Tony Buck : drums & percussions Gianni Gebbia : Bb soprano and Eb baritone saxophones, Bb cornettophone, electronics credits released August 24, 2022 Recorded at Cantieri 51 Studio in Palermo Italy August 2022. Sound engineer: Pietro Zarcone. All music by Gianni Gebbia ( Siae 2022) except Ophicleide by Gebbia/ Buck Cover Art by Goebius based on a detail from Caravaggio, Marta e Maria Maddalena, 1598 ca., Institute of Arts, Detroit. The Lorrain's Mirror Suite it includes the following compositions by Gianni Gebbia in order: Sleep and Lunedda ( Gianni Gebbia Siae 2022. Music sample: Ajamola: traditional ritual singing from Sicilian tuna fishermen recorded in the1950's. Special thanks to Giovanni Verga for drones help, Nadia Barrientos for her visionary images suggestions, Ignazio Mortellaro, Giorgio Bovì, Bojan Djordevic and Alessandro Gambo for supporting this live project. The image in the cover art is a detail from the painting " Marta e Maria Maddalena" by Caravaggio, 1598 ca., Institute of Arts, Detroit and, probably, is a sort of Lorrain's mirror. The Lorrain's Mirror( From the painter Claude Lorrain ) or Claude glass (or black mirror) is a small mirror, slightly convex in shape, with its surface tinted a dark colour. Bound up like a pocket-book or in a carrying case, Claude glasses were used by artists, travelers and connoisseurs of landscape and landscape painting. Claude glasses have the effect of reducing and simplifying the colour and tonal range of scenes and scenery to give them a painterly quality. The user would turn their back on the scene to observe the framed view through the tinted mirror—in a sort of pre-photographic lens—which added the picturesque aesthetic of a subtle gradation of tones. Also the Elizabethan alchemist John Dee or the ancient Aztecs used an oxydiane reflecting mirror that was similar to the Lorraine one. Probably the John Dee one was an aztec one brought from the colonies. The peoples of ancient Mexico used polished obsidian mirrors, or tezcatl, as instruments of black magic. By gazing into a mirror's smoky depths, sorcerers traveled to the world of gods and ancestors. Obsidian mirrors are an apt metaphor for images of ancient Mexican sites and objects: they reflect the viewer as well as the object. The obsidian mirror was the primary accessory of the supreme Aztec deity Tezcatlipoca, whose name means "smoking mirror." He is often depicted with an obsidian mirror on his chest, in his headdress, or replacing his right foot. Tezcatlipoca was the lord of the night and its creatures—above all, the jaguar, a powerful animal believed capable of crossing between the earthly realm and the underworld. Tezcatlipoca is sometimes represented as a jaguar, which was also a symbol of ancient Mexican rules. Jaguar pelts were reserved solely for their use.