J
Jazzy Little One
IN A WORD (OR TWO)
he “Little One”. It was bound to be a minimal set designed for jazz. It’s black, in contrast to the white “Jazzy Big One”, follows the same philosophy in artistic terms (see below). The choice of wood and dimensions, as well as the fact there are only a few drums and a small, closed kick drum, make this instrument stand out from the others. Only jazz on this set, please.
“Playing a good instrument is like driving a Mercedes, playing a Respighi means going around in a Ferrari.”
– G. Di Tullio
WOOD ESSENCES & SPECS
Wood essences
Betulla Scandinava
Kick Hoops
Padouk
Finish
Dipinta a mano by Alessandro Respighi
Snare
13″ x 5″
Kick Drum
18″ x 13.5″
Tom
10″ x 7.5″
Floor Tom
13″ x 11″
NOTE: all the sizes of the drums are expressed in inches, diameter x depth
NOTES & CURIOSITIES
The Black Heart
There is a heart painted on the Jazzy Little One. A heartbeat, that essential rhythm that keeps us alive, a sort of primordial percussion. Listen to how strongly it beats while you play?
And it’s all of our hearts, it pumps blood through our veins and gives strength to our arms so that every day we can drag this train along; keep it moving.
Two friends with a small budget on a beautiful end of summer day spent in Monza Park taking photos of our drum set. Hidden inside a surreal place, an enormous shelter made of branches that isolated us from the outside world, opposite the stately Villa Reale.
Painting by Alessandro Respighi
Abstract images
As with the symbols on the“L’Ammiraglia”, the idea behind the abstract images on the shells is to represent the essence and origins of jazz: it was a time when musicians played in some dump in New Orleans, packed with people who spoke five different languages. Where the only way to communicate was jazz. Jazz isn’t calm music. There are even those who have shot themselves because of bum note. The musician onstage isn’t just playing, s/he’s rearranging and composing, while following the main melody at the same time. There’s conflict and compromise between those who play. You have to see it; you can’t just listen.
The extemporaneous splashes of color on the shells and the creative process of three people who shut themselves in a room for 24 hours to implement it represent the essence of the above considerations about jazz; you just get one chance; one take.
Painter: Alessandro Respighi
DRUM SOLO BY GIORGIO DI TULLIO
