Capish

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Questo è un consesso di menti sottili aduse a spaccare il capello in multipli di quattro e ad apporre tutti i puntini mancanti su qualsivoglia i. E’ un luogo di dialogo e di approfondimento in cui l’inutile riacquista la sua centralità. Tu, sperduto viandante, ti senti pronto ad entrare?

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Aggiungetemi!
123asterisco
123asterisco
19 aug 20

DeRank™: 12,28

Well tuned in to #radiocapish

Today, unexpectedly driven by an indirect suggestion from @[HoldNoSway], we present you with some Japanese jazz produced and packaged by drummer Akira Ishikawa [石川晶] (1934 - 2002) along with the "Count Buffalos". Here all the necessary information: Akira Ishikawa & Count Buffaloes | Discografia | Discogs

Enjoy listening!

Akira Ishikawa & His Count Buffalos – Get Up ! (1975)
Caspasian
Caspasian
18 aug 20

DeRank™: 7,68

I promised @[rossana roma] this listen, here it is.
The Epiphany: Hana Hegerova, Waldemar Matuska (with the beard), and a young Karel Gott for the price of one. PARADA!
Kdyby tisíc klarinetu - Tak abyste to vedela
Lao Tze
Lao Tze
18 aug 20

DeRank™: 14,50

Socrates - Phos* 1976 (full album)

Originally (and also later, but only on special occasions), they were called Socrates Drank the Conium, "Socrates drank the hemlock." However, since a considerable amount of literature had already been produced about the death of the Athenian, and not to mention that it wasn't exactly the most agile name for a band, they chose to shorten it (even on the covers) to Socrates. Synthesis is always important.
They entered history - and the English charts, where they lingered for a couple of weeks - with the album Phos (Light) in 1976. It was produced by Evangelos Papathanassiou, whose (omni)presence on the record goes far beyond the role of "special guest" and co-writer ascribed to him.
Under Papathanassiou's artistic direction, the muscular blues rock of the band - dominated by the Hendrixian riffs of Piraeus guitar hero Yannis "John" Spathas - allows for airy and evocative ambient/progressive openings highlighted by celestial synth textures (the majestic coda of 'Every Dream Comes To An End'), as well as complex folk frameworks of Hellenic and/or British flavor, particularly paying homage to Gentle Giant ("Time of Pain") and inevitable yet valuable nods to the pop of Aphrodite's Child ("A Day in Heaven").
A radiant testimony of the potential of Greek rock, less prolific than that of the nameless Anatolian counterparts but certainly no less inspired, and a way to remember Yannis Spathas, who passed away in 2019.
123asterisco
123asterisco
16 aug 20

DeRank™: 13,79

Where Is the Money?

I couldn't refrain, given the input from @[Lao Tze].
Lao Tze
Lao Tze
16 aug 20

DeRank™: 12,64

Ragazzo dell'Europa

Of course... heartbreaking piece, how could it not be, on par with Pagani's violin and mandolin.
But we, who split hairs, don't really care about that, at least not as a priority.
What matters to us first and foremost are the studio backstories, like the one about the drummer.
Gianna wasn’t having it - and she made that known to Annie Lennox, who was also present at the sessions.
But what kind of drummer is this? He looks like an accountant, plays stiffly - assuming he really knows how to play.
You need someone more muscular, Annie Lennox seemed to say, someone truly rock'n'roll.
So Gianna goes to the producer: a "certain" Conny Plank, German... he had brought the musicians.
Is there any chance we could change this drummer?
Conny Plank didn’t say anything but shot her a very nasty look. The thought of replacing the drummer didn’t cross his mind.
The drummer was also German, his name was Jaki Liebezeit.
123asterisco
123asterisco
15 aug 20

DeRank™: 7,04

Well tuned in to #radiocapish

With today's listening, we wrap up (for now) the summer Jazz-Noir section. The selection we propose to close the fair comes from late '50s New York.
For the film "Shadows" (1959) by John Cassavetes (1929 - 1989), which I highly recommend if you haven't seen it, Charles Mingus played part of the soundtrack: what we are listening to are indeed these four pieces.
The film is not exactly a noir, in fact, it's not one at all, but it seems to fit the theme nonetheless. "Shadows" is, by the director's own admission, a Jazz film, in the sense that it should be considered an improvisation on the theme (as a line at the end of the film states): thus, it is Jazz music for a Jazz film. Yet, at times, the combination takes on a noir tint, as you will certainly notice if you have the chance to watch the film.

Here is the Wiki page: Ombre (film 1959) - Wikipedia

Happy Ferragosto.

Untitled Percussion Composition
Nostalgia in Times Square
Alice's Wonderland
Charles Mingus - "Shadows" - Self-Portrait in Three Colors (1958)
123asterisco
123asterisco
12 aug 20

DeRank™: 26,32

Well tuned to #radiocapish

Today, setting aside our summer column, I’d like to propose a listen that’s different from the usual. "Dialoghi del presente" (1977) is the only LP published during the life of Luciano Cilio (1950 - 1983). If you don’t know it, take my word for it (for once I feel confident): give it a listen!

For more information: Luciano Cilio - Wikipedia
Luciano Cilio - Dialoghi Del Presente | Pubblicazioni | Discogs

Here’s the little page of @[odradek] that introduced me to it (blessed be Debaser for this!): Dell'universo Assente - Luciano Cilio - Recensione di odradek

Happy listening.

P.S. I just found out that in 2018 "I nastri ritrovati" by L. Cilio was published by Konsequenz (in a limited and numbered edition). I haven’t had the chance to listen to it closely yet, but I think it’s worth checking out: Luciano Cilio, Girolamo De Simone - I Nastri Ritrovati (2018, Vinyl) | Discogs

Luciano Cilio - Dialoghi del presente (Full Album)
123asterisco
123asterisco
9 aug 20

DeRank™: 9,34

Well tuned in to #radiocapish

Today's listening is another classic from the Jazz-Noir category: the soundtrack composed by Elmer Bernstein (1922 – 2004) for Otto Preminger's film “The Man With The Golden Arm” (L'uomo dal braccio d'oro) from 1955.

Enjoy the listening!

The Man With The Golden Arm | Soundtrack Suite (Elmer Bernstein)
123asterisco
123asterisco
8 aug 20

DeRank™: 23,54

Well tuned in to #radiocapish

Today with the Jazz-Noir column we’re going a bit off-topic. Although "I'm Deranged" by Bowie/Eno (1995) is hard to categorize as jazz, the way Lynch used it in the opening scene of "Lost Highway" (1997) is a great example of music for film noir.

Enjoy listening (or rather, enjoy watching).

I'm Deranged. David Bowie soundtrack "Lost Highway" 1997
123asterisco
123asterisco
7 aug 20

DeRank™: 10,04

Well tuned in to #radiocapish

Once again today, the Jazz-Noir column presents a classic: one of the first entirely jazz soundtracks in the history of cinema, performed by Duke Ellington and company.

Here’s a little page from the old @[JOHNDOE] about the film: Anatomia di un omicidio (Anatomy of a Murder) - Otto Preminger - recensione

Enjoy listening.

Main Title and Anatomy of a Murder
Flirtibird
Midnight Indigo
Haupe
JOHNDOE
JOHNDOE
6 aug 20

DeRank™: 22,18

Ennio Morricone - L'uccello dalle Piume di Cristallo

Drawing inspiration from the jazz film noir soundtrack review, I am reminded of the remarkable soundtracks by Goblin in the thriller-horror films of Dario Argento directed between 1975 and 1982. In particular, everyone remembers the famous little song sung by a child's voice in what is considered by the majority to be his masterpiece: “Profondo Rosso” (the fans might say Suspiria, but let them say that).

Well, that lalala, chilling and disturbing, even though performed by an innocent girl, which we know heralds the death (perhaps in a brutal manner) of the unfortunate character, is certainly rooted in our hippocampus; however, perhaps not everyone knows that the lalala was not an absolute novelty in silver films. Consider that at its debut, with the formidable “L’uccello dalle piume di cristallo,” which I consider one of the peaks of Argento’s work, there is a piece with a lalala sung by a young woman but more structured, which eventually expands into a mournful choir, a splendid piece that opens with a distant and unsettling ringing that we will hear again in other genre soundtracks. Who did Dario Argento choose for the soundtrack of his first film? Ennio Morricone.

P.S. For the soundtrack of Profondo Rosso, he wanted to hire Deep Purple, but they were too expensive.
123asterisco
123asterisco
6 aug 20

DeRank™: 5,65

Stay tuned to #radiocapish

Let’s continue our showcase of jazz and film noir with the soundtrack (Various Artists) of Robert Altman's 1996 film: "Kansas City".

Here’s the tracklist: Kansas City (A Robert Altman Film, Original Motion Picture Soundtrack) (1996, CD) | Discogs

Enjoy listening.

Kansas City (1995) Soundtrack
imasoulman
imasoulman
5 aug 20

DeRank™: 24,00

#darkpearls
Pianosaurus - Groovy Neighborhood
Pianosaurus Ready to Rock - Psychotic Reaction 1987
The Letter - Pianosaurus
#forgetthedadsandthemen

Speaking of Capish from the Olympic podium.
Doing rock'n'roll daycare style, featuring in order: the carnival guitar, the Bontempi organ without batteries, and finally the Muppets’ drum set, how do we want to consider this?
That's what these three proto-nerds from New Jersey did (please check the faces),
produced none other than by that other competitive nerd named Peter Holsapple (and if you don’t know who he is, too bad for you...there’s always time to rebuild a life worth living, but you need to hurry up though).
PS: and what taste they had too: when you choose to cover a classic like 'The Letter' (the prepubescent Alex Chilton of the Box Tops), you suddenly go from being nice to becoming fraternal friends...
123asterisco
123asterisco
5 aug 20

DeRank™: 24,66

Well tuned in to #radiocapish

Without promising you any consistency, I offer you a little summer column: jazz soundtracks of film noir. Today, we start with a timeless classic. For more information, check out this nice little page: Ascenseur Pour L'échafaud - Miles Davis - recensione

Enjoy listening!

Miles Davis - Ascenseur pour l'échafaud - Lift to the Gallows (Full Album)
imasoulman
imasoulman
4 aug 20

DeRank™: 27,00

#darkpearls
Universal Congress Of - Prosperous and Qualified
universal congress of - spreadin' the malice
universal congress of - hightime
#forgetthedaddyandthemen

Is there anything more 'Capish' than punk-jazz?
In the beginning, there were the Saccharine Trust, led by Joe Baiza.
Joe Baiza is one of those who are just way too 'Capish,' a twisted genius of the electric guitar who, however, grew up on a diet of bread and free jazz, the kind that you really need to have your ears finely tuned to enjoy. In the Southern Californian scene, in the early Eighties, he was revered for what he was and showed, a respected mammasantissima nearing thirty, so much so that young talents like Gregg Ginn, Chuck Dukowski, Mike Watt, and D. Boon wanted him on their records.
At the same time, the Saccharine Trust, from that fantastic catalog, were probably the most alien, a post-punk that veered off into every tangent, and you truly have to be a 'Dark Magus' not to lose the path that leads from the stars back home.
Well... we hadn't heard anything yet! When, after the mid-Eighties, Baiza decided to give life to the Universal Congress Of, to make that absolute freedom intrinsic to be-bop even more explicit, that improvisation never for its own sake, the world was uncovered yet again.
Try this and the even more minimalist-radical 'This is Mecolodics.'
At that point, rest assured, Ornette Coleman will appear from the cover suggesting to you 'The Shape of Punk-Jazz to Come'...

PS: I’m giving you two, but the complete works should definitely be included.
lector
lector
3 aug 20

DeRank™: 18,00

#darkpearls
The Zulus - the Zulus
#forgetdadandthemen
The Zulus: "Kings in the Queen City" (1985)

'Bosstown Sound' strikes again?
Well, if we’re here, I’d say no, but you probably sensed that already. The Human Sexual Response band, featuring guitarist Rich Gilbert and vocalist Larry Bangor (a voice akin to Robert Plant), was doing post-punk, and don’t ask me how good they were because a) I’ve never heard them b) I’m not Scaruffi - thankfully. But beneath the dense and dark smoke screen, you could sense there was something more. When Malcom Travis joined them on drums, they became the Zulus and for about three years they were one of the many 'next big things' in that aristocratic locale.
After a warming e.p., in 1988 Slash wanted to go big, even calling in a temporarily unemployed (or let’s say 'less' employed...) Bob Mould.
Result? An album overflowing with energy from the first to the last groove, punk that astonishingly becomes a blues suspension (oh, and there’s harmonica too... as if John Mayall was born thirty years later), melody trapped in hammering rhythms and melodic riffs spawned from the indie-rock climate.
As if your power-trios or your favorite hard-rock heroes had put on a '70s crest.
Result? Close to zero, so much so that the lines will dissolve shortly after (and Bob will pull Travis along when he needs to give life to the power-pop punk of his Sugar).
But I still can’t explain it...

Thanx Imasoulman!
lector
lector
3 aug 20

DeRank™: 16,02

#darkpearls
Rikki and the Last Days of Heart - '4 Minute Warning'
#forgetDadioandthemen
Rikki And The Last Days Of Earth - City Of The Damned

@[imasoulman] at the podium:
You say '1977' and immediately think (not here, there, across the Channel, because here in the Beautiful Country we listened to singer-songwriters... it took Renzo Arbore and his correspondent in London, Michel Pergolani, to enlighten us) of a bunch of fools capable, yes, of saying one-two-three-four but unable to string together a fourth chord in succession.
And yet no, if it is true as it is true that punk was a destructive attitude towards oneself before being directed at what surrounded it, music included, but the precursors were found as much in the Stooges as in Roxy Music, in the New York Dolls as well as in the more extreme glam. Otherwise, we wouldn’t have had Ultravox!, early Japan, Magazine, and Be-Bop Deluxe.
There you go, Rikki Sylvan is an Adam Ant who didn’t make it.
And yet this record, if words like art and punk mean something to you when linked by a hyphen, coursing through bleeding guitars, malicious synth whistles, and cascades of genuine melodramatic despair, is truly a forgotten masterpiece of that unrepeatable season, an unrelenting assault with white weapons of ‘futurist noise’.