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viewing 1 To 25 of 65 items
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CNLP 072LP
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Tapestry: Koto is a three-album series produced by Nippon Columbia in the mid-1970s dedicated to one of the main instruments of Japanese traditional music: Koto. The beauty of the trilogy curated by composer Kiyoshi Yamaya, whose chapters are respectively dedicated to Sea, Hillside and Country, lies in the fact that they are a modern translation of tradition using newer and more avant-garde sound idioms, integrating the koto with jazz musicians. An original mix, a "crossover" that allows for the awakening and the consequential spread of traditional music in larger contexts. The extreme accuracy of the marvelous recordings is also remarkable. Toshiko Yonekawa who, from 1941 to 1944, won prizes as the best performer in the Japanese Cultural Federation's competition for traditional trios. She also received an award from the Prime Minister. Many other important recognitions followed until she became president of the Reichokai and executive director of the Sankyoku Association. In 1996, she was appointed Living National Treasure. Kiyoshi Yamaya attended the Kunitachi College of Music, and between 1956 and 1960 performed with Nobuo Hara and His Sharps & Flats (clarinet, saxophone, etc.) and was responsible for composition and arrangement. In 1959, he formed the Modern Jazz Three Association with Norio Maeda and Keitaro Miho, which contributed to the improvement of the level of composition and arrangement in Japanese jazz. In 1965, he became conductor of the Tokyo Union Orchestra and received the Japan Record Award's Arrangement Award. This album is an unmissable session for those seeking new sounds. Original masters licensed by Nippon Columbia for the first ever reissue. Includes OBI and insert.
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CNERS 2301LP
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Moana Pozzi in the late 1980s, following in the footsteps of her illustrious colleague Ilona Staller/Cicciolina, made her official singing debut by recording several songs arranged and produced by Jayhorus, a pseudonym of Carlo Rustichelli's esteemed son: Paolo Rustichelli. The music ended up in several of her films as well as being performed in her hot live shows. Discographically at the time only a few tracks were released on 7" and 12" singles that are now cult collector's items for fetishists and weird DJs. At last, Cinedelic has gotten their hands on the original masters, unearthing some unreleased ones as well, producing a luxurious gatefold LP. Here are persuasive, nocturnal and mischievous tracks in perfect nightclub style such as "Amore Tossico," "Autostop," "Ultima Notte," and "La Gabbia" side by side with more dance tracks such as her main hit "Supermacho," the dance-rock "Impulsi Di Sesso," and "Gate One (Aeroplano Telecomandato)" and the funky "Rocky."
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CNLP 070LP
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Reissue, originally released in 1968. Volker Kriegel was considered the pioneering jazz-rock and fusion guitarist from Europe. 1968 was a crucial year for his career as he released With A Little Help From My Friends, his first solo album, and signed with American vibraphonist Dave Pike, joining what would quickly emerge as one of the most popular and influential jazz fusion combos. This precious document reissued for the first time by Cinedelic Jazz with bonus tracks highlights all his qualities that enabled him to become one of the most acclaimed and innovative guitarists in European jazz. The original album included two recording sessions; Side A in Cologne and Side B in Frankfurt, with different performers. Side A as a trio with double bass and drums, and on the other with the addition of vibraphonist, Claudio Szenkar. The covers performed are the two by Lennon-McCartney "With A Little Help From My Friends" and "Norwegian Wood", and the traditional Brazilian "Nãnã Imborô". Added to the original album are four previously unreleased tracks of great depth recorded at the Deutsches Jazz Festival in Frankfurt in 1968: "Teaming Up" and "Vian-De" by Kriegel himself, "Spanish Soul" by Szenkar and "Nina's Dance" lasting over nine minutes and featuring Tony Scott on clarinet and Gustl Mayr on tenor sax. Over the years, Kriegel would go on to participate in over 200 albums.
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CNLP 069LP
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Reissue, originally released in 1976. The Awakening were one of the greatest bands in early '70s jazz blending spiritual and soul. They combined veterans of Chicago's R&B sessions and jazz players affiliated with the Association for the Advancement of Creative Musicians and were the only "group" on the legendary Black Jazz Records roster. This album includes the most representative tunes from their only two albums released in 1972-1973.
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CNLP 068LP
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Reissue, originally released in 1975. Recorded in September 1975 at Columbia Studio, Story of Wind Behind Left is a symphonic poem in the shape of a suite. In the album, Masahiko Togashi uses music to communicate the same feelings evoked by nature. The drummer demonstrates unique composition and performance skills in the way he imitates the sounds of nature or takes inspiration from nature itself to make music. With Story of Wind Behind Left, Masahiko Togashi revolutionized the Japanese jazz scene. The record includes an insert with the original liner notes translated into English.
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CNLP 067LP
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Reissue, originally released in 1970. "An ambitious, brand new album has reached the Japanese jazz scene. It is Bakimba: Memories of Africa." This is how Akira Ishikawa Count Buffalo Jazz And Rock Band's album was advertised by the Japanese press in 1970. The Japanese jazz artists were bravely approaching the rock scene, and their choice became an inspiration to jazz-rock groups like Takeshi Inomata & Sound Limited, Jiro Inagaki, and Soul Media, and more. The blending between jazz and rock was born in the United States, thanks to Miles Davis and orchestras like Blood Sweat and Tears and Chicago. This movement resulted in the empowerment of jazz and in the birth of a new musical genre: a perfect mix of jazz, Latin influences, and rock. Akira Ishikawa and Count Buffalo's jazz-rock band are reminiscent of Santana in the way they embody these energies in their album Bakimba. Yet, at the same time, they give life to even more impressive musical compositions. This is also thanks to Hiromasa Suzuki's innovative electric piano. Often defined as a jazz-rock band, Count Buffalo scales new heights in the context of jazz thanks to the strong rock influences that characterize this work. Gatefold cover with insert.
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CNPL 810LP
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Reissue, originally released in 1973. The Fulukotofumi is the most important and ancient historical chronicle of Japan. The content of this work becomes an inspiration for the creation of a sound transposition of the legends and myths that most marked the spirit and inspiration of Hiromasa Suzuki, as a musician and as a high-level composer. The music that is concentrated between these grooves is a representation of the best that moved in the early seventies in the jazz-rock orbit at an international level; in addition, very strong infiltrations of tradition, characterized above all by the extremely calibrated and perfectly ad hoc interventions of the Biwa (lute of the Japanese tradition once used by blind monks to recite poems) and the Wadaiko drum. From its entirety, a highly evocative and magical sketch in nine suites emerges, a viaticum towards the most ancestral past of Japan, but at the same time also immersed in the modernity and expressive relevance of the land of the rising sun. A masterpiece that, buried for too long in the archives, is finally back reissued on vinyl with original graphics on its gatefold cover and enriched by an insert with the translations of the precious introductory essay contained in its original edition. Accompanying Suzuki's acoustic and electric piano is the crème of Japanese jazz that gives free rein to one's primordial instincts. Some passages come close to progressive, especially thanks to Kiyoshi Sugimoto's Allan Holdsworth style guitar.
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CNPL 811LP
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Reissue, originally released in 1973. After the space-time experience and the translation into music of the Bible of Japanese civilization, the Fulukotofumi, the following year, in 1973, Hiromasa Suzuki pushes his research and experimentation beyond the borders of his own country by venturing, with the usual companions of adventure (Kunimitsu Inaba, Hideo Sekine, etc.), along the lights and shadows of the Silk Road. A backward journey in search of the musical and cultural sources of mainland Asia, from the gates of India to the roots of China. If the Biwa lute characterized the previous chapter dedicated to the profound ancestral of Japan, here, the sitar, the Asian instrument par excellence, becomes a new narrator; Suzuki plans and manages the interventions by juxtaposing it with an opera that, like the previous one, always remains strongly jazz and rock, at times very similar to Ian Carr's Nucleus. A precious find in the endless and seminal musical archeology of modern Japanese music. Gatefold; includes insert.
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CNLP 066LP
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Reissue, originally released in 1970. Finally, this ghost gem left by Jiro Inagaki's Soul Media has been reissued on vinyl for the first time thanks to Cinedelic Records. Woodstock Generation is a masterpiece of Japanese jazz/rock funk/soul that for some it even considered better than the acclaimed Head Rock (1970) in terms of perfection; surely there are many points in common between the two albums having been made a few months later, in 1970. Behind the Soul Media name hides saxophonist Jiro Inagaki, an iconic figure of the Japanese jazz rock scene during the late sixties to the early seventies. Jiro is supported by his legendary quintet Soul Media under its first incarnation featuring Ryo Kawasaki (guitar), Yasuo Arakawa (bass), Masaru Imada (organ), Sadakazu Tabata (drums) with Tetsuo Fushimi and Shunzo Ohno on trumpet in addition. Woodstock Generation is a tribute album to the Woodstock Festival including cover of songs performed on the stage by Sly & Family Stone ("I Want To Take You Higher"), The Who ("Summertime Blues"), or Ten Years After ("Spoonful") but also "Woodstock" (written by Joni Mitchell in honor of the festival) and "Mamma Told Me (Not To Come)" written by Randy Newman for Eric Burdon and The Animals. Titles include also variations on the Head Rock theme, "The Ground For Peace", and original composition by Masahiko Sato, "Knick Knack". All tracks arranged by Jiro Inagaki. Artwork by Eric Adrian Lee.
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CNLP 065LP
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Cinedelic Records present a reissue of Masayuki Takayanagi and New Directions' Independence: Tread On Sure Ground, originally released in 1970. Considered the "Lochness monster" of Japanese free jazz records due to its incredible rarity, this album was the debut recording of Takayanagi Masayuki as leader with The New Directions. Recorded at the Teichiku Kaikan studios on September 18, 1969 (released in 1970), Independence: Tread On Sure Ground is largely regarded as the first true classic of Japanese free jazz. The group thrashes out an entirely new Japanese methodology for improvisation based on Takayanagi's theories about progressive art. As Alan Cummings explains in his texts to review issues, the group's sonic outburst is pregnant with an urgent intensity similar to a violent rotating windstorm. Personnel: Masayuki Takayanagi - guitar; Motoharu Yoshizawa - bass, cello, percussion, reeds (folk pipe); Yoshisaburo Toyozumi - drums, percussion. Fully licensed and remastered from the original tapes. Includes OBI and insert.
"An electric guitar string is pinged with a sour and markedly unlovely resonance. It is left to fade away naturally, its dying whisper replaced with a wavering feedback tone that grows steadily in volume and thickness. Against the slow feedback wave, a sudden loud percussive crash, urgent staccato rolls across the toms, and the dry rasp of a rattle. A choppy, non-sequential series of chords from the guitar, still mouth-puckeringly bitter is set against the warmer resonance of an alternately bowed and plucked double bass. Each instrument sounds self-contained, like lunar bodies spinning on their own axes at different tempos, but locked together by unfathomably complex rules of motion. Additional percussive rattles and scrapes have been overdubbed to fill in the blank space. Tendrils of feedback snake in and out, like cosmic dust from some cataclysmic celestial event. The playing is exploratory and deliberate, technically adept and keenly judged, easily sustaining interest and motion across the track's eleven minutes. Its sense of focused concentration is more akin to the European free improvisation of AMM or The Spontaneous Music Ensemble than the violent ecstasies of American fire music." -- Alan Cummings
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CNLP 064LP
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Reissue, originally released in 1969. Recorded in November 1969 at Teichiku Kaikan Studio, Tokyo, Speed & Space: The Concept of Space in Music is one of those landmark works in which Masahiko Togashi is accompanied by talented musicians who possess a unique style and innovative approach. The album is an exploration of Togashi's notion of the "Time Law" and can be seen as a study of how texture, rhythm, and differing rates of change effect our perception of the passage of time in music. Sounding quite obscure and contemplative, the brief introductory theme signed as "Presage" prepares the listener for powerful and scathing free jazz. In a pace of increasing intensity, "Panorama" remits you to the liberating ways of an absorbing percussion where the more muscular interventions are interspersed with moments of enormous sensitivity. Grounded by Togashi's varied percussion, the disconcerting piano of Masahiko Sato and the vigorous bass of Yoshio Ikeda mark the guidelines of this long abstract exercise. An energetic improvisation, this theme of nearly 15 minutes flows into a grand finale with the involvement of all the musicians. "Expectation" closes the A side in a short but intense reverie of percussion, bass, and flute, guided by an improvisation free of harmonic prejudices. At the piano (and gong), Masahiko Sato assumes a mediation function, granting some harmony traits to the, almost always, abstract and corrosive concepts of this collective. Bassist Yoshio Ikeda (recorded with trumpeter Terumasa Hino and pianist Aki Takase) imprints a decisive mark to the robust rhythm-section as to the overall sound of this date. Mototeru Takagi helps impart a tonal diversity and a colorful exoticism through his forays into the tenor saxophone, bass clarinet, and flute. Of sharp forms dominated by technique and irreverence, side B continues with the title track, divided in two distinct but equally penetrating parts. With a depth marked by Togashi's percussion, "Speed & Space # 1" unfolds on a fast tune over 11 minutes of a harsh and incisive improvisation. The interaction of an irreverent rhythm section finds its complement in the disturbing screams of a delirious saxophone. Shorter, the second part gives voice to a minimalist concept in which the central role of Togashi finds an interesting matching in Masahiko Sato's piano as well in the saxophone and flute of Mototeru Takagi. Fully licensed and remastered from the original tapes. Includes OBI and insert.
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2LP
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CNTS 001-2RE-LP
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First repress in limited edition of Trees Speak's debut album. Trees Speak's self-titled debut is the band's first of five albums they've produced in half a decade, and it is finally getting its worldwide reissue to their fans' long-awaited anticipation. Before their first album, they planned to create music with an unrehearsed approach performing simple beats, riffs, sequences, and going by instinct. They endeavored to create an auditory environment that let the listener's mind to be set free of tone, melody, and structure. They began to experiment with sounds, blending vintage aesthetics and equipment, which led them on an unexpected journey into creating and producing records. Always with their roots in 1960s-70s jazz, rock n' roll, and experimental music they began to experiment with live sound performances and performance art. The band's live performances dramatically captured their idea of merging early experimental music such as Dada, John Cage, and early electronic experimental music. While their music might seem organic and unrehearsed, the band has developed a creative way of communicating ideas into sound using visual art. For example, they use diagrams when communicating a musical idea. The band often refers to musical diagrams to express dynamics, chords, key signatures, and emotional expressions. These graphic notations are a template to communicate esoteric concepts, which they ingeniously transform into their music. They also use this form of illustrated art expression during live performances and in-studio recordings. It is a simple way to explain an overarching idea through music and art. Trees Speak are: Daniel Martin Diaz and Damian Diaz.
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CNLP 061LP
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Reissue, originally released in 1981. From the meeting of the legendary Tsugaru Jamisen maestro Chisato Yamada with volcanic mind of the composer Tasheshi Terauchi and his Oriental Fantastic Orchestra, a collaboration and a unique record, a conceptual work, is born in which innovative songs transcend the boundaries of traditional music by mixing modernity, rural, and electronic atmospheres, local arias and contemporary music. A record with strongly evocative and cinematic sounds. OBI; includes two-panel fold out sheet with original liner notes of the time translated in English that explains, in an exhaustive way, the inspirations from tradition and popular music and the very accurate digital recording techniques of the time that make it a record sought after by audiophiles looking for sounds unedited in the Western tradition.
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CNLP 060LP
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Reissue, originally released in 1973. A unique Japanese funk masterpiece in which Rinsyoe Kida, Tsugaru's shamisen maestro, and Akira Ishikawa, one of Japan's most loved and celebrated leading drummers, as well as experimenter and brilliant composer, performed together. The ancient sound of the shamisen ride on the finest funk and the intense groove of Ishikawa. An extraordinary audiophile-quality recordings. OBI; includes a four-page insert with English texts.
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CNPL 809LP
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Capricorn College was a sextet created by composer/musician Mario Barigazzi known as Barimar and very active since the 1960s. Orfeo 2000, originally released in 1972, is the first of the two LPs they produced (both on Kansas) and certainly the most interesting with jazz and prog cues especially in the instrumental tracks and a melodic sang typical of those years in Italy. Masterfully recorded by maestro Vittorio Paltrinieri at his Fono-Play Studio. A hidden gem of extreme rarity to be rediscovered. First reissue ever in a limited edition.
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CNPL 808LP
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Finally, the LP reissue of one of the most loved albums by Italian progressive rock connoisseurs in a limited edition with gatefold cover like the 1972 original released for Kansas (the same label that produced Capricorn College Orfeo 2000 and EA Poe Generazioni). The Flashmen, a quartet from Cremona formed in 1967, have a wide and interesting discography but Pensando is at an absolutely superior level as regards creativity and maturity. A remarkable record worthy of the best groups of their contemporaries and aligned with that "thirst for new" that pervaded the period in which it was made. With the superb organ of Silver Scivoli in the foreground, the distorted guitar of Luciano Spotti, and the powerful drumming of Roberto Caroli which in the record demonstrates all its caliber the Flashmen (whose name derives from the Italian film Flashman of 1966) give their best blending rock prog, hard blues, psych, and gothic. A limpid and vigorous execution, an over-the-top recording, scratchy and modern lyrics as well as solid and original in its song structure enclosed between an "Ingresso (Entrance)" and a "Sortita (Sortie)" just like in the best concept albums make Pensando an essential album in the genre.
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13CD Box
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CNSV 002-13CD
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Sold out, no repress. Piero Umiliani is unquestionably one of the most consistent figures in terms of soundtrack music and library music worldwide. This precious 13CD box is dedicated to the period of greatest maturity and artistic freedom which coincides with the creation of his personal studio: the Sound Work Shop. The 82 square meter room is elaborated with a particular acoustic treatment suitable for multi-track recording. The instruments available were the best of world production; to these were numerous instruments from all over the globe thanks to his passion for travel. It is also equipped with the best of the most modern projection and slow-motion systems. Of the 13 albums included, spanning a period from 1971 to 1983, nine had never been reissued digitally; the transfer took place from the original tapes provided by the heirs who continue to take care of everything concerning the artist's life with the utmost attention. With the most bizarre pseudonyms we listen to the maestro confront himself with the most disparate genres: percussive and electronic experiments to drive sampling lovers crazy (CD1); the rock-prog-psych of The Braen's Machine, a group formed with Alessandro Alessandroni (CD 2, 3); the delicate melodies, lounge; groovy exotic (CD 4, 7, 11, 12), modern classical music (CD 5); experimental dramatic tensions with synth, bass and primitive percussion on a string orchestra carpet (CD 6); disco-funk-jazz (CD 8); sound exploration in psychic disorders dictated by the human condition (CD 9); pure Italian jazz (CD 10); experimental ambient with synths (CD 13). Albums include: Percussioni Ed Effetti Speciali (1972), Underground (1971), Temi Ritmici E Dinamici (1973), Nuove Arie Romantiche (1974), Musica Classica Per L'uomo D'oggi (1974), Mondo Inquieto (1974), Motivi Allegri E Distensivi (1978), Discomusic (1978), Tensione (1979), Film Concerto (1979), Panorama Italiano (1979), Album Di Viaggio (1981), and Suspence Elettronica (1983). Luxurious wooden box with paper CD covers, reproductions of the original LP; includes sequentially numbered booklet up to 500.
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CNPL 807LP
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Reissued for the first time on LP, 1971's About Time was the Ping Pong debut album. Founded by Alan Taylor from The Casuals, it was one of the first bands in Italy (based in Bologna) to be inspired by the British sound of the period moving between late '60s psychedelic rock and the jazzy prog such Jethro Tull, Tonton Macoute, Camel, and Caravan. Ten tracks all sung in English delicate and exceptionally well performed with warm precision, enthusiasm and great energy in which the excellent musicians highlight their abilities: Celso Valli, who will then participate in many other productions of various genres, organ and piano; Mauro Falzoni - acoustic and electric guitar, vocals; Paride Sforza - sax and flute (foreshadowing a signature sound from Italy like Osanna, P.F.M., Delirium, Quella Vecchia Locanda and many others); Alan Taylor - bass and vocals; Vittorio Volpe (previously in I Meteors and later Paolo Conte's steady drummer) - drums (long solo on "Funny Wife"). This album represents the departure of the golden age of Italian progressive music.
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CNLP 059LP
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Cinedelic Records present a reissue of Enrico Intra's Jazz In Fabbrica (Jazz In The Factory), originally released in 1972. Pianist, composer, arranger, and conductor, among the most important ones in the history of European jazz, Enrico Intra has developed a poetics aiming at the encounter between the most exquisitely jazz language and contemporary music of a cultured matrix, and for this reason he was among the first Italian musicians to develop a "European" concept of jazz. "Nuova Civiltà" suite, certainly one of his best-known compositions, often also interpreted by Gerry Mulligan, deeply combines blues and tradition, adhering to the most radical trends of the music scene. A challenge to established formal and expressive schemes. Personnel: Sergio Fanni - trumpet, flugelhorn; Giancarlo Barigozzi - tenor sax, flute; Enrico Intra - piano; Carlo Milano - double bass; Carlo Sola - drums. Recorded in Ratti's Factory in Guanzate (Como) on October 31, 1972. 180 gram vinyl; obi strip.
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CNLP 058LP
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Cinedelic Records present a reissue of Maria Teresa Luciani's Situazioni del Terzo Mondo, originally released in 1972. The world of Italian library music surprises again with an extremely evocative record. Released with the name of Maria Teresa Luciani but really produced and composed by her brother, maestro Antonino Riccardo, Situazioni del Terzo Mondo ranks among the most important abstract soundscape records. Spontaneous tribalisms tainted with concrete sounds support the looming psychedelic vein, with different solutions from track to track. Recorded in 1972 it is reissued in a limited edition by Cinedelic Records.
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CNLP 057LP
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Formed in 2016, Others is the project of two artists longing for something more experimental in their musical work. Lesli Wood (Cobra Family Picnic) and Daniel Martin Diaz (Trees Speak, Amelia Poe) began these recordings in Wood's warehouse studio, inviting one guest musician to sit in for each live session. Abstract violinist Vicki Brown, known for her "psychosonic visualizations", is featured throughout the record, along with guest artists Ben Nisbett, Gabriel Sullivan, Julius Schlosburg, Damian Diaz, and Michael Glidewell. This avant-garde project has one foot in the 21st century and the other shifting among various eras of the past, sometimes in a dance, sometimes a dirge, of synths and dulcimers. Freed of genre limitations and preconceived patterns, the musicians were encouraged to explore wildly, using the foundation of a "broken" consort of 18th century chamber music wherein one musician introduces a melody, motif, or sound and the other musicians respond as they see fit. Recording sessions were lit by candlelight and shrouded in incense smoke, establishing the mood for composition, calling to mind, as Diaz describes, a gothic cathedral "filled with early analog synthesizers with vines growing out of them, a living breathing entity of music that transcends time and space." White vinyl; edition of 300.
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CNMM 004LP
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The five-volume project by the guitarist/founder of Calibro 35 continues. Massimo Martellotta, after having dedicated himself to the synths, the prepared piano (CNMM 002LP, 2018), and the symphonic orchestrations (CNMM 003LP, 2018), address the fourth chapter of the One Man Sessions series to the guitar with minimal drum grooves and analog brushstrokes. The title Underwater immediately clarifies the dreamy atmosphere and surfacing the passion for soundtracks and library music with experimentation, accompanying the listener on an amniotic journey amid the feeling of abandonment and vigilance that it is when you dive.
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CNST 710LP
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USA title: Love And Energy / Sex Machine 2037 A.D. Cinedelic Records present a reissue of Fred Bongusto's soundtrack for Conviene Far Bene L'Amore, originally released by Fonit Cetra International in 1975. In the future, the world's oil supply has finally been exhausted, causing a massive energy crisis. In a search for alternative sources of energy, a scientist invents a machine that can harness the energy expended during sexual intercourse and transfer it into electrical power. Conviene Far Bene L'Amore is a 1975 film written and directed by Pasquale Festa Campanile, a film adaptation of his novel of the same name. It is an erotic comedy with science-fiction elements that is parodying the theories of Wilhelm Reich -- the author of The Function Of The Orgasm (1927) -- in which satire and fantapolitica are mixed. The original LP with the music of Fred Bongusto, arranged and directed masterfully by Josè Mascolo, is now a cult object for the lovers of Italian melodic soundtracks with bossa nova and jazz and for the samples used by many rappers. Bongusto often combines the synth for the melody with the orchestral ground; an unmistakable and very personal solution also used the year before for the Malizia ("Malicious") soundtrack which was a great success.
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CNMM 003LP
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The five-album solo project One Man Sessions by Massimo Martellotta, continues after the synthesizers of One Man Sessions Volume 1: Sintesi (2018) and the mellow prepared piano and drum grooves of One Man Sessions Volume 2: Unprepared Piano (CNMM 002LP, 2018). With One Man Session Volume 3: One Man Orchestra , there is another change; it is indeed a full-fledged orchestral album, conceived with the film music composers of the 1950s in mind, Bernard Hermann et al. One Man Session Volume 3: One Man Orchestra , in which Martellotta engages in writing for an orchestra of a retro mold, is set in his world with an absolutely personal and current twist. Each instrument is played and tracked in real time, including the computer, which is this time a valid assistant in the simulation of some of the used timbres, intended as a real instrument in the middle of real ones. Sumptuous arches, crackling tympanums, and sinuous woods find space to dialog with lounge organ and percussion invented like the music paper itself, rubbed to keep time on some of the themes. Once again the composer surprises us and displaces us, using all his resources as multi-instrumentalist and mixing languages, venturing into worlds far away from each other. On One Man Session Volume 3: One Man Orchestra one is light years from the world summoned on One Man Sessions Volume 1: Sintesi and yet one always finds a distinctive and recognizable feature that makes all the volumes of the complete work coherent. Realized, like the other volumes, in complete solitude, the album reveals knowledge of all-round musical material and a strong taste for the melody. "Oppio" is reminiscent of the darker Ennio Morricone or Jonny Greenwood from Radiohead and is a counterpart to the opening song "Il Cappotto" , a perfect title track that quotes and closely reworks a John Williams composition. On other pieces, in episodes more rhythmic, and sometimes romantic, one finds a passion for Jon Brion and timeless melodies. One Man Session Volume 3: One Man Orchestra is an album to listen from the beginning to the end, following the emotional story told like that of a film, of which one sometimes has the impression of seeing the images, waiting to immerse themselves in the abyss evoked by the forthcoming fourth volume.
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CNMM 002LP
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After the oneiric journey through synthesizers on Volume 1, entitled Synthesis (2018), Massimo Martellotta (founding member of Calibro 35) returns with the second volume of One Man Sessions exploring the tonal possibilities of the classical instrument par excellence: the piano. The instrument is at the center of the scene, and the prepared piano in the manner of John Cage is here decontextualized and freely "In/Prepared" and reinvented in a very personal way, placing objects of common use on the strings themselves to obtain unprecedented timbres. Starting from its nature as a percussion instrument, the piano is hit, caressed, blocked with rubbers or left to resonate on the capsule of a microphone, or else pinched like a harp or a cymbalon, while it fires with the battery, the vibraphone or the mellotron. In Unprepared Piano, the music moves from more classical compositions, quoting Chopin and Satie (the opening piece "Come Un Notturno") to introspective drones ("Risonanza") to songs that hybridize the languages, delineating immediate melodies and openings in balance between the absolute modernity of Nils Frahm, the moving color imagery of Bad Plus (for example in "Sostenuto") and the minimalism of Penguin Café Orchestra ("Nécessaire Per Fanciulli"). All this once again held together by an evocative, current and always recognizable conductor. An album where the piano is the protagonist then, but the dialogue with the other instruments is continuous, fluid, and you will often forget that behind every instrument there is only one person.
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