Archive | août, 2014

Au commencement était le support physique

31 Août


 « Rien n’est comparable à la sensation de tenir un disque en vinyle, de le faire glisser doucement hors de sa pochette, le dépoussiérer d‘un souffle et le placer sous l ‘aiguille. Rien ne vaut l’instant qui précède les premières notes, les crépitements et les sifflements du diamant courant sur le vinyle en respectant la qualité de son original que l’artiste a voulu reproduire. » Giorgio MORODER



José Mauro– « A Viagem Das Horas » (Tapecar/ 1973-74)
Mario Molino  C 364 (fonit/1975)
Tullio de Piscopo – « Suonando La Batteria Moderna » (vedette records/1974)
Osanna– “Preludio Tema Variazioni Canzon” (Fonit/1972)
For missus beastly – “Dr. Aftershave And The Mixed Pickles” (April/1976)











THE CLEAN »odditties » sur label FIVE FOUR-O RECORDS

30 Août

oddities cover



NOEL AKCHOTE Gesualdo: Madrigals for Five Guitars (drag city/2014)

30 Août


« The polyphonic music of late Renaissance composer Carlo Gesualdo (1566-1613) still fascinates for its forward-looking chromaticism and its stark, unpredictable shifts in character. His Fifth and Sixth Books of Madrigals from 1611 construct a world of their own–a distinctive body of work that has found adherents as diverse as Igor Stravinsky (who orchestrated Gesualdo madrigals in his 1960 Momentum pro Gesualdo), Werner Herzog (who directed the macabre, fanciful 1995 Gesualdo documentary Death for Five Voices), and now the French guitarist Noel Akchote. Akchote is best known as an improvising guitarist heard solo or in memorable collaborations with Derek Bailey, Sam Rivers, Lol Coxhill, Fred Frith, Evan Parker, Han Bennink, and many others. He has also contributed his distinctive talent to recordings by, among others, Luc Ferrari, David Grubbs, J. G. Thirlwell, and Jean-François Pauvros. In recent years, Akchote has immersed himself in the study of medieval and Renaissance music, resulting in a mind-bogglingly prolific series of digital releases of the complete works of Carlo Gesualdo and Guillaume de Machaut, as well as arrangements for guitar of works by Monteverdi, Palestrina, and Orlando di Lasso. By all means, lend an ear to Noel’s strange and marvelously obsessive project — these hours and hours of home recordings of overdubbed guitars playing polyphonic music.Gesualdo: Madrigals for Five Guitars, by contrast, shows what happens when Akchote puts together a band of five guitarists to tackle this music in a live setting. Gesualdo’s madrigals are scored for five voices, and Akchote was intrigued to discover that the pitch range of the Fifth Book of Madrigals exactly matches the range of the Renaissance lute–an instrument that Gesualdo himself played. Under Akchote’s direction, the five equal voices of these madrigals are transformed into five equal electric guitars in what in theory would seem a crazily heterogeneous ensemble, featuring Julien Desprez (Acapulco), David Grubbs (Gastr del Sol, Belfi / Grubbs / Pilia), Adam Levy (Norah Jones, Tracy Chapman, etc.), and Doug Wamble (Wynton Marsalis, Cassandra Wilson). And yet, Gesualdo: Madrigals for Five Guitars is nothing if not a coherent massing of five otherwise distinctive approaches to the guitar — just as Akchote envisioned it. Gesualdo: Madrigals for Five Guitars is suffused with the extraordinary ambience of the library at the 13th-century Abbaye de Royaumont, where these spontaneous, resolutely alive performances of selections from Gesualdo’s Fifth Book were documented. The group kicks up its heels at the end of the day to end on the high note of Guillaume de Machaut’s ‘De Fortune me doy pleindre’ — a little ditty dreamed up almost four centuries prior to the Gesualdo pieces. »(source drag city records)




30 Août



Vitamina De Brasil: The Brazilian « Tristeza » has already infected Europe in the early 60s, with the film « Orfeu Negro » and a commercialization of Bossa Nova. At the end of the decade Brazilian artists like Caetano Veloso and Gilberto Gil created Tropicalia, a synthesis of pop, rock, jazz and Brazilian music. Composer, guitarist and bassist Pierre Cavalli from Zurich traveled to Brazil in 1968 and stayed there for a whole year. Upon his return to Switzerland, he worked on recordings that should convey his musical impressions of Brazil. In 1971 Cavalli produced and played music in his hometown, mostly with his own small ensembles and as a studio musician. Some Brazilian-inspired instrumental and vocal tracks were recorded spontaneously with the excellent ensembles of Angel Pocho Gatti (Italy/ Argentina) and Bruno Spoerri (Switzerland), in various studios and for advertising purposes only. Some of the recorded music was used in local TV advertising or appeared on a vinyl LP for the promotion of an airline, while the remaining tunes were put in the vault immediately after production. The final result is this “lost” and newly mastered album by Pierre Cavalli, released here for the first time ever.

« Uma Vitamina Faz Favor » is a journey of sound, infiltrated by music from South America and in a style of the best Italian film soundtracks of that time. With the acoustic or trippy electric guitar in the center of attention, Cavalli and his musicians developed a complex range of sounds, a mixture of funk, dreamy bossa nova, jazz fusion, Latin blues and references to film music. The album generates a high degree of intimacy, with Latin flutes and percussion, Fender Rhodes, vibraphone, analog synthesizers and wind or vocal inserts, often psychedelic tinged and sometimes even framed by imitations of nature sounds from Brazil. The jazz fusion piece « Caçador » (in a later version included on the Spoerri LP « Container », entitled « Brain Hunter ») and the bossa breakbeat tune « Passarinhos » are funk gems and take the listener to the Brazilian rain forest with their electronic effects. The wordless vocal work in « Possarinhos » or « Lembrança do Santos » is reminiscent of scat legends like Edda Dell`Orso or the best De Wolfe Library LPs by Barbara Moore. Driven by Cavalli’s catchy uptempo guitar lines, the sounds of « Alegria » and « Cachaça » come out of the speakers with South American joie de vivre. Laid back tracks like « Transmissão mutàvel », « Tranquilamente » or « Tecidos » are full of fine melodies and Cavalli`s spacey guitar licks, clearly referring to the Brazilian hippies and their psychedelic nonchalance. « Uma vitamina faz favor » and the love declaration « Therezinha Meu Amor », even sung by Cavalli himself (probably unique in his recording career), are breezy bossa novas and the only songs with lyrics.

Six sought after tracks hail from an impossible to find one-sided testpressing from 1972, an unreleased promotional album for the airline „Swissair“ entitled „Rio De Janeiro“. It comes from the vaults of Pierre Cavalli and was recently discovered by his wife Nanda Cavalli. All music is played by „Pierre Cavalli et son ensemble“ with „paroles et musiques de Pierre Cavalli et vocalises de Merry Francen“. The ensemble is led by Argentinean born soundtrack master Angel „Pocho“ Gatti who conducted the best Italian Big Band during the 1970s. These recordings were produced by Cavalli and remain as the only source of collaboration between Cavalli and Gatti. The other eight tracks were rediscovered by Bruno Spoerri, who started to record some Brazilian-tinged compositions with his favourite guitarist Cavalli in various places at the same time. Some of the best Swiss jazz musicians like pianist Renato Anselmi, flutist Fernando Vicencio, bassist Heinz Pfenninger or drummer Curt Treier belonged to their frequently changing ensemble, in which Spoerri led the production and used to play various synthesizers. Thanks to the efforts of Nanda Cavalli and Bruno Spoerri, „Uma Vitamina Faz Favor“ is a mind-blowing record and a truly great find.

Pierre Cavalli (1928-1985) played various guitar styles on innumerable European album productions from the 1950s to the 1970s. Already in the 1940s he had become a friend of Django Reinhardt and attended his performances in Paris. He performed with well known jazz artists like Art Simmons, Hans Koller, Peter Trunk, Daniel Humair or Wolfgang Dauner and made excellent commercial productions for music libraries. Cavalli became employed by Friedrich Gulda as his first big band guitar player, joined the “Swiss All Stars” and performed with the excellent but short-lived fusion bands “Oimels” (MPS) and “Emphasis” (Pick). He was well known throughout the studio scene, played in several orchestras, appeared at galas, composed music for French tv-serials and belonged more to the showiz than to the “serious” jazz scene. His impressive discography lists over 500 titles.

Bruno Spoerri (*1935) earned his degree in Applied Psychology in 1958, after he had already played saxophone in various bands as a student (including the Modern Jazz Group Freiburg). From 1957 to 1975 he belonged to the Zurich « Metronome Quintet » with which he toured internationally and recorded several Albums and EPs. In the 1970s Spoerri became musical director of the jazz festival Zurich several times and has performed with many international jazz greats. Back in 1967, he began to experiment with electrified saxophone, effect units and Ondes Martenot, and went deeper into the electronic music scene through the purchase of an EMS VCS3 synthesizer. To date he still works as a freelance composer, sound engineer and author (editor of « Jazz in Switzerland »/ Chronos Publishing). At present, Spoerri deals primarily with the interactive potential of electronic music equipment.

Angel „Pocho“ Gatti (1930-2000) from Buenos Aires was an outstanding pianist, arranger, conductor and composer. He worked mainly in Italy during the 1960s and early 70s. With his orchestras, that included Italian jazz masters like Gianni Basso, Giorgio Gaslini or Oscar Valdambrini as soloists, he accompanied American stars like Frank Sinatra, Sarah Vaughan or Johnnie Ray. Already during the 1950s Pocho Gatti frequently played at the „Bop Club Argentino“ in Buenos Aires with world reknowned musicians like Lalo Schifrin, „Chivo“ Borraro or Gato Barbieri. Later on he recorded with Giorgio Azzolini in Italy. At the end of the 1960s his Milan Big Band, the « big orchestra Angel Pocho Gatti », belonged to the most famous European ensembles. Subsequent productions of the 1970s include prestigious work for Quincy Jones and collaborations with Gerry Mullig (source label sonorama)




















30 Août


Charlie Munro Quartet Islamic Suite (edit) Australia
Louiz Banks Song for my Lady India
Oladepo Ogomodede Take Five Jamaica
Jazz Work Shop Mezare Israel Israel
Jazz Semai Koy Yolu Turkey
Jorge Lopez Ruiz Vicky Argentina
Chivo Borraro Half and Half Argentina
Hideo Shiraki Fiesta Japan
Virgilio Armas Y Su Cuarteto Sobre el Orinoco Venezuela
London Experimental Jazz Quartet Destroy the Nihilist Picnic Canada
Ahmadu Jarr Kathung Gbeng Sierra Leone
The Braz Gonsalves 7 Raga Rock India
Fitz Gore Gisela (Lion Rock) Jamaica
Eric Nomvete’s Big Five Pondo Blues South Africa
Paul Winter Sextet Winters Song Brasil
Tete Mbambisa Trane Ride South Africa
Aquila Um Allah Chile






Je me souviens de l’ex Young Marble Giants : Alison Statton

28 Août

week end 001


WEEKEND– Past Meets Present / Midnight Slows (rough trade/1982)

WEEKEND ‎– Drumbeat For Baby (rough trade/1982)





LA NECROPOLE DU CD VOL 27 (un CD de cœur de Mr Persévérance jamais réédité)

28 Août

asher 001

 Le français Johan Asherton poursuit une carrière remarquable, discrète et délicate loin des projecteurs. Il est néanmoins un digne héritier de Nick Drake, Marc Bolan, Syd Barrett, Dylan, Alex Chilton, Leonard Cohen, Kevin Ayers ou Townes Van Zandt.



DOMINIQUE DALCAN »OSTINATO »en 1998 chez island records

26 Août


“Je veux être un artisan dans l’industrie des sentiments”.D.Dalcan


JEAN BART de son vrai nom Massimo Marchini est un chanteur suisse d’origine italienne qui a eu un petit succès d’estime dans les 90’s.Depuis 1998 et l’album « serein » nous sommes sans nouvelles de lui.Il serait peut être temps qu’en 2014 on réédite enfin ses 5 albums studio.

26 Août




JEAN BART « égoïste dans un corps en solo »(pias/1993)

JEAN BART « il le faut »(pias/1994)

JEAN BART  » fin et suite »(musidisc/1995)

JEAN BART « affaire classée avec fracas et pertes,
j’en ai trop vu des mûres et des pas vertes » (musidisc/1997)







Su Wai – Gita Pon Yeik sur le label Little Axe Records en 2014

26 Août


Su Wai is a modern virtuoso of the ancient Saung Gauk, a Burmese harp instrument of both royal and religious significance (fashioned to resemble a leaf of the bo tree which the Buddha attained enlightenment beneath) with roots as far back as the 6th century. In this collection of 8 traditional poem-songs, Wai unfurls clusters of melodic lines alongside a cyclical bell chime-pulse to accompany texts drawn from the Mahagita, a collection of 500 court songs not unlike the British Isle’s Child Ballads. Recorded in masterful fidelity by Burmese ethnomusicologist Rick Heizman (White Elephants and Golden Ducks, Green Tea Leaf Salad) and presented here for the first time on vinyl, Gita Pon Yeik offers a small window into a tragically under-documented royal tradition that sits comfortably next to both ethnomusicological documents and abstract avant-garde folk forms.(source little axe records)