March 31, 2017

Area - Ricomincio dal Faro (occupato), Roma (1993, Italy)

Live at Centro Sociale Occupato Ricomincio Dal Faro, Roma (SDB 83m)

1) intro (2:04)
2) Luglio Agosto Settembre (7:06)
3) Ossidazioni (8:13)
4) ? (8:23)
5) ? (10:31) *
6) L'Internazionale (7:48)
7) Danza(A)nello (6:45)
8) Step By Step (6:29) **
9) Efstratios (7:55)
10) ? (6:55)
11) La Mela Di Odessa (10:56)

* Thelonius Monk's "Well, You Needn't" quoted.
** Band intro: "Ladies and gentlemen buonasera...Giulio Capiozzo...Ares Tavolazzi...e io, Patrizio Fariselli".

March 25, 2017

Tony Carnevale ‎– III Movimento / La Vita Che Grida / Risonanze (1999/95/90, 3x CD, Italy)

III Movimento - A Dance Opera for Rock Symphonic Orchestra - triplo CD Colonna sonora dell'Opera coreografica III Movimento di Elisabetta Melchiorri e Tony Carnevale.
La vita che grida Con Francesco di Giacomo e Rodolfo Maltese (Banco).
Risonanze Inconscio, musica , pittura. Colonna sonora dell'omonimo evento.

Tullio De Piscopo Quintet With Luis Agudo ‎– Future Percussion (1978, LP, Italy)

Another beautiful performance by italian drummer and percussionist Tullio De Piscopo.

Libra ‎– Winter Day's Nightmare (1976, LP, Italy)

A unique case of an Italian band signed with the US label Motown, Libra were formed in Rome in 1973 from the ashes of Logan Dwight, with a line-up including two former members of that group, Federico D'Andrea and guitarist Franco Ventura, along with Sandro Centofanti on keyboards (from Buon Vecchio Charlie), Nicola Di Staso on guitar and David Walter on drums.
After an early split, the group reformed in the autumn 1973 to play in the musical Jacopone, with bassist Claudio Barbera (also from Logan Dwight) replacing Ventura. it was during this period that they came in touch with producer Danny Besquet, who offered them to find a recording deal, and at the end of the tour a stable line-up was formed, with the entrance of bassist Dino Cappa, with which they recorded a demo at Sonic Studios in Rome.
With that demo they managed to obtain a contract with Ricordi, and recorded in Milan in the autumn 1974 the first album Musica e parole, an English version of which was recorded at the same time.
The album was issued in February 1975, essentially a rock album with large use of acoustic parts and some jazz-rock and funky influences, Musica e parole has some PFM similarities and a few interesting prog moments, like in the 13 min. long closing track Inquinamento (originally sung in roman dialect and later renamed Pollution in the US version). The album was promoted with an Italian tour supporting Banco del Mutuo Soccorso in the spring of 1975.
In the meantime the producer Besquet managed to have a contract for 10 LP's with the US label Motown, using the already recorded English-sung version of the album, which was issued in the USA with the title Libra. One of the album tracks, the funky Beyond the fence, was sung in English even in the original LP version, and was recorded live or with fake audience overdubs.
The group, with the new drummer Walter Martino (ex Ritratto di Dorian Gray, Reale Accademia di Musica, Goblin), rehearsed during the whole summer of 1975 for the American tour, that started in Los Angeles in October, including concerts with Frank Zappa, Tubes, Chicago and Steppenwolf.
In the US a new album was also recorded, but in December 1975 the group flied back to Italy and, after contrasts with the producer, broke up.
The second album, Winter days nightmare, much more commercial than the previous one and with strong (obvious considering the label) funky influences was released in the USA in the spring 1976, but was unsuccessful.
A final Libra line-up, including keyboardist Maurizio Guarini from Goblin and guitarist Carlo Pennisi from Flea, released a third album in 1977 as a soundtrack to the film Schock (Transfert-Suspence-Hypnos), by director Mario Bava, much in Goblin style, before disbanding.
The strong connection between these groups is confirmed by the release in 1979 of a disco-funky album entitled Starter by a group called Pole Position (on the Zip label, no.LPZ 501). The group included Centofanti, Pennisi, Guarini and Martino from the latest Libra line-up, along with Antonio Marangolo from Flea, Massimo Morante, Fabio Pignatelli and Agostino Marangolo from Goblin and other musicians. Italianprog

Neil Ardley, Ian Carr & Don Rendell - Greek Variations & Other Aegean Exercises (1970, LP, England)

Recorded in '69, Greek Variations & Other Aegean Exercises is irresistible on two counts. First, for its daringly conceived and brilliantly performed music, inspired by Greek folk songs and instrumental textures and deep enough to reveal all its treasures only after many repeated listenings. Second, for being recorded at the moment when the Don Rendell/Ian Carr Quintet, a major force in British straight-ahead jazz since '62, had broken up and Carr's equally influential jazz-rock band Nucleus was rising from the ashes.
The first half of the album has composer Neil Ardley directing a fourteen-piece chamber orchestra featuring Rendell and Carr, plus a supporting cast of creme de la creme British musicians in "The Greek Variations," a six-part suite based on a traditional Greek folk tune. The second half features in turn a quintet led by Carr—Nucleus in all but name—and a quartet led by Rendell, on shorter suites maintaining a Greek flavour and ambience.
An undercurrent of brooding turbulence surfaces at various points in the "Variations" suite, as though some sort of tidal wave might erupt from the Aegean at any moment, but at other times the mood is sunnier and vivacious (or delicately moonlit), and there are lovely solo passages, both improvised and composed, from Frank Ricotti on marimba/vibraphone, Karl Jenkins on oboe, Rendell on alto flute (on which he has a voice as distinctive as on tenor sax) and Carr on flugelhorn. Comparisons with the Miles Davis and Gil Evans collaborations inevitably spring to mind. But Carr, though strongly influenced by Davis, is ultimately his own man, and Ardley is absolutely so too, and the result is an entirely fresh approach to composed/improvised orchestral jazz.
The three Carr-composed tracks are performed by Carr plus Nucleus founding members Brian Smith, Chris Spedding, Jeff Clyne and John Marhsall. "Wine Dark Lullaby" and "Orpheus" conjure up balmy Mediterranean nights, soft and lush, while "Persephone's Jive" is a wild Greek dance made ever more urgent by the sustained clatter of Afrobeat in Spedding's aggressive, staccato comping. Only a few minutes long, but still one of the highlights of the set.
The closing Rendell-composed tracks feature Rendell alongside Stan Robinson, Neville Whitehead and Trevor Tomkins. The wistful "Farewell Penelope" could almost come from a film noir soundtrack, with Rendell's tenor evoking a lonely night-time cityscape. "Odysseus, King of Ithaca" and "Veil of Ino" are fiercer, showing off his well loved ruff 'n' tuff side.
It's sad that Ardley, who died earlier this year (2004), didn't live long enough to witness this CD release and the growing renewal of interest in his work. But how very fortunate we are to have this wonderful album available again.

March 18, 2017

Max Sunyer - Babel (1978, LP, Spain)

Guitarist, born 1947 in La Pobla de Massaluca, Spain. He started playing in "Vértice" in 1970. Later played on "Tapiman" just for one year. He founded "Iceberg" in 1974, and "Pegasus" in 1982, in both bands with Kitflus.

Giacomo Simonelli ‎– In Discoteca (1975, LP, Italy)

Neapolitan composer, arranger, singer. With I Dinamici beat group recorded his first singles; than forms I Tatakò realizing in 1967 a protest song 1000 Voci a Buchenwald. Log at RCA arranging Sirio 2222, debut lp by Il Balletto di Bronzo. Began working with Emilio Iarrusso wraiting dozens of songs for artists as The Rokes, Gepy & Gepy, Mino Reitano, Mario Musella, Ivana Monti. In 1970 collaborates for the 3rd album by Gabriella Ferri. In 1977 his song Monica by Santo California gets 3rd place at the Sanremo Festival. Collaborate for the rock opera Heroes Temporis with Magni Animi Viriin the 2007. He arranged the orchestral parts and directs the Bulgarian Symphony Orchestra.

Weidorje - Rombas (1978, Live bootleg)

A Weidorje live album, recorded October 14, 1978 at Rombas (Moselle).

March 12, 2017

Banco del Mutuo Soccorso e Angelo Branduardi - Live at Cerreto Sannita (BN) 2002

Disc 1:
3) LA LUNA (3:25)
4) Intro a Confessioni di un Malandrino (3:02)
8) "Permettete vi presenti un bel violino" (3:54)
9) VIOLINO SOLO (3:06)
10) ALLA FIERA DELL'EST (finale) (0:45)
12) "Questa è una canzone d'amore" (1:11)
14) IL CILIEGIO (3:23)
15) Commento a Il Ciliegio (1:05)
16) IL CERCHIO (5:04)
17) QUANDO LA BUONA GENTE DICE (con Branduardi) (7:00)
18) Presentazione (1:20)

Disc 2:
2) MOBY DICK (6:16)
3) L'EVOLUZIONE (8:22) **
4) TRACCIA (3:12)
5) In attesa del bis (1:56)
6) "Le cose hanno sempre una storia" (encore) (2:46)
7) PRELUDIO A NON MI ROMPETE (encore) (0:49)
8) NON MI ROMPETE (encore) (8:19) **
9) "Voglio ringraziare" (encore) (2:25)

Francesco Di Giacomo, Vittorio Nocenzi, Rodolfo Maltese, Tiziano Ricci, Maurizio Masi, Filippo Marcheggiani & Angelo Branduardi
1. 2.

March 04, 2017

Cuarto Menguante ‎– Rompehielos (1980, LP, Spain)

Cuarto Menguante came from Sevilla and this was yet another Spanish combo to play along the lines of Andalusian Rock.They were formed in 1978 by Paco Urizal (guitar, vocals), formerly a lyricist for the Hard Rock band Storm, Pedro Castro (percussion), Pedro Menchen (bass), Jesus Jimenez (drums, ex-Los Brios) and Valentin Ponce (guitar, vocals).They released their debut album ''Rompehielos'' in 1980 on Movieplay.
These Spanish musicians offer two different sides of performance: The first one relies on a smooth, melancholic and ultra-sensitive lyricism with dominant acoustic guitars, soft percussion and relaxed bass lines, offering pieces heard like poems.Even these cuts contain sparse electric bursts with a mellow approach, but at the end they sound more like ballads than rock pieces.The second one, which is definitely more interesting, follows the principles set by acts such as ALAMEDA and GUADALQUIVIR, albeit with less interplays.Extended instrumental tracks with jazzy underlines and Flamenco-styled melodies, based on good breaks and tight executions, often with a few funky overtones but always highlighted by the fine guitar work of the Urizal/ Ponce.However they rarely add strong amounts of energy even in these pieces, while they lack the inspiration or the instrumental depth of the aforementioned bands.As a result their music sounds sometimes very secure with all the load relying on the guitar duo, making ''Rompehielos'' a rather one-dimensional work.
Not very impressive material by a scene that has offered some very impressive groups.Guitar-based Flamenco/Fusion with bits from Songwriter stylings.Mainly for fans of the movement.

Birdland - In A Temple Of Silence (1982, LP, Switzerland)

Powerfull jazz-rock band from Bern, Switzerland formed in Spring 1978 by Yugoslav students.
'In A Temple Of Silence' is the third album recorded at Plazma Sound Studio, YU, October 1982.

David Sancious and Tone - Dance of the Age of Enlightenment (1977, LP, Usa)

This is an album that I never thought that I would have an opportunity to hear much less own. This 1977 release was pulled from the shelves the day it hit the stores due to legal and contractual issues between his first label, Epic, and his subsequent label, Arista. I can only imagine how unbelievably pissed off David must have been at the time of this ordeal for it's quite evident that this recording was his true labour of love and the product of an ideal artistic vision that he obviously cultivated for a lengthy peroid of time.
The musicianship on this album is absolutely extraordinary and is another prime example that musical possibilities are fathomless. This is a "composition" in every sense of the word consisting of several movements and even a finale. The overall sound is in the same vein as prog bands like Genesis and Yes and fusion bands like Return to Forever and Passport but totally unique nonetheless. The pieces range from ethereal soudscapes and soothing acoustic piano and guitar to frenetic progressive rock intensity bursting at the seams with cosmic synths and bass and percussion that would fit right in with a speed-metal outfit. David's keyboard and guitar playing is awe-inspiring as usual and Earnest Carter proves that he is in the same tier as percussion virtuosos Lenny White and Billy Cobham playing with an astonishingly amazing speed and clarity. Gerald Carbouy also plays his bass with a speed and intensity that very few can begin to emulate. I'm so grateful that I was able to find a limited edition 2004 Japanese issue of this masterpiece on line.

Michel Le François - Sur La Terre Comme Au Ciel (1979, LP, Canada)

Although not very well known (particularly outside of Quebec), composer-musician-arranger Michel LeFrançois has worked with a number of Quebec recording artists through the vinyl era of the 70's & 80's (l'Infonie, l'Eternité, Claude Leveillée, Claude Peloquin, Nuance, etc). He's even contributed on the international scene with Shawn Phillips, yet he managed to record just one* obscure solo long play during that period. But what an album! (* he also released 3 solo new age CD's in 1997)

 This is excellent keyboard-driven symphonic prog, reminscent of Claude Leveillee's Black Sun or Peloquin's Chants de l'Eternité, with dabbles of Pink Floyd and King Crimson.

Michel Le François (vocals, guitars, keyboards, Mellotron & Roland synths) had clearly made a few friends over the years, as he's supported here by a number of well-established artists that include Eternité's Robert Turmel (bass) and Richard Perrotte (drums), Octobre's Claude Hamel, Hun Bang (violins) and Estelle Ste-Croix (vocals), Harmonium's Serge Locat (mini-Moog), as well as Marc Belanger (violins), Lorraine Desmarrais (viola), Jean-Luc Morin (cello) and André Perreault (percussion, drums).

March 03, 2017

Ennio Morricone - Il Gatto A Nove Code (1971, LP, Italy)

Il Gatto A Nove Code (The Cat O'Nine Tails), filmed in 1971, is the second film by Dario Argento, a horror thriller still distant from his horror works for which he would later become famous on an international level. The collaboration with the composer and conductor Ennio Morricone, already known for his work on Sergio Leone's western movies, is here renewed after the success of The Bird with the Crystal Plumage, and will continue with the third installment of the 'zoological trilogy', Four Flies on Grey Velvet.
When the previous soundtrack for Argento's first movie had proved to be a really tough listen, here Morricone goes even further, creating a really dissonant and avant-garde sound, with practically one single basis theme in the form of a few essential bass guitar notes. In those same years, after all, the Maestro was part of Gruppo di Improvvisazione Nuova Consonanza, and the films of Dario Argento provided the perfect terrain where Morricone could experiment, without any boundaries.

Ennio Morricone - La Corta Notte Delle Bambole Di Vetro (1971, LP, Italy)

Morricone’s Career Has Often Walked Together with the History of the Italian Thriller and Horror Cinema. Some of the Greatest and Scariest Soundtracks, the Ones Most Full of Suspense and Anxiety, were Composed and Performed by this Absolute Genius of Modern Orchestral Music. The Soundtrack to 1971’s La Corta Notte Delle Bambole Di Vetrofits Perfectly in Morricone’s Repertoire of his Most Intense Works to Date.

Ennio Morricone ‎– Città Violenta (1970, LP, Italy)

For this crime thriller starring Charles Bronson and his partner Jill Ireland, Ennio amps up the marching tension with eerie and corrosive guitar textures.