Tullio De Piscopo ‎– Concerto Per Un Film: "L'Arma" (1978, LP, Italy)

Lato A

A1. West Side Story Medley (Maria - Tonight - America) (6:18)

A2. Black Star (Dal Film L'Arma) (4:58)

A3. Temptation (5:15)

A4. Cavalcata Delle Valkirie (4:05)

Lato B
B1. Tarantella P' O' Scugnizzo (6:29)

B2. Vesale (4:19)

B3. Accattateve O'mbrello (Dal Film L'Arma) (5:40)

B4. Mbriachete Tu (Dal Film L'Arma) (4:54)

Musicisti:
Sante Palumbo, Stefano Pulga, Franco Graniero – Tastiere
Sergio Farina – Chitarra Elettrica e Acustica
Alberto Radius – Roland Guitar Synthetizer, Chitarra Acustica
Julius Farmer – Basso Elettrico, Piccolo Basso
George Aghedo – Bongos e Congas
Tullio De Piscopo – Batteria, Congas, Syntyshare, Timpani e Percussioni
Giorgio Balocco – Sax Soprano, Tenore, Sax Alto, Flauto, Ottavino
Sergio Fanni, Umberto Moretti – Trombe
Rudy Migliardi, Cesare Settantotto – Tromboni
Michele Berrino, Adolfo Strappo, Giuseppe Ferreri – Corno Francese
Gianni Zilioli – Marimba

Tullio De Piscopo ‎– Vol. 2 (1976, LP, Italy) Re-up!

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Il Guardiano Del Faro ‎– Domani (1977, LP, Italy)

Lato A
A1. Domani (4:30)
A2. Occhi Scuri Cielo Chiaro (2:21)
A3. Dolci Sogni (3:53)
A4. Per Una Notte (3:20)
A5. Questa Sera O Mai Più (3:22)
Lato B
B1. Lei (2:37)
B2. The High And The Mighty (3:38)
B3. Pajaso (2:37)
B4. I Only Have Eyes For You (3:30)
B5. Domani (Finale) (2:21)

Credits:
Arranged By, Conductor – Giulio Libano
Bass – Gigi Cappellotto
Drums – Tullio De Piscopo
Electric Guitar – Ernesto Verardi, Sergio Farina
Percussion [Tumba] – Mario Lamberti
Producer, Performer [Moog, Fender, Eminent, Logan, Tastiere] – Federico Monti Arduini
Archi della Scala di Milano e dell'orchestra sinfonica della RAI

Registrazioni effettuate nel 1977 presso gli studi della SAAR e della FONO ROMA-Milano

Il Guardiano del Faro, aka Federico Monti Arduini, was a very prolific Italian musician, composer, and producer who was credited as an early adopter of the Moog synthesizer. Really smart orchestral sensibility applied to lush, synthetic space-age smooth jazz fusion. Ideal cheeky retro-futurist bachelor pad soundtrack.

Rocchi - De Piscopo ‎– Metamorphosis (1981, LP, Italy)

Tracklist:

A1. Cyclops  (4:30)

A2. Daphne  (4:20)

A3. Perseus  (3:55)

A4. Echo  (3:23)

A5. Hercules  (3:00)

B1. Orpheus  (3:38)

B2. Icarus  (3:44)

B3. Niobe  (2:38)

B4. Glaucus  (3:58)

B5. Myrrha  (3:25)

B6. Biblis  (3:40)

Musicians:

Bass – Julius Farmer

Bugle, Trumpet – Cicci Santucci

Guitar – Sergio Farina

Keyboards – Oscar Rocchi

Percussion – Tullio De Piscopo

Soprano Saxophone, Flute – Hugo Heredia

The early Eighties marked a transition in popular music, especially for a generation of musicians (still heavily influenced by the previous decade) trying to assimilate the changes in aesthetics and technology which were occurring. Disco music is dead, so is prog, synths are still too expensive and unreliable, jazz is lost somewhere and the term fusion has become really popular. This the environment in which this album – released in 1981 by library music label Ring – was recorded by a bunch of jazz players and session men from the Milan area, led by pianist Oscar Rocchi and world famous drummer Tullio De Piscopo (respectively credited for seven and four tracks of the album). The stellar line-up features bass player Julius Farmer (from New Orleans), guitarist Sergio Farina, Argentinean sax and flute player Hugo Heredia and Cicci Santucci (trumpet and saxcorn).
Metamorphosis is not the typical fragmented collection – something pretty common in the world of library music; this is a body of heterogeneous songs with a common ground, a solid body of work (which would surely fit in De Piscopo’s and Rocchi’s personal discographies). The genre is fusion, still positively influenced by jazz-funk (no muzak effect here!) but also following the impulse to experiment typical of the most progressive jazz-rock. De Piscopo is in top shape (it’s not a coincidence that, in 1981, Vai Mo by Pino Daniele was also released), sporting a bit less exuberant style of playing compared to his jazz albums of the same period – so he sounds really effective and sharp. With Farmer (who was playing with Dr. John and Professor Longhair before moving to Italy) he makes one of the best rhythm sections of Italian music of the Seventies and Eighties (if you’re not convinced, just listen to Carta Straccia and America Good-Bye, two amazing pop albums with a funk soul).

Tullio De Piscopo ‎– Vol. 2 (1976 , LP, Italy)

 

LATO 1

A1 Sipario (Atto Secondo) (1:06)

A2 Funiculì Funiculà (4:10)

A3 Fiesta (3:10)

A4 Afelio (Come Corea) (7:14)

A5 Guainella (1:53)

A6 Perielio (2:55)

LATO 2

B1 Concerto Per Napoli (10:06)

B2 O' Stadio (4:06)

B3 Il Mondo Gira (O' Munno Gira) (5:56)

Musicisti:

Chitarra Acustica – Giorgio Cocilovo

Batteria, Rototoms, Congas, Timpani, Percussioni Napoletane, Voce – Tullio De Piscopo

Basso Elettrico – Stefano Cerri

Chitarra Elettrica – Sergio Farina

Tastiere – Mario Rusca

Tastiere – Sante Palumbo

Percussioni, Timbales – Maurizio Preti

Sax Tenore, Sax Soprano – Larry Nocella

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

Tullio De Piscopo Revolt Group ‎– Sotto E 'Ncoppa (1975, LP, Italy)

LATO 1

A1. 'O sipario (1:09)
A2. Divario (2:30)
A3. Rettifilo, ora di punta (4:53)
A4. 'O miracolo adda' venì (3:35)
A5. Tarantella po' scugnizzo (4:55)
LATO 2
B1. Sotto e 'ncoppa (4:36)
B2. 'A cozzeca (1:38)
B3. 'O piscatore (6:44)
B4. Porta Capuana in festa (4:00)
B5. Circumvesuviana ore 7:45 (1:50)
B6. Inno a Napoli ('A marcia nova) (2:20)

Musicisti
Arrangiamenti – Revolt Group
Batteria, Rototom, Armonica, Congas – Tullio De Piscopo
Basso Elettrico, Percussioni – Gigi Cappellotto
Chitarra Elettrica, Chitarra Acustica – Sergio Farina
Percussioni, Timpani – Tony De Piscopo
Pianoforte, Fender Piano, Moog – Sante Palumbo
Sax Soprano, Braxturanus – Peter Guidi
Sax Tenore, Sax Soprano, Flauto, Vibrafono – Giorgio Baiocco
Testi, Voce Solista – Tullio De Piscopo


Italian drummer from Napoli, born in 1946 and having a brief involvement in the Italian Prog movement.In 1973 he appeared in Tito Schipa Jr.'s Rock Opera ''Orfeo 9'' and also became a member of New Trolls at the time they were named New Trolls Atomic System, recording two albums with the band.In 1974 De Piscopo released his solo debut ''Suonando la batteria moderna'', a totally drum- and percussion-based album, and the following year a second work sees the light as Tullio De Piscopo Revolt Group, titled ''Sotto e 'ncoppa'' and released on the Carosello label.Here he met again with New Trolls Atomic System's bandmate Giorgio Baiocco on sax, while the other members were Sante Palumbo on keyboards and Sergio Farina on guitar (both played in Sway) and Gigi Cappellotto on bass, a regular guest on Angelo Branduardi's early works.

This is one of the most overlooked albums of the 70's Italian Jazz Fusion scene, a technically impressive work, which becomes even more enganging because of its occasional cinematic breaks and Soundtrack-like qualities.For the most part this is a highly virtuosic Fusion album with perfect drumming by De Piscopo and some incredible exercises by his colleagues, largely instrumental and only interrupted by some narrations of Tullio, performed in fast and frantic rhythms with frenetic interplays popping up frequently and having often a slight Mediterrenean/Eastern taste, pretty reminiscent of MAHAVISHNU ORCHESTRA during the more powerful parts, or even KRAAN during the more sax- and drum-dominanted moments.Some very good jazzy solos by Farina and nice keyboard parts by Palumbo.What we describe here is another standard, delicate Fusion album, but you should give De Piscopo some extra credits for adding some unexpected injections to his work: from the Soundtrack-influenced laid-back textures with the female choirs and the poetic spoken words to the ultra-melodic sax breaks in a Loung Jazz mood and the Avant Garde/Free Jazz pinches in a couple of pieces, definitely some very surprising parts placed next to an accurate execution in the realms of Jazz Fusion.

With his next work ''Vol.2'' (1976) De Piscopo started to add Pop and Disco flavors into his jazzy sound, showcasing the direction he would follow in the near future.His later few albums were somewhere between Jazz and Disco, while he became more famous as a session musician, playing in numerous commercial productions, mainly during the 80's. (apps79)