all.reviews.light.version

All Reviews (31 + 1 coming soon), Interviews (2), Criticisms (2), etc. of the Soloist CD, updated ...., 2008:

------------------------------------------------------------------------------------------------------------

2007 U.S.A.: LAWTON - OK: PERCUSSIVE NOTES - Percussive Arts Society Issue: February, '07 (www.pas.org)

(Reviewed by F. Michael Combs, Classical Music Percussionist. Professor Emeritus of Music The University of Tennessee - U.S.A., active member and reviewer for musical literature and music for Percussive Notes-official magazine of the PAS-Percussive Arts Society of which also Co-publisher and other)

Percussive Notes is the official magazine of the PAS-Percussive Arts Society, since 1961

the greatest organization than percussion of the world and is considered the source centers them for information and networking for the percussionists and the drummers of all the musical disciplines.

This CD, titled Tribute to Beethoven but subtitled “Drum In the Symphony no. 9,” is a full recording of Beethoven’s “Symphony No 9” with added drumset throughout. Except for an almost eight-minute drumset solo inserted between two major sections toward the end of the fourth movement, this symphony is performed true to tradition by the Slovak Radio Symphony Orchestra. Italian drummer Massimo Aiello has been presenting performances of the symphony with added drumset since 1987. Aiello’s drumset playing is clean and solid and he clearly makes a major effort to tie in stylistically with Beethoven. But as well as the drumset part is executed, adding it to the traditional performance of Beethoven’s Ninth is like adding chocolate sauce to filet mignon. The drumset performance uses a great deal of cymbal work throughout sometimes as an attempt to support the line and sometimes to provide additional color and fills. The tones of the toms and bass drum are rich and warm. The added solo in the fourth movement includes interesting material and creative sounds. There is definitely some very nice drumming here.

2007 GERMANIA: EUSKIRCHEN: DRUMS & PERCUSSION: (www.drumsundpercussion.de)

(Reviewed by Ingo Baron, german musical critic reviewer. Important German Drums magazine)

A brave project! A drummer born in Naples, Massimo Aiello decided to face the whole of the 9th symphony of great old Ludwig van and write an arrangement. He has been working on it for 20 years performing solo live on stage. Both the orchestra and the chorus come out from a still. Aiello is developing this project and he has realized the first cd with a delicate, dynamic, melodic sensitivity without self-consciousness and exaggeration and this enormous work finishes, as we know, with the "Ode to Joy". This fascinating music is performed in very unusual way. There is a Beethoven shuffle, because Aiello dares to insert a groove and at the very end a short solo into the historical texture. Oh my God!

Ein mutiges Projekt: Der in Neapel geborene Trommler hat sich nämlich nichts weniger als die komplette Neunte des guten alten Ludwig van vorgenommen – und ein Drumsetarrangement dazu geschrieben. Seit etwa zwanzig Jahren bringt er diese Idee bereits in Soloshows auf die Bühne. Orchester wie Chor kommen dabei allerdings aus der Retorte. Aiello geht auch auf der ersten CD mit diesem Projekt empfindsam, dynamisch, melodisch sensibel und nie zum Selbstzweck oder überladen ans gewaltige Werk, welches bekanntlich im letzten Satz mit der »Ode an die Freude« endet. Ein faszinierendes Stück Musik – hier eben aber mal ganz anders serviert, nämlich als 'Beethoven- Shuffle', denn Aiello wagt es, hier und da ganz zaghaft einen Groove oder gen Ende auch ein kleines Solo in den historischen Stoff zu schmuggeln. Mon Dieu!

Infos: www.massimoaiello.com

(Reviewed by CLASSIC DRUMMER MAGAZINE, The Fastest Growing Drum Magazine On The Planet: Ringraziamento a Billy Jeansonne Publisher / Editor)

TRIBUTE TO BEETHOVEN was conceived, written and performed by Massimo Aiello and consist of live music drums on a recorded back-ground of the Symphony No.9. The result is an absolutely new interpretation which represents an interesting cultural musical event. It is entirely successfull and it is still played in theatres, squares, churches, etc., always with positive response.

(Reviewed by Tom Schäfer, german musical critic reviewer. The most important German Drums magazine)

What a work of art! Beethoven and drums! A drumset which integrated the 9th Symphony and turns the classic work into a new exciting musical experence. Massimo Aiello is the creator and drummer of this live-project. Which as been successfully performed in Italy many times. With great sensitivity to the dinamics of classical music with a refined sense for the stile with which he constructs tempo and rhythms, subtle atmosphere and orchestral class of the drums, he fascinates with his successfull technique applying an instrument of modern times to a classic work of genius.

Was für ein Werk! Beethoven und das Schlagzeug! Ein Drumset geht hier eine Verbindung ein zu Beethovens "Neunter Symphonie" und macht des Klassisch-virtuose Werk zu einem neuartig aufregenden Hörerlebnis. Massimo Aiello ist Initiator und Schlagzeuger dieses in Italien oft aufgeführten und erfolgreichen Live-Projekts. Mit großem Feel für die Dynamik Klassischer Musik, mit Gespür für Feinheiten, für das Stilmittel der tempogestaltung, subtile Atmos und orchestraler Drumset-Klasse fasziniert er durck die gelungene Art, ein Instrument der Neuzeit in Verbindung mit einem Klassischen Geniestrich zu setzen.

(Reviewed by Jean-Baptiste Perraudin, French musical critic reviewer. The most important French Drums magazine)

Re-readings of classic music are always been a dangerous challenge. The Italian drummer Massimo Aiello decided to play a drum part over Beethoven’s Symphony n.9. The richer symphony of the German composer is made of four movements, among which there is the famous “Inno alla gioia”. Massimo Aiello did a big work of writing to perform and accompany this opera of more than an hour. I have to say that I do not completely agree at his way of working. Each movements of this symphony are not necessarily suitable for a drum part; probably it would be preferred to choose shorter works. It is not my taste to approach binary rock rhythms than some jazz accompaniment. Probably it would be more interesting the use of brushes or mallets to try new colors (Massimo Aiello’s note: "brushes and mallets has been hardly used, does the reviewer listen the CD?.... I think not....I’m sorry!"). I recognize the hard work needed to realize a similar record, but the final result leaves me cold. Listen to get the general idea of it.

Les relectures de la musique classique ont toujours ètè un pèrilleux. Le batteur italien Massimo Aiello a fait le choix de superposer une partie de batterie sur la Symphonie N°9 de Beethoven. La plus riche symphonie du compositeur allemand comporte quatre mouvements, dont le fameux "Ode à la Joie". Massimo Aiello a fait un gros travail d'ecriture pour suivre et accompagner cette ceuvre de plus d'une heure. Mais j'avoue n'avoir pas pleinement adhèrè à sa dèmarche. Tous les mouvements de cette symphonie ne se prêtent pas forcèment au jeu de batterie, peut-être eut-il-ètè prèfèrable de choisir plusieurs ceuvres plus courtes. L'association des rythmiques binaries rock ne me semble pas toujours du meilleur goût; cela fonctionne mieux avec un accompagnement jazz. Peut-être aussi aurait-il ètè intèressant d'utiliser les balais ou les mailloches pour varier les couleurs (Massimo Aiello: "mais si j'ai jouer pendant dizaines de minutes avec balais et mallets!....mais celui-ci a écouter le cd par entier et de quelle façon?....je pense que non....dommage!"). Je reconnais l'investissement que demande la prèparation d'un tel enregistrement, mais le rèsultat final me laisse plutôt froid. A ècouter pour se faire une idèe.

2007 ITALY: ROMA: PERCUSSIONI (http://www.chitarre.com/percussioni/home.htm)

(Reviewed by Federico Angelacci, italian musical critic reviewer. The most important Italian Drums magazine)

Drummer Massimo Aiello showed a deep love for Beethoven, a love that carries him to conceive and play a drum part over a record of the Symphony N.9. The four movements that form Beethoven’s work highlight all the endowments necessary for the parthenopean drummer to face a so hard job: technique, musicality and strong sense of dynamic. An original and well succeed work.

Un amore viscerale nei confronti di Beethoven è quello di Massimo Aiello, un amore spinto fino al punto di inserire la batteria e di suonarla dal vivo con base registrata su un'opera quale la Nona Sinfonia. I quattro movimenti che costituiscono l'opera mettono in luce tutte le caratteristiche senza le quali il batterista partenopeo non avrebbe potuto affrontare un compito del genere: tecnica, musicalità e forte senso della dinamica. Un prodotto ben riuscito e originale. (f. a.)

2004 U.S.A.: CEDAR GROVE - NJ: MODERN DRUMMER Issue: April, '04 (www.moderndrummer.com)

Who among us hasn't heard a piece of classical music, and as if a scene in Wayne's World, lifted our arms high and air-drummed a monster fill? Well, Massimo Aiello had the courage to do what the rest of us have only dreamed of, and he did the job right. Aiello thoroughly but unobtrusively arranged a drumset part for this famous symphony, showing a fine command of dynamics while pounding drums like kettles and cymbals like lightning rods. Anyone who poopoos this cd out of hand isn't a "true" musician, for included in that term must certainly be a sense of humor. Rock on! (www.azzurramusic.it)

(Reviewed by Beverly Paterson, american musical critic reviewer. Musical critic magazine especially rock)

"Classical music will always be with us, and as Massimo proves, there's room to build on it."

A drummer, who excels at a variety of styles, Massimo Aiello sinks his sticks into the mind of Beethoven here on this fascinating disc. Adding drums to the great opera may seem pretty surrealistic, but as Massimo asserts in the liner notes, he's simply paying respect to the master for his contributions to mankind. I'm no authority on Beethoven, yet I definitely appreciate what I hear and commend Massimo for his enterprising approach. How amazing it is that these stunning pieces of music remain so timeless after so many decades. Classical music will always be with us, and as Massimo proves, there's room to build on it. "Tribute To Beethoven - Drum In The Symphony No. 9" is truly an accomplishment.

(Reviewed by Noël Akchotè, austrian musical critic reviewer. Considerable musical critic magazine)

Do you want to talk conceptual music now? Well: Napoli meets the 9th or even much more seriously, Drummer Massimo Aiello plays over a tape of Beethoven´s hit and informs us he’s being doing so since 1987. We have to have that, no? Play me that Symphony again and let him roll over that Slovak Radio Orchestra version (director: Walter Attanasi). You may think I´m once more getting sarcastic here but that is not the truth. Gosh, I only can welcome such personal wills and beliefs just ‘cause who knows? Maybe our Aiello really got something we didn´t, maybe yes, Beethoven would have really had Gene Krupa, Jeff Porcaro or Ringo with the 9th if only he´d knew. Back to our item, two things: Drums could be louder in the mix, by far and second: it seems, after Rondo Veneziano, hard to get some sort of clear direction as far as drumming on classics is involved. I hold a copy given to me by Tony Hymas (Jeff Beck long times keyboardist and composer of »Don´t let me down« by Phd.) of a self-promotion album beautifully named »Steinway to heaven« (Indeed comissioned by the legendary piano manufacturer itself). And there you can hear all sorts of fame of rock and pop dealing as they can with classical hits and piano. Back to Massimo I really enjoy that first half hour now, it almost makes you forgot Herr Master and who knows if Napoli´s not taking a serious revenge here.

Möchten Sie jetzt über Konzeptmusik sprechen? Gut: Neapel trifft auf die Neunte, oder – ernsthafter – der Schlagzeuger Massimo Aiello trommelt zu einer Aufnahme von Beethovens Hit und lässt uns wissen, dass er das bereits seit 1987 tut. Glauben Sie nicht auch, dass wir das unbedingt haben müssen? Also spielen wir noch einmal diese Symphonie und lassen wir ihn zur Interpretation des Slowakischen Radiosymphonieorchesters (unter Walter Attanasi) rocken. Vielleicht denken Sie jetzt, dass ich wieder einmal sarkastisch bin, aber das stimmt überhaupt nicht, denn solche Zielstrebigkeit und persönliche Überzeugung kann ich weiß Gott nur begrüßen. Vielleicht hat unser Aiello tatsächlich etwas, was wir nicht haben, oder hätte Beethoven bei der Neunten lieber mit Gene Krupa, Jeff Porcaro oder Ringo zusammengearbeitet, wenn er nur von ihnen gewusst hätte? Zur CD selbst zwei Anmerkungen: erstens könnte das Schlagzeug um einiges lauter sein, und zweitens kann man nach Rondo Veneziano nicht mehr genau sagen, welche Wege beschritten werden, wenn es um Drums und klassische Musik geht. Ich selbst bin im Besitz einer Promo-CD, die ich von Tony Hymas (Jeff Becks langjährigem Keyboarder und Komponist von »I Won’t Let You Down« von PhD) erhalten habe und die den wunderschönen Titel »Steinway to Heaven« trägt (und auch eine Auftragsarbeit dieses legendären Klavierherstellers war). Darauf sind alle möglichen Größen des Rock und Pop versammelt, die sich nach bestem Wissen und Gewissen an die Aufgabenstellung Klassikhits und Klavier heranmachen. Aber zurück zu Massimo: Ich habe die erste halbe Stunde wirklich genossen, man vergisst fast den Meister – und wer kann schon sagen, ob Neapel hier nicht furchtbare Rache nimmt. E magnifico!

(Reviewed by Kentil'zha, norwegian musical critic reviewer. Considerable musical critic magazine)

Italian drummer experiments with 180 year old symphony, and the result is better than you might think.

As a drummer, I sometimes find myself tapping out rhythms when I'm listening to music with no drums or percussion. Not because there's anything wrong with drumless music, but I just like to experiment and imagine what it would sound like with drums. Italian drummer Massimo Aiello has taken this concept a bit further by recording himself playing drums along with Beethovens famous ninth symphony. You know, the one with that beautiful melody - "Ode to Joy" - that the bad guy is humming in "Die Hard". Not to mention the countless other movies it's been used in.

Now, I can imagine that purists have huge problems with someone recording drums onto a classical piece in this manner, so let me just say this: If you love classical music and believe that it should only be played as the composer wrote it, then stay away from this recording. If, on the other hand, you love classical music, and don't mind it being experimented with, this could be well worth checking out.

Aiello has used a recording of Beethoven's ninth symphony by the Slovak Radio Symphony Orchestra (with their permission, I hope), and recorded his drums along with that. Rather than just playing straight beats, he uses his drums and cymbals like an orchestra in itself, complimenting - rather than overpowering - the symphony. The drums are lower in the mix than you might expect, perhaps even too low at times. On some of the louder parts, the orchestra almost drowns out the drums. It's not really a problem, though, and I think it says more of Massimo Aiello's sense of dynamics than anything.

Throughout the 71-minute CD, the drumming is often quite "jazzy", which has a very interesting effect on the overall sound. There is also some nice cymbal work on the quiet parts, and some tom-tom bombast on the louder bits. There is a short drum intro to the third movement, and a longer solo towards the end of the fourth movement, which, again, does not intrude upon Beethoven's masterpiece, but rather complements it. As the title says, it's a tribute. And it works, thanks to Massimo Aiello's melodic drumming.

(Reviewed by Roberta Baldizzone, italian musical critic reviewer. Important italian Jazz-magazine)

Derived from the namesake show, carried out the first time in 1987 at the Pio X Theatre in Padua, “Tribute To Beethoven” represent an other milestone of Massimo Aiello’s experimental journey. Beeing already approached to the cultured music before (we remind you his performances on extracts of operas like Rossini’s “Guillaume Tell” and Sravinsky’s “Le Sacre du Printemps” in the late 80’s), the neapolitan musician use this giant of classical repertoire as scenery for his improvisations: the four symphony’s movements are accompanied and breaked by the improvised drum solos. To giving him a base is an appreciable record of the Beethoven’s masterpiece performed by the Camerata Cassovia conducted by Walter Attanasi.

Tratto dall'omonimo spettacolo realizzato per la prima volta nel 1987 al Teatro Pio X di Padova, "Tribute to Beethoven" rappresenta un'altra tappa del percorso sperimentale di Massimo Aiello. Avvicinatosi già in precedenza alla musica colta (ricordiamo le esibizioni su estratti di opere come "Guillaume Tell" di Rossini e "Le Sacre du Printemps" di Stravinskij, della fine degli anni ottanta), il musicista napoletano utilizza questo colosso del repertorio classico come scenario per le sue improvvisazioni: i quattro movimenti della sinfonia vengono accompagnati e inframmezzati dagli interventi solistici improvvisati dal batterista. A fargli da base, una pregevole incisione del capolavoro beethoveniano nell'esecuzione della Camerata Cassovia diretta da Walter Attanasi. (RB)

(Reviewed by Antonio Rettura, italian musical critic reviewer. The greater music web portal in Italy)

Some things aren’t suitable to middle-ways: you can love or hate them! It’s certain that someone will disagree knowing that a drummer intruded in the german Master’s great opera, while some other shout “Heresy”. We want to forget for a moment the more “snob” purists and go to discover what is there underneath this atypical and interesting fusion between classical music and drums. Massimo Aiello doesn’t done nothing but adding a new instrument to the orchestra (isn’t enough?), where nobody had write the score before. We can guess that this is a work that needs a great knowledge, in Beethoven’s opera in first, and especially in drums. For who that don’t know him, the neapolitan musician wich live in Veneto began his career in the 80’s collaborating also with Aldo Tagliapietra (singer of Le Orme), Ricky Gianco, and he played with Tullio De Piscopo. Owner of an indisputable technique and talent, he enrich the symphony without invading it, emphasizing and making the most of the tension bends during the four opera’s movements. All in all we can declare that Massimo Aiello had carried out a double tribute: one to the opera, the other because, in a certain way, he had made topical and modern the masterpiece of the german composer, making it more near to the new generations. For who that ever listened to classical music (and to the Beethoven’s operas in particular) this is the right time, an umpteenth interesting spur to do that…

Ci sono cose che non si prestano a vie di mezzo: si amano o si odiano! Qualcuno di certo storcerà il naso nell’apprendere che un batterista si sia intruso nella grand’opera del Maestro tedesco, mentre qualcun altro griderà all’eresia. Lasciamo perdere per un attimo i puristi più ‘snob’ ed intellettualoidi, e andiamo a scoprire cosa c’è dietro quest’atipico ed interessante connubio fra musica classica e batteria. Massimo Aiello non ha fatto altro - e non è poco! - che aggiungere all’orchestra un nuovo strumento, del quale nessun altro prima aveva scritto la partitura. Si intuisce che ciò è un lavoro che richiede grande conoscenza, dell’opera di Beethoven in primis, ma soprattutto dello strumento batteria. Per chi non lo conoscesse, il musicista napoletano, in seguito trapiantato in Veneto, ha iniziato la sua carriera artistica negli anni ’80 collaborando - fra i tanti - con Aldo Tagliapietra (il cantante delle Orme), Ricky Gianco, ed ha suonato insieme con Tullio De Piscopo. Padrone di un’indiscussa tecnica e talento, il Nostro riesce ad arricchire la sinfonia senza risultare mai troppo invasivo, valorizzando ed accentuando le curve di tensione all’interno del discorso che si dipana nei quattro movimenti che compongono l’opera. In definitiva si può affermare che Massimo Aiello ha realizzato un duplice tributo: uno per l’opera in sé, l’altro per avere in una certa misura reso più attuale e moderno il capolavoro del compositore tedesco, rendendolo più vicino alle nuove generazioni. Per chi non si è mai inoltrato nelle strade della musica classica - ed in particolare nelle composizioni di Beethoven - questa è quindi l’occasione giusta, un ennesimo stimolo d’interesse per farlo…

(Reviewed by Celeste Piccolo, italian musical critic reviewer. Independent music web portal in Italy)

It’s a nice and skilful way, as well as original, that the neapolitan drummer devised to thank Beethoven for how much he given to the humanity with his music. The intrusion in the Ninth’s four movements is discreet, intelligent, appropriate, mixed with the right equilibrium. The sound results pleasant, often it’s mixed with the base, clear mark that Aiello had studied in depth the intervention’s ways and times. Original is the adding of the soloist before the third movement; more “predictable” the intervention before the final. On the other hand the final is the less Beethovenian part of all the symphony, then also Aiello, who added his reading-key without disturbing, can be fit into that. It’s left to ask ourselves what would said Beethoven, if he would listened to the italian drummer’s addition. Maybe he would said “Recently I don’t hear well…”

E’ un simpatico e sapiente modo, oltrechè originale, quello ideato dal batterista napoletano Massimo Aiello, per ringraziare Beethoven per quanto ha dato all’umanità con la sua musica. L’intrusione nei quattro movimenti della Nona è discreta, intelligente, appropriata, mixata con giusto equilibrio. Il suono risulta gradevole, spesso si confonde con la base, segno evidente che Aiello ha studiato a fondo modi e tempi di intervento. Originale l’aggiunta del solista prima del 3. movimento; più “scontato”l’intervento prima del finale . D’altra parte il finale è la parte meno Beethoveniana di tutta la sinfonia, quindi ci può stare anche Aiello, che ha aggiunto la sua chiave di lettura, ma che non ha dato fastidio. Resta da chiedersi cosa avrebbe detto Beethoven, se avesse ascoltato ai suoi tempi, l’aggiunta del batterista italico. Si sarebbe forse trincerato in un “In questi ultimi tempi non sento bene...”.

Recensione di Celeste Piccolo

(by Vladimir Shakhov, MJJA's member, well-known & appreciate journalist & jazz-music critic reviewer in Russia. Writer in important magazines like this SEE SAW of Moscow)

Listening to Beethoven's Ninth, no matter if on a high-end hi-fi system or on a humble cdplayer like mine, there's always something missing........ you can play the Ninth at a disco night... nobody will start dancing. In India people would pass by without noticing and in a conctruction site, among noises of chains machines you couldn't even hear it. Guessed what's missing? The drums.

Everybody realized this, but the only one so far who had the guts to take the sticks and drum those 80 minutes is Massimo Aiello, free-lance drummer and musis teacher. Massimo Aiello is italian and plays music since he was ten. He studied with the likes of Tullio de Piscopo and Enrico Lucchini. He likes learning and improving: this is no rock'n roll but he definetly deserves great respect and has played with around 80 bands, both italian and international and 40 different musical styles. And now he has recorded this Tribute to Beethoven-Drum in the Symphony no.9 for Azzurra Music. With a drum arrangement of Beethoven's Ninth.

Considering that we grew up with Beethoven's music, a piece of symphony, a Windows XP, a rock'n roll rearrangement; from a classical point of you, you can only associate it with the fall of the orchestra conductor, but we can not ignore this record.

What lies inside this record? If it's true that you can better water plants by transplanting them--- flowers are ideas that grow in the vase of arrangement. With melodies in their place. Massimo achieved the idea of playing without overplaying, underline without deleting... so that Betthoven's flowers keep blossoming with red petals. Pam –Ru-pa-pa. Ra-pa-pa-pa, Ra-pa-pa-pa.. Can you recognize the 28° minute?

Transplant. stem cut in a modern new way, add a wet garage sound, or a minimum of instruments, keyboard otr weird instruments, or a perfect lyric, or a cool dub. Good that there is nothing of that. Hey Fatboy, Junky,...

Nourish your flowers. And now, when there's silence you can hear flutes and boom boom bass. For those who have no rhythm sense, heere's the main theme. Massimo keeps time perfectly, does not play one note too many, or too few, no matter if he is playing a lot, or just a little. Sense of measure and taste are evident even in the complete darkness, what am I saying, during the silence. The Hymn to Joy , in the points where the instruments, (ehm) guitars, distorted keyboards, and drums are silent, and you only hear the choir, gets a new percussive breath, you can tell evn the teeth have been brushed, they don't smell any more, there is something new and fresh. Then at the 22° and 1/2 min, fourth movement , you hear a plain, free, probably improvised solo. And you understand with how much power he had been holding it back from the beginning. Than follows a brief and powerful final resolution and that's all. The record is over.

It had been long since we found a record that you can dig byh the millimeter, keepeng track of minutes and duration of the musical pieces. Interesting idea, right direction , cheerful english design in music, the force for pushing the keys is not enough, there are other things to consider. I see it this way: with one ear, one eye, one hand you have to play, and with the others (ear, eye, hand) you have to remember.

I would trust with eyes closed Massimo,which by the way is also a teacher, as a drum teacher for my son.

To say the truth some body with an accademic styles suggested I throw away this record. But we have a different idea.

Слушая знаменитую Симфонию №9 Бетховена в сверхсупермощной стерео системе как у Бёрджеса, или в дешовом плейере как у меня всегда чего-то не хватает. Например, если поставить №9 с диска на диско вечеринке ни одна наркопьянь даже не выйдет на танцпол. В Индии, в Пежо местные будут скуучно проходить мимо. А на стройке между звуков болграки, цепей и железных вёдер никто ничего и не услышит. Уже догадались чего? Правильно барабанов.

Все это чувствуют, но смелости взять в руки барабанные палочки, и отстучать 80 минут живой музыки хватило только у Массимо Аиелло, фриланс-барабанщика и учителя музыки. Уроженец Италии, в десять лет впервые стукнувший и с тех пор барабанщик. У него знаменитые учителя: Tullio De Piscopo, Enrico Lucchini. Вообще, Массимо любит учиться и совершенствовать себя, это конечно нах не рокнролльно, но заслуживает уважения, с другой стороны он играл в 80ти группах итальянских и зарубежных и в 40а стилях. И вот в сентябре 2001ого он записывает Tribute To Beethoven—Drum in The Symphony no. 9 c лейблом компании Azzura Music. Барабанную аранжировку симфонии номер 9 Бетховена.

Учитывая, что все мы даже под стол ходили с именем Бетховен; кусочек симфонии—сэмпл к виндоусу ХР; интерпретации всегда в стиле рокнролл; классический ассоциируется только с падением дирижёра в летнем театре; а также, используя ряд один-индивид-чтотоесть мы не могли этот диск пропустить мимо.

Что же на диске? Мама моя всегда твердит: подкармливай цветы когда пересаживаешь. В этой фразе ключ к вопросу круто это или нет. Итак, цветы—цветы это идеи что растут из горшка аранжировки. Мелодии на месте, Массимо наверное много потел чтобы играть не доминируя, подчёркивать не зачёркивая. Цветы Бетховена продолжают цвести красными лепестками из этой пластинке. Пам-Ру-па-пу-пу. ру-пу-пу-пу, Ру-пу-пу-пу. Бур Бу. Что не узнали? 28ая минута.

Пересаживай. Правильно, сделай запись актуальной, добавь влажного гаражного звука, или минимума клавишных, или странные инструменты, или совершенный текст, или мирный даб. Хорошо что ничего этого нет. эй Фэтбой, Джанки, кавер?

Подкармливай. Зато теперь, когда тихо, слышно и высокие трубы свирели, что там у них, и низкие бум бум. Для людей без ритма в голове есть основная тема, кстати Массимо идеально попадает, и нигде, повторяю, нигде не сыграет лишней ноты, либо слабый сил жалеет, либо хороший музыкант. Чувство меры и вкус вне всяких похвал есть даже время полной темноты, тьфу, тишины. Ода Радости, в местах где инструменты, гм, гитары клавишные дисторшены и бубны смолкают и слышен только хор, получает новое барабанное дыхание, видно зубы чищены, ничем не попахивает, даже свежо как-то становится. А потом, на 22ой с половиной минуте 4 движения, movement, как обозначено на диске, слышно полное, свободное, импровизированное должно быть, соло Массимо. Видно как сильно он терпел, чтобы не разродиться раньше. Затем мощное короткое разрешение и всё, диск закончился.

Давно не попадался в руки диск, который интересно несколько раз прошарить перемоткой диска, подмечая минуты и длины кусков музыки. Интересная идея, правильное направление, долой британский дизайн в музыке, нельзя обладать просто силой нажимать на кнопки, нужно ещё чуть оглядываться. Одними ухом, глазом и рукой играть, а другими вспоминать, вот как я это понимаю. Вполне доверил бы Массимо учить моего сына-барабанчика, он ведь учит ещё к тому же.

Правда некие господа из академического стиля советовали выкинуть этот диск к свиньям, мы, в синтипопе, думаем, что очень даже ничего так.

Vladimir Shakhov

(Reviewed by John Tzinieris, greek musical critic reviewer. Musical critic magazine, especially classical music)

Well, this is not a mostly usual case of the recording of an ordinary work : the CD content consists of the 9th symphony performance by the Slovak Radio Symphony Orchestra (very good performance as a matter of fact - orchestra directed by Walter Attanasi) with the Slovak Philarmonic Choir to participate in the most famous 4th movement of the symphony and Massimo Aiello's own Drum recording to be "applied" on the initial classical music "layer", so that the final result is the mixed influence of both factors : Beethoven 's 9th Symphony and Aiello's own drum interpretation. A really interesting experiment ! Did it work ? Well, the undersigned happens not to be a drum expert, but he always enjoys a good drum solo or a well-filled passage. However, the experiment is absolutely successful ! The ear of the listener actually gets full satisfaction ! Besides, Aiello's corresponding show has always been a success, hasn't it ?

Massimo is a very good drum artist, but this is not enough in our case ! Beethoven's 9th symphony is the ultimate source of inspiration and mental elevation, full of magical melodic passages and an admired overall structure, so the intervention should be very careful and balanced, otherwise a rather "silly" sound would come out ... Aiello's full "drum-palette" is used wisely and quite in accordance with Beethoven's spirit - the Italian artist has shown a full respect for the original's work atmosphere and his drum imagination schemes have been in complete symphony with the orchestra's melodic and harmonic courses. Drum's part is "fat" and interesting, perhaps it could stand alone by itself quite beautifully, variety is well-used (including a good deal of drum-silence periods!) and matching drum colorations are fitted successfully. I must say again that our artist's mission was not an easy one : the original work is of fantastic artistic value and only a perfect "overlaid" drum orchestration would survive.

Since drums are usually supporting the rhythmical being of a piece of music, we would normally wait that Beethoven's orchestral masterpiece has become more rhythmical than it used to be for more than 150 years now ! Well, that is true. Closed hi-hats sounds are stepping proudly and cymbals are underlining the "curves" and the "corners" of the phrases, while various types of bass drums and snare drums are used in fully accordance with Beethoven's spirit to accent specific important notes - sometimes they are also used along with the classical orchestra's own timpanis. Toms also give some passages a more "piquant" flavour. Other sounds from the drummer's rich soundset are occasionally used, with more concern to be in balance with the classical spirit than to impress audience "easily" (Aiello is also a very good drummer). Drum's dynamic formations are also well artistically justified : they are usually following Beethoven's own marks but sometimes a more personal stamp is used - with very nice results !

1st movement - Allegro ma non troppo, un poco maestoso - Duration of about 16 minutes and a half - This is a most "dark" and "difficult" movement. Triumph chords are supported by drum's bursts and "verifications", parts of a medium dynamic are getting more interesting and quite passages are treated carefully and in a rather accompanying way. Movement's ultra-beautiful melodic bends are kind of traps for this kind of drum orchestration, but Aiello has used his own instrument in a most suitable way. The movement has gained some special instrumental points by the use of drums ! Just listen to it with an open mind and perhaps you will agree ! Beethoven's fantastic orchestration is seconded by the drum's use even if the overall classical favour is softened. Very good result Massimo !

2nd movement - Molto vivace - Duration of over 15 minutes - Hm, well, this is my favorite : I shall be relentless ! Rhythmical support is lively and interesting, adding dynamic content to original movement. Phrases here are strictly separated and drum has obviously many possibilities for "strengthening" the overall struct : eg. cymbals are happily adding a fresh quality and orchestral timpanis are daringly supported by drums. In certain points of the movement, some special drum sounds, for example drum rolling, fast hi-hat changes etc. has given extra interest to Beethoven's orchestration. In short, the rhythmical patterns has become more apparent and more stressed than before. It is rather a matter of personal taste. I think the final result is an interesting enough sound.

"Present for Ludwig" - Duration of approximately 1 minute and a half - Here is a genuine drum solo. Its purpose is obviously to give a more personal stamp to the whole work. Actually, we can listen to a lot of interesting cymbal-effect sounds which contribute to a more dream-like atmosphere and are distinctly coming as an opposition to the next Beethoven's quiet movement ...

3th movement - Adagio molto e cantabile - Duration of about 14 minutes and a half - Calm and dolce as a dream that is coming true - impressive as an orchestra aria. Aiello is very-very careful here : anything can spoil the whole universe of Beethoven's sounds ! Some subtle background effects that give a rather unclear sense are followed by a progressively more active contribution of drums in the part but always in the correct degree. The whole picture is magic : violins (and later the woodwinds) are singing and everything else being is admiring in its own way. Here Aiello shows us that silence is often as precious as gold (and the artist is mature enough to ensure this fact). The relatively delicate drum's contribution is only paused in the (rather short) part where orchestra plays in a rather loud volume, with the brass showing the way ! In general, a total magic with the drum taking its own part in it !

4th movement - Presto (with final chorus) - Ode to Joy - Duration of about 22 minutes and a half - One of the most famous movements ever ! Now drum has a more active part accenting dynamic phrases and verifying the overall tension. Various interesting effects are giving us some ideas about the capabilities of the drummer and his possible contribution in a classical-style passage. The "Ode to Joy" melody starts to be played in the lower strings ! What a glorious moment ! Now, drum is admiring in silence. Then, it will start to help a bit in Beethoven's greatness ! Then it is the time for the great orchestral tutti with the drum shining ! Fantastic ! The magic goes on to the next linking phrase ! Then, it is the turn of the human voices to appear. Drum has an active role and is supporting every try of music often in a most dynamic way. Someone can argue that Aiello is overdoing it at times, but, in the overall mood, drum is doing good. Another interesting moment is the Turkish March, where (normally) the drum is helping a lot in the orchestration, followed by a lot of music "adventures", later to arrive at a "rich" repetition of the well-known 'Ode to Joy' theme. The continuation is full of good drum sounds and god-like vocal lines. We can again often attend drums to admire in relative or complete silence. What a ceremony ! Drum is celebrating with the rest of the orchestra while taking part in the great rite. Music is beyond description now ! A battalion of angels are singing ... What a Joy ! The movement's finale is not less impressive : drum is always helping in the great try and waiting for the moments where it can be more active ... Music is then gradually fainting out, and a drum solo goes on ...

Melodic Drum Solo - Duration of approximately 8 minutes - A normal drum solo is developing. This time not only cymbals but also drums and all other drummer's kind of stuff are taking part. Sound is fat and interesting. Rhythm is relatively stable and supported by changes in sound material that only drummers are capable of. Aiello seems to be a very good and experienced drummer with an inventory of music ideas, styles and ways of expressing himself ! Although the passage is almost 8 minutes long, listener will not feel any kind of boredom or indifference ! After the end of the passage, Beethoven is back again ...

Rest of the Final - Duration of approximately 2 minutes - A very strong finale which is again supported by the power of drum in a most matching way. In the very final phrase of the symphony, listener's great pleasure is mixed with broad satisfaction ...

To be honest, use of drums in Beethoven's 9th symphony clearly lowers its classical favour, but the general idea is to give an alternate interesting orchestration. Massimo Aiello, a very good drummer and musician, managed to give us such an alternate orchestration in a nice and persuading way without harming Beethoven's spirit and greatness. The artist's respect for the German giant is more than obvious even for a classical listener. Drum is played in such a way so that phrases remain clear and are well-supported, rhythmical background is generally delicate enough and keeps the overall atmosphere in Beethoven's high standards, and only few instances can be recalled where drums could be considered as breaking the very sensitive balance. Massimo Aiello has done a very good job that can honestly be considered as an important artistic achievement as well ! Bravo !

(Reviewed by David J Opdyke, american musical critic reviewer. Important musical critic magazine)

(Reviewed by Rèjean Beaucage, canadian musical critic reviewer. Important classical music magazine whit international distribution)

The italian recording company Azzurra Music produced in 2001 an amazing cd played by italian drummer Massimo Aiello : «Tribute to Beethoven – Drum in the Symphony no. 9 » (TBPJAB039). This is an interpretation of Beethoven's 9th Symphony interpreted by Camerata Cassovia directed by Walter Attanasi. Aiello over recording on it a drums track, whit a drums-solo in the middle of Ode to Joy. This work can give an idea of the drums's melodic possibilities, but I think that the History will remember above all the firsth version!

L'étiquette italienne Azzurra Music lançait en 2001 un disque étonnant du batteur Massimo Aiello : «Tribute to Beethoven – Drum in the Symphony no. 9 » (TBPJAB039). Il s'agit d'une interprétation de la Neuvième par le Camerata Cassovia sous la direction de Walter Attanasi, par-dessus laquelle Aiello a enregistré une partie de batterie ! Avec un solo au beau milieu de l'Ode à la joie ! Cela peut donner une idée des possibilités mélodiques de l'instrument, mais je crois que l'Histoire retiendra surtout la première version!

(Reviewed by Peter Sutton, australian musical critic reviewer. Musical critic magazine, various genres)

Massimo Aiello is primarily self trained in musical research and is a drummer of both classical and rock persuasions. In this 4 track release Massimo provides evidence if any is needed that he is a talented and interpretive performer. As this is a classical release I must admit to being a tad ignorant of the original pieces and would have liked more information. It is a complex release and appears to be a set of new interpretive drum pieces set to a classical philharmonic recording (not performed live with the orchestra) With the introduction of percussion into what was otherwise a far less percussive set of pieces that would either have amazed or outraged Beethoven.

(Reviewed by David Johansson, swedish musical critic reviewer. Considerable musical critic magazine, various genres)

Well, this cd is one of the most inexplicable things that are happened during the eight months of Deepdive’s existence. Arrive a record of tribute to the old Ludwig Van Beethoven. Its author is an italian called Massimo Aiello who had re-performed the Beethoven’s Ninth Symphony, including drums! For you wich still don’t know, is not usual for us publishing reviews on old classics, and how this “hooligan” from Italy have found us (wich differently listen to rock music) is a more great mistery! Anyway, now we have to look at the things from a more large viewpoint. For how I understood, is enough original to insert modern drums in olds symphonies. I don’t know if he had copied the rest of the music from some cd or stuffs like that, but it seems the original (of what I don’t had listened much a part the “cult roll” in the Kubrick’s “A Clockwork Orange”). The classical music is enough soft to listening when you want to relax yourself or if you have some problems to sleeping. The jazz drums maybe cheer up the atmosphere (but it depends to who you ask that). The cd is made of eighty minutes of beautiful music, composed by one of the greatest composers ever existed, I cannot comment better like saying that Beethoven was a “cool” man. Also this Massimo seems to be very “cool”. If you like….the post-classic symphony alternative, get yourself “Tribute To Beethoven – Drum In The Symphony no. 9”!

Att lägga moderna trummor på gamla symfonier är ju var jag har förstått rätt så originellt. Om han bara har kopierat den resterande musiken från någon CD eller något har jag inte fått begrepp om, men det låter som originalet (som jag inte har hört så vidare mycket av förutom i Kubricks gamla kultrulle "A Clockwork Orange"). Klassisk musik är ganska skön att lyssna på när man vill ta det lilla lugna eller när man har svårt att sova. Trummorna ger det en lite jazzigare underton och kanske rentav förhöjer stämningen lite (men det beror väl kanske på vem du frågar). Skivan består alltså av närmare åttio minuter av ljuvligt komposerad musik av en av våra största tonsättare någonsin, och jag kan nog inte kommentera mer än att han var en cool snubbe, Beethoven. Denne Massimo verkar också vara en riktigt skön typ, så gillar du.. alternativa post-klassiska symfonier, skaffa "A Tribute To Beethoven - Drum In Symphony No 9"!

(Reviewed by Remco Takken, dutch musical critic reviewer. One of the most greats and importants europeans musical critic magazines, especially rock)

In the flea markets you still can find the 70’s albums with rock revisitations of classical music. Whatever is your opinion about the symphonical rock of Ekseption or Emerson Lake and Palmer, in the next years there was been not much musicians ables to…………[1] [2] He play drums simply recording that over the performance of the Beethoven’s Ninth by an orchestra. [3] But it’s worth meeting soloists who chase their dreams with determination. The recording of a cd is carried out like this, nowadays is not required to recruit expensives orchestras for a symphonical project. The classical music was been totally taken from a cheap slovakian cd. Headphones on, digital recorder turned on, go with the over-recording. Is simply like that. Behind the Aiello’s drums you can hear a digital copy of the Slovak Radio Symphony Orchestra. Shoddy? Banal? Sure, but it will don’t surprise that Drum In The Symphony no. 9 is at the same time surprisingly beautiful in every details. The drums is pefectly in tune, the mix with the cd’s orchestra is brilliant. The rhythms created by Aiello on the Beethoven’s Ninth they move in an entertaining way [between] the………[4]………. In the tuneful beginning parts, [and] the Final’s heroic. And, I have to say that, the sudden jazz solo towards the end is simply exemplary. Open and agile, [5], and not much long [6]

Op rommelmarkten kom je ze nog wel eens tegen, jaren zeventig elpees met rockbewerkingen van klassieke muziek. Wat ook je mening mag zijn over de symfonische rock van Ekseption of Emerson, Lake & Palmer, er zijn in later jaren maar weinig muzikanten opgestaan die het neoklassieke bombast van deze groepen wisten te overtreffen. Voor de Italiaanse slagwerker Massimo Aiello is het een peuleschil. Hij gaat gewoon lekker een potje drummen bij een orkest dat de Negende Symfonie van Beethoven speelt. Artistiek is het volslagen leeghoofdig, dit in de studio geconstrueerde eerbetoon. Maar het blijft aandoenlijk om kennis te nemen van eenlingen die consequent hun diepste dromen najagen. Een cd-opname is zo gemaakt, peperdure orkesten hoef je tegenwoordig niet meer te huren voor een megalomaan symfonisch project. Klassieke muziek rip je integraal van een Slowaaks budget-cdtje. Koptelefoon op, digitale recorder aan, en overdubben maar. Zo simpel is het. Achter Aiello’s drumstel klinkt dan ook een digitale kopie van de Slowak Radio Symphony Orchestra. Goedkoop? Grotesk? Banaal? Jazeker, maar het zal niet verbazen dat Drum In The Symphony no. 9 tegelijkertijd verbazend knap is in ieder detail. Het drumstel is perfect gestemd, de mix met het cd-orkest is briljant. Aiello’s zelfverzonnen ritmes over Beethovens Negende bewegen zich op amusante wijze tussen droogkloterig in de melodieuze begindelen, tot heroïsch in de Finale. En, het moet gezegd, de plotseling op de luisteraar neervallende jazzy drumsolo tegen het einde is gewoon voorbeeldig. Open en los, met een voelbare onderliggende puls, en niet te lang. Kom daar maar eens om tegenwoordig.

(Reviewed by Peter Backof, german musical critic reviewer. Considerable musical critic magazine, various genres)

Freude, schöner Götterfunken! Habe ich richtig gehört? Da spielt jemand Schlagzeug zu Beethovens Neunter Sinfonie? Er holt sozusagen mit der Titanenfaust aus, und bietet einem Denkmal der abendländischen Kultur Paroli, um es zur Jahrmarktattraktion zu degradieren?
Mitnichten! Diese Einspielung von Massimo Aiellos Performance, die er in Italien seit 1987 auf Plätzen, in Theatern, Kirchen, Schulen und auf Festivals darbietet, ist zugleich originell und künstlerisch wertvoll. Denn Aiello stellt sich nicht gegen das Werk, sondern fügt sich in das orchestrale Gefüge ein, als wäre sein Part von Anfang an mitkomponiert worden. Bei größer angelegten Orchesterwerken ist es üblich, einen Klavierauszug anzufertigen, um die harmonische Essenz einer Partitur schnell überblicken zu können. Aiellos Spiel wirkt wie ein "Schlagzeugauszug" dieser Sinfonie. Der dramatische Verlauf wird wie in einem Höhenprofil bei Landkarten kenntlich gemacht. Aiello spielt sich nie in den Vordergrund, sondern behandelt Beethovens "Neunte" mit Respekt. Erstaunlich ist vor allem, wie genau er jeden Millimeter der Partitur kennt. Streckenweise gewinnt er dem Werk neue Sichtweisen ab, indem er z.B. im 4. Satz – diese Ode an die Freude, die als"Freude, schöner Götterfunken" populär ist – den Hymnus mit Jazzrhythmen – ja fast schon Breakbeats – unterlegt, die erstaunlich gut passen.
Beethovens letzte Sinfonie war von Anfang an ein Werk, das die Grenzen seiner Gattung sprengte. Ein Modewort war damals das der "absoluten Musik" – und als solche wurde nur reine Instrumentalmusik angesehen. Als höchste Ausprägung dieses Ideals galt die Sinfonie. Der "Revoluzzer" Beethoven nahm Sänger mit in eine Sinfonie. Die damalige Musikkritik echauffierte sich, ob das denn angemessen sei. Aiello greift diesen unorthodoxen Faden auf, erklärt die Sinfonie zum offenen Kunstwerk, und erweitert sie um seinen Beitrag. Das Ergebnis ist alles andere als Kitsch. Entdeckenswert!

Reviewed by Peter Backof

(Reviewed by Volkmar Mantei, german musical critic reviewer. Musical critic magazine, various genres)

The world is big enough for standing all kind of music. Saying that I mean that is not always (or only) matter of like or not a criterion… Some productions have almost a cheek. Massimo Aiello will split the people in several parts. The gossips, the consenters, who that will shout “Blasphemous!”, the ignorants (they’re always there with their carelessness) and much more. What about it? The Slovak Philarmonic Choir accompany the orchestra in four parts (Ode To Joy). Up to there it’s all the faithful edition of the original Beethoven’s opera. Beside it Massimo Aiello play drums. Massimo play in different ways, sensitive, adequate to the lyric and dynamic’s atmosphere of the opera, sometimes powerful, sometimes sweet, always meticulous and technically perfect, the rhythm hasn’t a modest nature, but he demonstrate to have a large rhythmical understanding and a passion for complex rhythms and for classical music. This is totally interesting and earn a new appearance for the dramatic oper