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!
An incredible album from this hip studio combo – and one that's every
bit a Hammond jazz album as it is a sound library rarity! The set's got
more organ than usual from I Marc 4 – mixed with some tracks that have a
great piano vibe too – all at a level that's very soulful, and which
feels a lot more like a small combo working the US underground scene of
the late 60s – instead of a bunch of cats working overseas in an Italian
studio!
Sweetly funky and very slinky – this is one of the best early 70s scores
by the great Italian composer Piero Umiliani! The record has lots of
bubbling electric piano, rumbling electric basslines, warm acoustic
percussion, and moody wordless vocals. At some level, the album sounds a
lot like the contemporaneous work by the great Italian Fender Rhodes
combo Crossfire – but it's also filled with a spacey madness that could
only come from the pen of Umiliani!
Taste :
Piero Umiliani - Hard Times
Download Lp (from easy tempo rip with alt. tracks) zippy or easy
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 legendary bit of funky fusion from the French scene of the 70s – the
standout set from Cortex, a combo who's very heavy on the keyboards!
The tunes have a feel that's quite different than American electric work
of the time – funky, but also a bit breezy too – with a strong
Brazilian influence in some of the rhythms, and hip use of female vocals
alongside the Fender Rhodes – which makes for a double layer of sound
that's totally great! There's a bit of alto sax in the instrumentation,
but most of the sound comes from the interplay between keyboards,
voice, bass, and drums – rolling along in a sound that's stunningly
soulful, and which makes the record one of the hippest European dates
from the decade.
One of our favorite albums of all times – and a legendary testament to
the greatness of the Chicago music scene in the late 60s! Melvin
Jackson was the bassist in Eddie Harris' very successful group of the
time – and his playing on Eddie's trippy and funky records for Atlantic
is one of the factors that made them so great. Here, he's working with
an acoustic bass, amplified with electronics like a Varitone sax – and
this strange-sounding instrument is set up in a hip group that mixes
Cadet funky studio players (Phil Upchurch, Morris Jennings, Jody
Christian) with some of the brighter young players of the AACM (Roscoe
Mitchell, Lester Bowie, and Leo Smith.) Jackson's bass is looped
through all sorts of crazy effects, and the result is this amazing blend
of avant garde playing and groovy rhythms that is beyond compare!
The story of Movements began in 1969 with Johnny Harris being hired as
musical director for Lulu’s BBC television show, “A Happening For Lulu”
which would feature a different artist each week along with a featured
instrumental section of Johnny Harris and his band playing popular hits
of the day that were requested by viewers. Lulu with Johnny Harris would
go onto winning Eurovision in 1969 with “Boom Bang A Bang” and Johnny
was signed to a three album deal with the newly formed U.K arm of Warner
Bros. The first album in this deal was Movements in 1970. The second
release for Warner Bros in the U.K Movements was recorded live at the
Royal Albert Hall in London.
To 1969 ο τρομπονίστας Peter Herbolzheimer δημιουργεί τους Rhythm
Combination & Brass. Μια super μπάντα με 5 τρομπέτες : llan
Botschinsky, Art Farmer, Dusko Goykovich , Palle Mikkelborg, Ack van
Rooyen, ένα σαξόφωνο και φλάουτο : Herb Geller, τρία τρομπόνια : Jiggs
Whigham, Rudi Fuesers και Peter Herbolzheimer, έναν οργανίστα : Dieter
Reith, τέσσερις μπασίστες : Niels Henning Ørsted Pedersen, Peter Trunk ,
Jimmy Woode jr. και Heinz Kitschenberg (E-bass), ντραμς : Tony Inzalaco,
τρεις περκασιονίστες : Horst Muhlbradt, Hermann Mutscheler, Joe Harris
και ένα σιτάρ και κιθάρα : Sigfried Schwab! Κατα καιρούς έβαζε και
κάποιους έξτρα μουσικούς, κιθάρα η δυο πλήκτρα. Για μένα η πιο δημιουργική περίοδος του Peter Herbolzheimer ειναι αυτή στην MPS. Απ το 1972 ως και το 1975-76.
Το 1995 κυκλοφόρησε η συλλογή "Peter Herbolzheimer Rhythm Combination
& Brass - Masterpieces" σε cd οπού περιέχει τις πιο χαρακτηριστικές
ηχογραφήσεις του απ αυτή τη πενταετία- εξαετία που είπα παραπάνω. Η
κορύφωση του cd για μένα το My kind of sunshine (από live του 1970).
Ένα δεκαπεντάλεπτο live κομμάτι, που ενώ αρχικά θα νόμιζες ότι πρόκειται
για κάποιο ψυχεδελικό (ξεκινάει με σιτάρ), στην συνεχεία νομίζεις ότι
ειναι κάποιο ακυκλοφόρητο κομμάτι του David Axelrod (μπασαδούρα, φλάουτο
και τα χαρακτηριστικά "Axelord" ντραμς απ το 2:03) ώσπου!! Μπαίνουν
πνευστά και hammond (2:54) με επιφωνήματα! Πως μπορεί να τελειώσει αυτό κομμάτι?? Είπα τη πρώτη φορά που τ άκουσα. Αυτός ειναι ο τεράστιος Peter Herbolzheimer! My kind of sunshine - My kind of MUSIC!! Taste :
Peter Herbolzheimer Rhythm Combination & Brass - My Kind Of Sunshine
Heavy funk from Reuben Wilson – one of the last great organ players to
emerge from the 60s Hammond scene, and one of the hardest hitting cats
at Blue Note during the funk years of the label! The album's a tight
one all the way through – performed with a combo that has Idris Muhammad
playing some nice snapping drums, plus Grant Green on guitar, Lee
Morgan on trumpet, and George Coleman on bass. Includes the funky cuts
"Hot Rod" and "Love Bug", plus other groovers like "Back Out" and "I'm
Gonna Make You Love Me".
Label : Crippled Dick Hot Wax! Value : A living legend, the German crooner, entertainer and jazz piano player Paul Kuhn
has become well known for commercial pop hits in the German hit parade
and for some TV shows, but his first and biggest love was jazz music.
With all his film and TV industry contacts, it seems natural that he
finally even worked out some library titles, which have been slumbering
in the archives for decades. Here we have discovered one of them:
"Gateway To Crime," from 1974. This title is definitely exceptional and
might irritate some of his fans, since it does not sound at all like the
typical German radio station big band stuff, but rather evokes New
York's Harlem street atmosphere. By forcedexposure
Based on the novel written by Australian actor Roger Ward (Mad Max,
Stone, Turkey Shoot) The Set was a highly controversial film upon its
release in 1970 in which it's alternate attitudes towards sexuality
challenged the traditional mores of the mainstream society. Scored by
the highly respected and unique jazz original Sven Libaek, the music has
also been unjustly overlooked from any recent focus on Australian
cinema. Incorporating elements of Baroque and sunshine pop as well as
moody mod jazz, The Set is an incredible timeðpiece of Swinging Sydney.
Featuring Libaek regulars and top rank Australian jazz players, (Don
Burrows, John Sangster, Errol Buddle etc).
A beautiful bit of funky rocking soul – and the one and only album by
the Deirdre Wilson Tabac – a group whose name is as strange as their
grooves are funky! The group are best known for their well-compiled
track "I Can't Keep From Cryin Sometimes" – an uptempo jazzy gem that
mixes skipping Hammond with soaring vocals and some really great horns –
and the rest of this set has a very similar feel – one that blends jazz
rock with more soulful vocals, in a groove that's totally unique!
Sonny Casella wrote, arranged, and produced the record – and he's also
the drummer in the group, so there's keen attention to rhythms on all
tracks.
Taste :
The Deirdre Wilson Tabac - I Can't Keep From Cryin Sometimes
The Deirdre Wilson Tabac - Get BackThe Dierdre Wilson Tabac
A legendary sound library set from the 70s Italian scene – exactly the
kind of record that got so many folks digging for sound library funk so
many years ago! The record's a masterpiece of funky rhythms, jazzy
instrumentation, and warmer touches – served up with plenty of Fender
Rhodes in the mix, plus sweet flute lines, wah wah guitar, and just the
right use of strings to give the whole thing almost a blacksploitation
vibe at times! The set was billed to the team of Jay Richford and Gary
Stevan – but it's actually the product of better-known sound library
maestros Sandro Brugnolini and Stefano Torossi, who work here at a level
that's at the top of their powers. There's almost a cop/crime vibe to
the record at times – and although some instruments solo at points, the
real groove lies in the tight vamping of the orchestra – which hits all
the right notes to really send the whole thing soaring – often with a
nice use of tone and color too!
Known as Pantaleon Perez Prado, was the younger brother of the famous
King of Mambo. Pantaleon, who came to Europe in the 1950s, recorded
several albums with Unifunk. A powerful Big Funk Band sound featuring:
Tullio De Piscopo, Mario Rusca, Giancarlo Barigozzi, Pino Prestipino and
others. Escandalo!, as Perez Prado states in the brief sleeve note, is
named after a new rhythm created by himself. A rhythm you can dance to in freedom, without specific steps.
In spite of this naive launching, the opening track Chicago Banana is a
declaration of intent, with its Sly Stone-esque groove. 9 out of 12
tracks are originals credited to composers of the Unifunk circle, but
the track list is careful to preserve Prados well-established Latin
appeal, by including three standards such as Brazil, El Manisero and
Tequila.
A pugni nudi” (With bare fists) – presented with a more than explicit
subtitle “For a sad experience in a juvenile detention center” – is a
1974 film directed by Marcello Zeani; it can be associated to the
Italian police genre, but it stands on its own due to its being set in
the world of boxing.
It’s a drama movie too, with a non-optimistic nor hopeful ending at
all, accompanied by the music of Franco Bixio, with a distinctive
jazz-rock imprint, a strong presence of symphonic arrangements and a
singular more ‘disengaged’ episode (“Split second”, on the B side of the
LP).
Together with his brother Carlo, Franco Bixio was the founder of
Cinevox Record, which originally published this album in 1974, the same
year of the film screening in theaters. A small gem, equally able to
describe dramatic and tensive moments!
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".
Music and motors have always had something in common. For many people,
both give them the same emotions considering that a motor that is
working perfectly often is compared to a song, a sound, music. This
common ground is certainly strengthened by the arrival of the turbo
which - together with its sibilance - has brought motors and music yet
nearer together. This album was brought to life with this idea in mind: a
musician, Pocho Gatti, is fascinated by the turbo because of its name,
its noise, and its power to immediately become a myth.
He presented the idea of composing “Turbomusic” to Renault. The answer
was immediate: yes, please! Yes, because the talent of this artist
comes with an enthusiasm that gives you the sense that this will become a
success for sure. Pocho gets his inspiration from the Formula 1.
Especially so in the past from people like Jabouille and Arnoux and
today from Prost. He has also looked into the new cars that have been
widening the Renault Turbo product range since autum 1981: the Renault 4
Alpine Turbo and the 30 Turbodiesel.
The music and the arrangements have been written especially for this
record. For Angel „Pocho“ Gatti music certainly is not a mystery. As
musician, born into an artist family, Bach, Chopin, Dvorak and Ellington
were no strangers to Gatti who started playing the piano before he
started school. His father was a violinist at the Symphonic Orchestra of
Teatro Colon in Buenos Aires, and Pocho's first notes were Argentinian.
But as Toscanini was in need of 10 musicians for the NBC Symphony
Orchestra, Angel followed his father to New York in 1940, when he was
just ten years old.
His new destination was „Junior High School“, where he became part of
the band, though as clarinetist. During the years, this reed became his
main instrument and he kept on playing it at the Symphonic Orchestra of
the University, which was directed by Leonard Bernstein. In 1949 Angel
Pocho Gatti wins a competition and enters the NBC. He stays there for
two years before he is called into military service for 1,5 years.
Pocho returns to New York, where he dedicates himself to the piano,
writing arrangements and ballets until he gets to know Nelson Riddle in
California who is looking for a pianist for Frank Sinatra. And so -
everytime Sinatra comes to Europe - the young Pocho serves „the Voice“
until 1961. In Paris he is taught harmony by Nadia Boulanger, in Italy
he works for the RAI, and plays concerts all over the old continent. In
1973 he returns to the USA where he is taught orchestra conducting by
Zubim Metha at the Conservatory in Los Angeles.
He returns to Italy in 1975 where he conducts orchestras, writes
arrangements, suites and records classic, jazz and folk concerts. Today
he teaches harmony and composition at „Centro Istruzione Musicale“ in
Verona. Inspired by the „Turbo“ Pocho's Orchestra sweeps in a swinging
tempo, while the following musicians are sticking out: the tenor sax and
flute of Hugo Heredia, the baritone sax of Claudio Rigon, the guitars
of Francesco Villa and the percussion of Francesco Casale. By Sonorama
