The bassist—and here I will immediately close the chapter concerning him—proved to be very interested. During the first live rehearsals we conducted, playing all together, he seemed very present and well-prepared. However, when we entered the recording studio a few months later, it was a total disaster. Because of this, I had to hastily convene a new bassist, who subsequently became the musician who is now the permanent, official bassist of CELESTE. But we shall return to this episode at the appropriate time.
The other element, who then became a foundational pillar of the band's new sound, was once again a collaborator of Enzo's. I am speaking of Marco Moro. An excellent flutist and tenor saxophonist (as well as an equally excellent interpreter when it came to playing Renaissance recorders), he immediately made me foresee what CELESTE would become with his contribution to the woodwinds.
Several months passed, during which, strengthened by the fact that I could now count on the presence of musicians of great caliber, I began to record on my Digital Performer DAW all the parts that—verified on the field each time—allowed me to see the growth, day by day, of what would become the album of CELESTE's return after nearly 50 years since "Principe di un Giorno."
In the meantime, I also thought about which other musicians to convene as guests to complete the roster of performers who, with the contribution of their unique instruments, would give the project those extra colors I desperately needed. And so, I convened Sergio Caputo, who, over time, as a violinist, would participate in various other projects under the CELESTE banner. Furthermore, for this comeback album, I needed the sonority of a cello. And who better than Mariano Dapor—first cello of the Sanremo Symphony Orchestra—could interpret the parts I had reserved for an instrument so warm and fascinating? Only for this specific project did I engage, as a pianist and harpsichordist, Massimo Dal Prà, my dear friend as well as my teacher of piano and orchestral conducting. From the subsequent album onward, this role was definitively assigned to Marco Canepa, who, besides being the Sound Designer for all CELESTE projects, has curated and continues to curate all my solo paths since 1994, and is also an excellent pianist full of pathos, capable of interpreting the parts I write for the piano in a profound and touching manner.
To listen to the absolute sonic essence born during those legendary analog sessions and explore the full historical discography of CELESTE, you can visit our archival page here:
👉 CELESTE Official Bandcamp: https://celeste4.bandcamp.com/
Inner Garden Records
See you next Thursday for the next episode!
