicianship in Italian bands tends to be quite high - and their guests are pretty impressive, too. Besides Frank
London, there's accordionist Simone Zanchini, whose solo heats up "Le Moko," its Gallic-North African ambiance inspired by "Pépé le Moko," the 1937 French film about a Marseille gangster hiding
out in Algiers. "Eclipse," the only track with vocals, features Vincenzo Vasi, a self-described practitioner of "musica eterodossa" - we can call him an avant-gardist - whose wordless, percussive
chant is reminiscent of Tuvan throat singing.



Banda Olifante reminds me of another Italian big band, the Orchestra di Piazza Vittorio. Led by an Italian, Mario Tronco, formerly of Avion Travel, but composed of immigrants to Italy, the
orchestra's material reflects its members' musical cultures - Indian, Arabic, African, and Latin American. Olifante, though an all-Italian band, has a similarly multicultural repertoire. And both
bands, their strengths not withstanding, suffer from the same weakness: so much eclecticism makes for a diffuse group identity. What is Banda Olifante, besides a group of highly proficient
musicians playing various "ethnic" musics? Maybe their next record will give us a better idea.

Tracklist :

1. La Madonna dell’Uso (S. Bertozzi)

2. Casbah Funk (S. Bertozzi)

3. Le Moko (S. Bertozzi)

4. Big Noise (Blood Brothers)

5. Man Chali (trad.)

6. Africa (O. Lake)

7. Eclipse (S. Bertozzi)

8. Los Peces (trad.)

9. Biba Zoom (L. Militi)

10. Ksar el Souk (G. A. Coatti)

11. Barab (F. Tassani)

12. Grecale (S. Bertozzi)