Thursday, August 17, 2017

EGBERTO GISMONTI ‎– Sonhos de Castro Alves (1982, LP, Brazil)

Egberto Gismonti has brought the sophisticated classical music to the folkloric and popular sphere. There are few Brazilian Musicians who have achieved the same level of international recognition that Egberto Gismonti has. His experiences in merging the folkloric Brazilian background to the language of classical music have attracted many enthousiasts, mostly in Europe. In spite of his international success, Egberto hasn't forgot his home land. As a matter of fact, he helps us carrying our culture beyond our wildest dreams. It is all there inside his recordings, his performances. When you listen to Gismonti, you can actually see what he has gone through, his childhood in the peaceful village of Carmo, his days in the Xingu indians territory, his family and his insights from so many years of carreer and travelling... (continue)

Sonhos De Castro Alves
was composed by Gismonti for a contemporary ballet show from Bahia. This LP was distributed only during the shows and made in an ultra limited copies for promotional use only (it was made around 1.000 copies of this).
Side A

Side B

Egberto Gismonti: piano, synthesizer
Mauro Senise: flute, sax
Silvio Mehry: 2 piano on 'Teatro'
Zeca Assumpcao: contrabass
Nene: drums, percussion
Pepe Castro Neves: voice
Dulce Bressane: voice
Songs written by: Egberto Gismonti
エレクトロニクスとの融合を果たし、さらなる無限の音響景色に漕ぎだした『Fantasia』と同年に録音されるも、業務用のプロモ盤のみが少数制作されただけで一般向けには発売されなかった幻の一枚。内容は、奴隷解放を叫んだ19世紀ブラジルの詩人、Castro Alvesを取り上げた現代バレエの劇伴音楽。全体を厚く覆うアブストラクトな響きの煙霧に、土俗的なパーカッションや、壊れた回転木馬みたいな曲芸アンサンブルの断片が現れては消えていく夢の世界。そんな揺れ動く音像にミニマルなピアノの調べが浮遊する後半にかけては、もう完全に夢の向こう側といった趣き。舞台風景を写したインナースリーヴ付き。大推薦盤!

Quality Rip

LA MAISON DU JARDINIER - s/t (1980, LP, Belgium)

La Maison du Jardinier was the project of Belgian pianist Jean-Luc Saucin, who wrote all compositions and arrangements on their unique, self-titled LP. The band included jazz and folk musicians from various horizons as well as underground activists Alain Neffe and Ernest Hembersin (Cortex, Bene Gesserit, Human Flesh). The style is comparable to other avantgarde Belgian jazz à la Univers Zéro or Julverne, that is: playful, pastoral jazz with elaborated arrangements, great melodies and top-notch interprets, not unlike some of the best Willem Breuker’s Kollektief records of the 1970s. The use of vintage synthesizer adds a unique touch, sometimes close to psych-rock or kosmische musik. It seems Alain Neffe contributed to the last track only, imitating wind on synthesizer and “sea-gull squawks” on vocoder – the latter effort did not make it to the final mix, though. La Maison du Jardinier’s LP was produced by Daniel Sotiaux, Igloo’s regular sound engineer at their inception. In fact, Igloo Records was the merging of two Brüssels, Belgium, independent labels from the 1970s. Launched in 1978 by Sotiaux, Igloo first published sound poetry and avantgarde composers like John Van Rymenant and Jacques Bekaert. Then around 1980, Igloo incorporated the activities of a jazz label called LDH and Daniel Léon became the manager. Note the mention on the record’s label: ‘I declare this record free from any copyright. Public performance, broadcasting and copying allowed when source mentioned’. Thanks to Alain Neffe for first hand information.(Continuo's)
Side A
A1 En Mâchant Des Carottes (2:00)
A2 Gaviotte (2:40)
A3 Un Taon Par Poire (1) (3:35)
A4 Un Taon Par Poire (2) (0:30)
A5 Baragouinage (2:30)
A6 Boulette (4:20)
A7 Souisaïde Rocker (3:40)

Side B
B1 Intervalles En Hutte (1) (7:05)
B2 Intervalles En Hutte (2) (4:25)
B3 L’Escargot Amoureux (0:35)
B4 Body Love (4:40)

Jean-Luc Saucin: piano, electric bass, synthesizer
Jean-Michel De Graeve: alto saxophone
Philippe Saussez: bass clarinet, tenor saxophone
Jean-Pol Danhier: trombone
Adelsson De Friese: flute
René De Smaele: trumpet, bugle
Ernest Hembersin: guitar
Alain Neffe: synthesizer, vocoder
Daniel Saintes: electric bass
Jean-Pol Ganty: voice
Frank Vandersteen: drums

LP released by Igloo, IGL005, Belgium, 1980

Sunday, August 13, 2017

ENNIO MORRICONE‎ - Exorcist II: The Heretic (1977, ITALY)

John Boorman had a hard act to follow when he made Exorcist II: The Heretic. It’s fair to say that he didn’t do very well, with the resulting movie being savaged by critics and widely hated by audiences. Ennio Morricone had a hard act to follow, too – the first film’s eclectic mix of Mike Oldfield and Krzyzstof Penderecki quickly becoming nothing short of iconic – but he fared somewhat better, in one of his first mainstream Hollywood scores. He produced a core of excellent, highly varied themes and seemed to understand what needed doing better than pretty much anyone else involved with the film. The popular album has been released on CD before but has been out-of-print for a while, so this new issue from Perseverance Records (at a good price, too – lower than is usually charged by most of the speciality film music labels for straight reissues) is a welcome one.

The album opens with the spectacularly gorgeous “Regan’s Theme”, a seductively beautiful poppish piece for female vocalist and small orchestra. But this is an eclectic score (and album), and things transform completely in “Pazuzu”, a sort of crazed version of African tribal music. The terrific “Interrupted Melody” has that slightly off-kilter beauty that Morricone has done so well, so often. “Little Afro-Flemish Mass”, perhaps the greatest track title there’s ever been on a soundtrack album, is an unsettling, occultish piece for all sorts of weird and wonderful instruments and vocalists. There’s also the great “Magic and Ecstasy”, pure instrumental rock, a classic from a composer who’s provided no shortage of those. Indeed, the whole album is just fantastic, worthy of a place in any soundtrack collection – it showcases Morricone’s gifts at creating gorgeous melody alongside his ability to compose genuinely unsettling music, but despite the dominance of the latter, everything remains completely listenable throughout.

Friday, August 11, 2017

AMOEBA SPLIT - Dance Of The Goodbyes (2010, Spain)

As paradoxical (or even absurd) as it may sound, speaking of Canterbury jazz-prog made in A Coruña, a major city at the North Eastern coast of Spain, in the 21st Century is, indeed, a matter of fact, an actual reality - its specific name is AMOEBA SPLIT. Formed in late 2001 after the demise of the psychedelic rock group RAMA LAMA FAFAFA, AMOEBA SPLIT was born with an aim to deliver an adventurous progressive rock approach in the marginal side of Galicia's rock scene. The subsequent additions of musicians in charge of sax and flute determined that the new band had to be headed toward a jazz-rock orientation, which in turn became a Canterbury-ish feel in no small degree influenced by SOFT MACHNE, MATCHING MOLE and HATFIELD & THE NORTH. February 2003 was the time when AMOEBA SPLIT recorded and released a self-produced demo, which comprised tracks. Instrumental developments are band's forte, but still there's room for sung tracks (with English lyrics), whereby vocals are delivered by the female flutist. 
A number of troubles and inconveniences emerged throughout the years, including line-up changes and sabbathical periods without performing live. Luckily, the remaining members' sustaining will and involvement in other projects enabled old and new members to keep themselves busy and inspired, which resulted in inspiration for writing new tracks and rearranging the already existing 3 tracks from the aforesaid demo. In 2007, the band entered the studios and ultimately managed to work on it intermittently for 3 years: September 2010 saw the release of the band's proper debut album "Dance of the Goodbyes". Guitarist/violist Martín BLANES had left the band by the time the album was still in the recording process, hence making the band a quintet, but still the band was itself capable of showing its enhanced energy across the album's overall mood. This album is such a big, pleasant surprise in the current progressive scene that continues to develop and maintain in Spain. Progarchive

Thursday, August 10, 2017

ANAID ‎– Four Years (1991, France)

Four Years
French group created in 1981 and disbanded in 1990. Reformed in 2013.
Anaïd was created in the north of France by Jean-Max Delva, Emmanuelle Lionet and Christophe Delvallé, playing in small local bars and clubs. In 1983, when Delvallé left and guitarist Patrice Meyer and keyboardist Patrick Morgenthaler join, the band began playing bigger venues and festival, sometimes with prestigious guests like Didier Malherbe (ex Gong) and Frank Cardon (ex-Art Zoyd).
Their first recording in 1986 adds new members Sophia Domancich and Hugh Hopper, but in concert, they were trimmed down to a duo (Delva and Lionet), a trio (with Hopper) or a quartet (with Hopper & Pape Dieye). In 1988 Pierre-Marie Bonafos, Christian Hossaine and Jean-Marc Houssepian join the group, and record the album "Belladona".
In 1989, a new line-up is constituted, with core members Delva and Lionet with Rick Biddulph, J-L.Ditsch and P-M.Bonafos. They play a lot of concerts throughout 1989 and 1990 before disbanding.
In 2013 Emmanuelle Lionet and Jean-Max Delva start the band again in a trio form, with their son Alexis Delva on guitar. They soon expand to a quartet inviting bassists Laurent Feix then Jimmy Chauteau (in 2015). In 2016, bassist Ludovic Métayer joins Anaïd as full member of the band, who records their new album "Libertad".

Songs / Tracks Listing
1. Azalia (4:45)
2. Belladonna (9:20)
3. Arabesque (5:40)
4. Vêtue De Noir (7:15)
5. Ikebana (4:40)
6. Heartbreak (4:20)
7. Spa (7:15)
8. Nord-Sud (4:40)
9. Clémentine (5:05)
10. Sea And Saw (5:20)

Line-up / Musicians
Jean-Max Delva / vibraphone, drums, percussion
Emmanuelle Lionet / vocals
Rick Biddulph / bass, guitar
Pierre-Marie Bonafos / saxophones [ alto, soprano & tenor]
Jean-Luc Ditsch / drums
Christian Hossaine / drums
Jean Marc Houssepian - acoustic bass
Hugh Hopper / bass
Patrice Meyer / electric guitar
Patrick Morgenthaler / keyboards
Sophia Domancich / piano

Anaid is composed of Emmanuelle Lionet (vocals), Jean-Max Delva (vibraphone), former Soft Machine member, (and Canterbury legend) Hugh Hopper (bass), Patrice Meyer (guitar), a keyboard player and a drummer. Their music has been compared to the first ZAO and to COS because of the powerful female vocalist, and sometimes to Gong (Expresso II period) because of the preponderance of vibraphone as well as the specific "tonal harmonies and melodies." They have also been linked to National Health regarding their thematic complexities, the swift and frequent breaks, and the often lush sonic atmosphere.
Anaid released two albums, Vêtue De Noir in 1986, and Belladonna in 1989. Both of these LPs were re-released on a CD compilation by the AYAA label France in 1991, entitled Four Years (Vêtue De Noir was included in part, and the complete Belladonna). Progarchive: 

AnteNata ‎– AnteNata (2005, Italy)

The Italian group Antenata approaches songwriting, chamber rock, sound poetry and electroacoustic improvisation from an oblique perspective. Interferences. Lyrics inspired by the experiences of contemporary female poets. Definitely a document of the late-'90s Italian new music current. The group evolved from a meeting between Sabina Meyer and Daniela Cattivelli. Their original intention was to give musical life to the poems of a few female poets who have led unusual lives: Ingeborg Bachmann, Patrizia Cavalli, Marina Cvetaeva, Meret Oppenheim, Sylvia Plath, Anne Sexton, Patrizia Valduga and Simone Weil. The project started out as a duo but soon grew to a sextet and included musicians who, in the early '90s, were actively involved in drawing international attention to the Italian non-academic experimental music scene. This music cannot be confined to a single genre; its influences crisscross between progressive rock, contemporary music, jazz, improvisation, and electronic music." Ambiances Magnetiques

MOTHER SUPERIOR ‎– Lady Madonna (1975, Sweden)

UK band MOTHER SUPERIOR was formed in the summer of 1974, when bassist Jackie Badger turns up for an audition to join UK band Cosmetix and finds the main members of that band in an almighty row that ends their history there and then. She opts to hook up Jackie Crew and Audrey Swinburne now formerly of Cosmetix, and through and ad in Melody Maker New Zealand musician Lesley Sly becomes the final member of the new band, and following a long session involving substantial amounts of alcohol they come up with the band name Mother Superior.
The band is actively gigging whenever and wherever they can, performing in pubs, at air-force bases and later on a number of gigs in Central Europe follows. While they do build up a regular fanbase, the UK record labels aren't overly keen on signing this all girl band. As bassist Jackie Brewster revealed in her blog: "One night at the Golden Lion, the place is rammed with an audience of men and women, Sony have sent an A and R man down who says to us after two encores, that he can't see who our market is, women would be jealous of us and men wouldn't buy our records because their girlfriends wouldn't like it. "
At that point in time this isn't a great concern for the band. They have recorded their debut album in the usual manner of a new band their label doesn't really think too much of - late night sessions handled by inexperienced studio techs promising that "it will be all right in the mix". The album is subsequently released on a small Swedish label attached to their own label Polydor, which does give the band a good reason to tour Scandinavia the following year. That their label chose to call the album "Lady Madonna" just one more decision made that wasn't approved by the band members.
Following extensive gigging, a label not really believing in the band, the usual on the road hassles and management problems, line-up alterations and day to day problems became the order of the day for Mother Superior. They decided to call it quits in 1977, their final gig performed on December 9th.
Songs / Tracks Listing
1. No Time Toulouse Lautrec (5:46)
2. Just One Look (5:57)
3. Mood Merchant (7:00)
4. Love the One Your With (4:38)
5. Ticklish Allsorts (5:19)
6. Lady Madonna (4:37)
7. Years Upon Tears (5:55)
Total time 39:12

Line-up / Musicians
Lesley Sly / vocals, keyboards
Audrey Swinburne / vocals, guitars
Jackie Badger / bass, vocals
Jackie Crew / drums, vocals

NYA LJUDBOLAGET ‎– Nya Ljudbolaget (1981, LP, Sweden)

NYA LJUDBOLAGET were a short-lived Swedish super-group of sorts from the early eighties. Their lone album was recorded and released in 1980 shortly after drummer Hans Bruniusson left SAMLA MAMMAS MANNA but before joining FLOWER KINGS. The rest of the lineup consisted of Ulf Wallander (FLOWER KINGS), Karl-Erik Eriksson (RAMLOSA KVALLAR) and Ove Karlsson, who also served alongside Wallander in ARBETE OCH FRITID.

The group disappeared after this release, and little information exists about them, but their lone legacy is a delightful blend of RIO, Eastern-influenced trance, folk and classical music. For their lone but memorable effort the band has earned a solid place here on ProgArchives.
Tracks Listing:
1. Som Pårlor Skall Du Minnas Mina Tårar (3:35)
2. Immigrantlament (4:30)
3. Brudmarsch Från Orsa (3:25)
4. Långtan Och Förnekelse (6:05)
5. a) Trio (1:40)
b. Nar Gryningen Kommer (3:40)
6. Minnesvisa (1:30)
7. a) Cellohalling (1:35)
b) Putenska Marschen (1:10)
c) Ramlösa Mammas Fritid (6:15)
8. Continuum Prometheus (12:05)
9. Chal Chal Chal (2:20)

- Hans Bruniusson / drums, vibraphone, marimba, percussion
- Ulf Wallander / soprano & tenor saxophone, piano
- Karl-Erik Eriksson / darbouka, trumpet
- Ove Karlsson / cello, marimba, vibraphone, acoustic guitar, piano, synthesizers
- Marie Selander / vocals (1)Releases information

Friday, August 4, 2017


Risultati immagini per allegri leprottiAllegri Leprotti are a band for adventurous listeners. Their music is steeped in the rich avant-garde tradition which runs through so many of the RPI bands from the classic era to today. So much so, this group could almost sit as comfortably in the Avant sub-genre but were approved by the RPI team for their mixture of the avant-garde, folk, jazz, classical, and even electronic, loaded through and through with the Italian vibe. And as brash and bold as their music can be it is less dark, warmer, and more frequently melodic than many of the groups which inspired it, which certainly weighed in their favor when considered for RPI.
The story began in late 1970s Milan when the Passador brothers began working on R.I.O. inspired music rich in irony, poetic-intellectual lyrics, and a good pinch of folly. For about 15 years the band continued with changing line-ups, yet never recorded, until the loss of Marco Passador in 1996 brought things to a halt. Around 2000 the band began to stir again, the members attempting to recapture the explosive creativity of their past with a bit of their present day musical maturity, always concentrated on being daring explorers of sound and style. 

from the left: Mario Frascotti & Marco Passador - 1982
Au Zulo’ is the first and only CD to date, released on MaRaCash Records in 2007. It is such a diverse offering, filled with a passion for music and a Zappa-like sense of humor toward life. The lyrics are lighthearted, somewhat surreal musings on the mundane little things in life. The male and female vocals can be theatrical in nature, sometimes going off into mini-plays with dialogue rather than singing. There is one part where a very deep, gruff male voice is having a discussion with a female counterpart and it leaves me smiling every time, he sounds like a real character. Musically the songs begin with a nervous energy, switching to jazzy jamming or very mellow sections, sometimes electric, sometimes acoustic. One track sounds symphonic with mellotron behind adventurous saxophone and lovely flute elements. ‘Il Garzone’ sports a traditional Italian song with lovely flute and strings. ‘Casablanca’ is an ambitious 8-minute uptempo folk concoction that will transport you to an outside table of some picturesque little coffee shop. Soundtracks for life! But much of the album has what I’d call an organic, unpredictable avant-jazzy backdrop colored by all manner of gregarious instrumentation and vocal stylings. There is plenty of joyful weirdness but also plenty of melody to ease you into this world gently. It’s a far less jarring and more enjoyable album than some which dabble in this neighborhood.
A great collection of aural oddities to get this band started, hopefully albums of new material will follow. The booklet features complete lyrics in both Italian and translated English.”(from

"The result of their efforts is the fine Au Zulo, a collection of compositions, some dating back to those earliest years. It should appeal to fans of adventurous Italian music like Picchio Dal Pozzo, Opus Avantra, Ossi Duri, Il Giro Strano, as well as Frank Zappa"

Towards the end of the '70s, the Passador brothers used to animate at their boite in Milan a musical collective, one of the most original and creative in the alternative Milan scene, thus fouding Gli Allegri Leprotti and developing a taste for a music rich in irony, poetic-intellectual lyrics and a good pinch of folly.
For the next fifteen years or so, never giving up the Rock in Opposition wave, the line-up has been repeatedly renewed and regerated, giving way to new sound colours and images, until the loss of Marco in 1996 put a definite halt to the bands activity, leaving a heritage of unmistakeable modern ideas and contents. So when, on the verge of the new Millennium, the thought of putting back together the band is born again, the idea is bringing back all this multi-shaped repertoire. So they gather back the musicians, adding the creativity of the past to a recent musical maturity. Then the aid of technology, the miracles of digital assembling, together with the mellonitrons sprayings, and alongside the acrobatical, sarcastic and malicious feminine voice, the refined improvisations with oud and dud?k, the appreciated series of contributes and creativity that exploit this musics yearning for collective research and invention. The perfect record for open minds...
kebab davide
Successe a Milano, sul finire degli anni 70, che i fratelli Passador animassero un collettivo musicale tra i pià originali e creativi del panorama alternativo milanese fondando Gli Allegri Leprotti e sviluppando il gusto per una musica ricca di ironia, testi poetico-intellettuali ed una buona dose di follia.

Per un quindicennio a venire, senza mai smettere di aderire alle suggestioni della corrente Rock in Opposition, la formazione si è rinnovata e rigenerata ripetutamente, lasciando affiorare ogni volta nuovi colori e immagini sonore, fino a che la scomparsa di Marco nel 1996 ha segnato definitivamente l'interruzione della produzione leprottesca lasciando in eredità un patrimonio di idee e di contenuti inequivocabilmente moderni e attuali.
Così quando sul nascere del nuovo millennio riemerge lidea di ricomporre il gruppo, i nostri recuperano i nastri, le bobine, i multitraccia, i pochi vinili; coniugano la creatività del passato con una sopravvenuta maturità musicale.
576745_10201251780046569_1246368949_nCompleta il tutto l'aiuto della tecnologia, con i miracoli di montaggio digitale abbinati alle spruzzate di mellotron a scompaginare le atmosfere lounge, l'acrobatica, beffarda e maliziosa voce femminile, le raffinate improvvisazioni per oud e dudk. Il risultato è un album che non capita tutti i giorni di ascoltare, dal livello qualitativo strabiliante e all'altezza delle aspettative più sfrenate... (from

Tracks Listing:
1. Au Zulò - Part 1 (1:32)
2. Mohammed (4:29)
3. I Nuovi Abiti (3:47)
4. Arancio o Rosso? (2:06)
5. Il Garzone dell'Autorimessa (4:47)
6. Magellano el Navegador (3:19)
7. Caro Amore (3:41)
8. Casablanca (7:53)
9. Gli Oriazi e i Curiazi (3:02)
10. Il Separé di Cartone Ondulato (2:02)
11. Sorda al Mio Richiamo (1:40)
12. MI Hai Lasciato (3:54)
13. Casablanca Reprise (2:08)
14. Au Zulò - Part 2 (5:45)

Risultati immagini per allegri leprotti il garzone
Line-up/ Musicians
Ferdinando Faraò/ drums, xylophone, percussions
Francesco Forges/ vocals, flute, piano, keyboards 
Peppo Gallucci/ guitars 
Roberto Passador/ vocals, mandolin, bagpipe 
Lorenzo Serafin/ double bass, electric bass, oud, saz 
Also featuring: 
Valerio Beffa/ tenor and alto sax 
Carola Caruso/ vocals, reciting voice 
Vitaliano De Rossi/ violin 
Mario Frascotti/ percussions 
Silvano Melloni/ mellonitron 
Roberto Romano/ tenor sax, clarinet, duduk 
Tony Rucco/ reciting voice

Wednesday, August 2, 2017

PANTHEON ‎– Orion (1972, Netherlands)

PANTHEON comes from the Netherlands Canterbury scene of the early 70s. They began their career as a high school band in 1971, beginning with five members, and they won first prize at a national talent contest in The Hague at the annual Rekreade Festival. The win culminated in a recording session with record company Phonogram.

PANTHEON became a quartet, youthful as none of the members were over 21, and recorded their first single, "I want to know / Master Basion". The single B side was initially censored by Phonogram from Masturbation to Master Basion. The band members consisted of Ruud Woutersen (organ, spinet, piano, ARP synthesizer, vocals), Albert Veldkamp (electric guitar, bass guitar), Hans Boer (flute, saxophone, vocals), and Rob Verhoeven (drums, percussion).

The recording led to a number of live performances, such as Pop temple Paradiso and a number of other large concert halls drawing in fans of the progressive scene. The band even opened for legends such as FOCUS and SOLUTION.
A second single followed, "Daybreak / Anaïs", and received airplay on radio and television. Phonogram producer Tony Vos, resolved to record an album in 1972 with the band. "Orion" became the sole album for the band before they disbanded, released on the infamous Vertigo label. "Orion" received some critical success, and through Paul Acket's booking agency, the band were playing concerts abroad, as a supporting act for MUNGO JERRY during their Switzerland tour. PANTHEON were also the opening act for THE STEVE MILLER BAND in the Doelen, Rotterdam, another career highlight.
Risultati immagini per Panthéon Orion 1972Lack of financial and commercial insight, along with a cocky attitude towards the record company and booking agencies, led to the band breaking up. There was a failed attempt to reform with a new lineup including ex-FOCUS drummer Pierre van der Linden. They played at various revival concerts with the original line up up to 1992 before calling it a day.
These days Ruud Wouterson owns a busy recording studio and writes ballet music/film scores, Albert Veldkamp is a popular guitar teacher, Rob Verhoeven owns an advertising agency, and Hans Boer provides management courses. Progarchive

MARCELLO GIOMBINI - Trans vita express (1974, LP, Italy)

Still quite obscure and quite surprising electronic/tape/psych christian library album by Marcello Giombini, possibly the greatest exponent of the beat rock mass genre (pioneering it before the electric prunes) as well as a renowned film soundtrack composer. from an old description: "this is a trippy psychophonic tale of the beyond comparable to some narrative works by ina grm composers like michel chion, jacques lejeune, luc ferrari, etc., but with that great wacky feel of albums like the tower and machine nr.9 or those made by bruce haack, nurse with wound, nascita della sfera, horrific child and other french eccentrics. surfacing from the electronic and musique concrete magma are two evocative synth pieces recalling early battiato, arturo stalteri, alvin curran, claudio rocchi, etc., a brilliant and groovy synthetic proto-drum'n'bass rap with loads of effects, two gentle folk songs and an uptempo ballad with generous doses of electronic enrichments. all very effectively and psychophonically constructed in 1974 by marcello giombini. another renowned soundtrack composer, mario molino, is featured on guitar in the recording.
marcello giombiniMarcello Giombini nasce a Roma nel 1928 e poco più che ventenne, diventa direttore del Coro dell'Accademia Filarmonica e dell‘Orchestra Sinfonica di Roma. Poi, compone musica sinfonica propria, collabora con la RCA come direttore d'orchestra finchè, nei primi anni ’60, inizia a dedicarsi alle colonne sonore, realizzandone più di 100 (solitamente “spaghetti western” o film di serie B tipo “Sexy al neon”, e “Le città proibite”).
Nel 1964, inizia ad interessarsi alla musica religiosa, intrioettando le indicazioni del Concilio Vaticano II° che, a fronte di una grave crisi delle vocazioni, invitava i fedeli ad utilizzare tutti i mezzi e le tendenze moderne possibili (musica “beat” inclusa) per riavvicinare le masse alla Chiesa.

Vintage Photo Of Marcello Giombini Playing The Piano.
In questo senso. fondamentale si rivela l’incontro con i Barritas per i quali il musicista scrive prima la colonna sonora del film “Su e giù” e l’anno successivo, il brano “Non Uccidere” che diventerà a tutti gli effetti il primo 45 giri di “catto-beat” italiano.
Sullo stesso filone, seguiranno l’album “La messa dei Giovani” (1966) che ottenne un successo planetario, e una cinquantina di 33 giri di cui la maggior parte a nome di “Clan Alleluia”.
Nell’ultima fase della sua carriera, Giombini si dedicò, oltre alla numerologia, all’elettronica e alla scrittura, alla stesura di 150 nuovi salmi (ne aveva già composti altrettanti tra il ’68 e il ’72) con la collaborazione di Maddalena Romeo Boni. L’opera però si fermò al 25° canto per la morte dell’autore nel dicembre del 2003.
In sintesi, possiamo dire che nei suoi 75 anni di vita Giombini fu un musicista eclettico e devoto.
Come facesse tuttavia a conciliare il “Non uccidere” (1965) con “La ballata per il pistolero” (1967), “Corri Signore ho bisogno d'aiuto" (1970) con “Le calde labbra del carnefice” (1974) o “Il Cenacolo” con “Antropophagus” (1980), questo per me resta un mistero.
Comunque, malgrado le indubbie capacità tecniche e compositive, le sue composizioni di fede “per giovani” furono sempre di una banalità disarmante e talmente elementari da risultare sorpassate non solo rispetto al contemporaneo Beat, ma addirittura al Rock’n’Roll.
Questo naturalmente ai giovani cattolici non importava nulla - l’importante era trasmettere la fede - ma anche una delle poche volte che il Maestro tentò di cimentarsi con qualcosa che non fosse il Rinascimento, i films trash, l’opera sinfonica o "il giro di Do", i risultati furono decisamente opinabili.
Ad esempio, nell’album “Trans Vita Express”, pubblicato nel 1974 dalla discogafica Pro Civitate Christiana (con testi di Enzo Barbarino) il musicista immagina che, appena dopo la morte fisica, le anime vengano traghettate nell’aldilà con un treno e nel disco, ne racconta il viaggio dalla partenza sino all’arrivo.

L’incipit è terribilmente ansiogeno e non solo per il tema trattato, ma specialmente per la tecnica utilizzata che, in una sorta di psicofonìa (per usare la definizione dello stesso Giombini), compenetrava rumori, grida, risate isteriche, sbalzi tonali e una pletora di effetti ottenuti con due sintetizzatori Arp 2600.
Molte delle parti recitate si ripetono molto e e il primo lato del disco si basa quasi esclusivamente sulle ossessive angosce dei defunti prima della partenza. I brevi intervalli musicali che fanno da ponte ai vari ambienti dimostrano una buona dimestichezza dell'autore col mezzo elettronico ma, a conti fatti, finiscono per assomigliare tutti a “On the run” dei Pink Floyd, incisa appena un’anno prima.
La seconda parte, che racconta il viaggio del treno e il suo avvicinamento al "mondo dei più" , segue lo stesso andazzo con in più un finale per chitarra e voce femminile, sempre strutturato su giri armonici piuttosto scontati.
Inutile ribadire che la tecnica della narratio era molto comune negli anni ’70 (da Gaber ai Pholas Dactylus) e il “tape sound” era già stato abbondantemente utilizzato sin dai tempi dei Moody Blues, dagli stessi Floyd, Small Faces e a casa nostra, dal primo Franco Battiato.
Il solo encomio che farei al Giombini è per l'aver creato un buon phatos sonoro, ma io sono dell'avviso che quando si partorisce un disco per una sola conventicola, anche quel poco di originale che vi potrebbe essere rimane comunque trascurabile.
Come per tutta la musica religiosa “giovanile” italiana dagli anni ’60 in poi, anche “Trans Vita Express” resterà isolato nei soli ambienti cattolici e pur presumendo che fosse vagamente innovativo, lo fu solo per quell’ambito. Non certamente al di fuori dove l'avanguardia era già avanti anni luce. by