Paolo Fresu's version of an unpublished song by Peter Gabriel, who thanks him publicly via Facebook and from his website.
By Old King Cole
Peter Gabriel writes on his website PeterGabriel.com:
«I was very surprised when Paolo Fresu sent me a version of 'What Lies Ahead' that he had done with some wonderful players he was working with.
They had taken it into a different jazzier territory but it was played with such feeling.
It has real heart - pg »
writes Paolo Fresu on his Facebook page:
«In the spring of 2014 I asked Peter Gabriel to participate with a video in the fundraising campaign for the flood victims of Sardinia.
Peter not only immediately accepted the invitation but apologized for having sent it late as he was becoming a grandfather: 'I lost my mind' he wrote to me then, as we had always known each other ...
The demonstration of a great humanity, as well as a great artistic depth.
On November 21 of the same year he held a concert at the Unipol Arena in Casalecchio di Reno on the outskirts of Bologna which was attended by my wife Sonia Peana and my collaborator Luca Devito.
They told it like a magnificent show. Sober and poetic at the same time. With an exceptional rhythm that involved Manu Katche and Tony Levin.
But for a long time they told me above all about the opening song in which Peter, with his piano and his unmistakable voice, was accompanied by a wonderful cellist as well as the double bass.
The story was so compelling that we purchased the concert that evening and it became one of the repeated plays of that period.
The initial song was titled "What Lies Ahead", a kind of sober and deep choral that Peter called "a sort of appetizer" for the subsequent musical courses seasoned with songs like "Don't give up", "Mercy Street", " Daddy Long Legs "and" Biko ".
When in May 2015 I entered the studio with Omar Sosa Music for the disc "Eros" I proposed to record "What Lies Ahead" adding the cello by Piero Salvatori.
The song was not in the recording program, much less Omar knew it, but when I made him listen to it on the piano he went mad with joy.
Only after I recorded it did I have the problem of asking Peter for permission, discovering that the song, written by his son Isaac, was unpublished and never been recorded but only performed live on that tour.
What more sensual and voluptuous song?
At the time of the coronavirus, I again asked Peter Gabriel for permission to register it once again.
At home and alone, using the original base of the time and placing a new trumpet on it after five years.
We do not know what awaits us, but we are aware of the need for life and communion as well as looks and caresses.
Mine today are in this new version.
The ones Peter Gabriel wrote to us a few days ago and you read them above. "
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