The best and most valued volume of GLP series featuring the fantastic
modal madness of "André", "Peroche", "Suoni Distorti" and the milestone
“Alfio” feat the flute by Alfio Galigani. The music goes from insane
Psychedelic tunes to Jazz, Funk and more Bossa and Lounge tracks with
plenty of Fuzz guitars, amazing Hammond job, and totally catching drum
Breaks. An insane trip into early gold Italian Psychedelic and
Underground vibes with loads of laden beats and grooves with the mark of
the legendary Italian quartet. Simply essential!
We're glad to announce the reissue of this gem by the Library 'cult' group I MARC 4.
Probably the toughest and most Psychedelic Nelson volume by the
legendary italian studio combo. A killer blend of Downtempo Funk, dope
atmospheres and themes and Lounge Bossa cocktail music. Includes just
fantastic tracks like "Distorsion-Mind" and "The Trip", heavy
Psychedelic shots with screaming organ, "Compression" with mellow
acoustic guitar and raw drums break plus other rare and mental tracks
with great samples and loops. Totally KILLER session and essential
Italian Library record.
The first volume from the Nelson Records series by the infamous Italian
Jazz quartet composed of Maurizio Majorana on the bass (M), Antonello
Vannucchi at the organ (A), Roberto Podio at the drums (R), and Carlo
Pes (C) on guitar. Seminal, deeply Underground session by the legendary
Italian Library studio combo with tones of sleazy sounds starting from
the Psychedelic guitar riffs, the crazy tough Funk and the groovy
sharped beats to the lovely Jazz arranged theme music influenced by
Samba, Bossa Nova and Easy Listening vibes of the time. I Marc 4
provided some of the best cinematic and theme music of the time, and
this is one of their deepest productions. Top Italian Library LP
production and unmissable piece for collectors of the genre!
Never before commercially released library breaks monster recorded in
1975! Consisting of Romano Rizzati (Walter Rizzati), Silvano Chimenti,
and a loose assemblage of primo Italian library session-players, I Gres
recorded three blistering albums of funky library music.
A sublime selection of work from this legendary sound library
ensemble – an Italian group who were so cool, so groovy, they were
virtually a genre unto themselves – able to step easily between funky
numbers, jazzy groovers, and these odd, offbeat styles that are
especially nice! These record wonderfully wraps together a legacy of
Italian sounds from the whole late 60s/early 70s soundtrack era – served
up here without any sense of ego or need for identity at all – just a
commitment to cool, compelling music – filled with plenty of grooves in
the process.
“Cream” by The Black Fire is a nearly impossible to find italian LP from
1973. A Library album that mix several themes including psychedelic
sexy whispered scat vocals, space synth lounge, lazy bossa with
spinetta, fender rhodes and a lot of congas, bongos and insane flutes;
it also includes the killer wah-wah funk tune “Alcoholic” used years
later as the opening song of the kung fu movie Operation Cobra aka
Squadra Omicidi Chiama Cobra.
Original colorful artwork by the painter G. Pinna.
A beautiful album of post-bossa tunes – done by Osmar Milito in a
dreamily floating style that's totally great – almost in the mode of
some of Marcos Valle's work from the time! The record features the
group Quarteto Forma singing vocals on a number of cuts – but the real
charm is from Osmar's arrangements, which mix together piano, horns, and
lively rhythms in a complicated way that reminds us of some of the best
mix of jazz, soul, and baroque touches that showed up heavily in the
Blue Brazil work of the EMI/Odeon crowd! No surprise, the album
features great versions of Marcos Valle's "Garra", "To Rio For Love",
and "Que Bandeira" – plus good covers of "Cantalope Island", "Rita
Jeep", "What Are You Doing For The Rest Of Your Life", "Mudei De Ideia",
and "Mercy Mercy Mercy".
One of the grooviest albums we've ever heard from Erlon Chaves – a
Brazilian arranger who got his start in the bossa generation, later did
some more traditional music – but here explodes with this great fusion
of European and Brazilian soundtrack styles! The record's credited to
the Orquesta St Moritz – most likely a studio group with a European
name, for good pedigree – but there's a huge amount of sounds here that
rival some of the best modes coming from the EMI/Odeon label at the
start of the 70s – particularly the mix of samba and bossa elements with
larger funky arrangements, then given a more sophisticated twist – as
you'd find in the music of Marcos Valle!
Creating a stirring and enriching blend of Spanish and Latin American flavors in his music, jazz guitar legend Charlie Byrd put Brazilian bossa nova on the map in the States with this follow-up, More Brazilian Byrd. With finesse and dexterity, the passion and lively soul of his melodies and lyricisms flow from Byrd's classical guitar like a river of musical heaven. From the charging and percussion-laden opening track, Antonio Carlos Jobim's "One Note Samba," to the mellowness and gentle innocence of "Pretty Butterfly," Byrd
tackles a wide variety of dynamic textures, beats, and color tones with
honesty and zest. Throughout the record, both its driving, uplifting
side and its peaceful, ethereal tones (as on "Felicidade" and the quite
sorrowful "How Insensitive"), Byrd
demonstrates his ability to capture the heart and soul of the pieces
with vintage style, grace, and a touch of romance. His backing band also
deserves much credit for presenting such compelling and richly textured
percussion and melodies. Joe Byrd takes the music to a higher level with richly textured, crisp basslines. Bill Reichenbach
assumes the duties of percussion and drums, bringing them to the center
with dazzling and soaring bossa riffs. The strings are orchestrated and
arranged by the genius of Tom Newsom, creating a brilliant portrait, both shadowy and haunting at times. Hal Posey puts a charge into the trumpet and flügelhorn, with producer Teo Macero sharing time on saxophone. The string arrangements sound quite eerily like Miles Davis' work with Gil Evans.
The reason may lie in the identification of the sheer sound of '60s
jazz, this record especially being used as a key model of the decade's
most defining works. Wonderfully arranged and lavishly produced, this
record is a perfect fit into the collection of any avid jazz fan. Filled
with marvelous guitar phrasing, radiant horn and flute leads, and
crackling percussion, More Brazilian Byrd is just plain "more Brazilian."By All music
Value :
Beautiful stuff – and a record we never tire of hearing! This album's a
sublime extension of the earlier Brazilian style of the Tamba Trio – in
a set that has them adding a fourth member, and picking up some cool
new sounds from producer Creed Taylor! The set brings the group's
earlier blend of bossa jazz and vocal harmonies into play with Taylor's
spacious sensibilities in the early days of CTI – that stretch when the
label was partnered with A&M Records, in a mode that also echoes
some of the best studio qualities of that imprint too! The songs are
longer than usual – nicely stretched out in a beautiful blend of jazz,
bossa, and voice – and tracks include a classic reading of Luiz Eca's
"The Dolphin", a great take on "Canto De Ossahana", and the tracks
"Flower Girl", "We & The Sea", and "Lemanja"
Reprint of the rare 1972’s library by Maestro Giuliano Sorgini with the
pseudonym of Raskovich. Originally released in few copies for a small
label owned by a friend of Maestro Sorgini, this LP includes 12 really
beautiful tracks with positive vibes. From Jazz Dance, Bossa Nova,
Funky, and some Killer BreakBeat, many percusions, growling flute and
horking sax. Original minimal artwork designed by Giuliano Sorgini drawn
with a chalk on a black sheet.
A fab little soundtrack from one of our favorite Italian composers – a
lost gem originally issued in 1971, with a very groovy sound! The score
has Piero Umiliani picking up a bit more funk than usual – working with
electric bass and keyboards to come up with some totally great tracks
that kind of pick up a sexy Euro funk groove from the Serge Gainsbourg
generation, and give it some excellent soundtracky touches in terms of
tone, color, and melody. The tracks are all pretty darn great – bouncy,
sunny, and with funk at just the right moments – and a few nice numbers
even have a bit of scatting vocals, an element that makes them all the
more pleasing to our ears!
Incredible early bossa material from one of Brazil's greatest singers!
The record is lively, yet sophisticated – with strong arrangements by
Gaya and Moacir Santos, and a vocal approach by Nana that really moves
past the sweeter sound of other bossa singers – into a mode that's rich
with feeling, without sounding too overwrought or overemotional – in
sharp contrast to the style of Brazilian divas from a few years before.
