Puoi trovare l’album in vendita anche qui: amiranirecords.com

“A great pairing, meshed like watch cogs, a face with 17 hours working to forgotten moons.
a lesson in the creation of spontaneous sound; all you could ask for from an improvised performance.
Michael Holland, Nov 2013 Eyes4eyes.blogspot.it

“A wonderful collaboration. Both of them switching between lyricism and extended noise making fluidly, echoing each other and taking time out to listen. I spent half of their set in a semi conscious mystical state.
http://thisplaceatthistime.blogspot.it/?view=sidebar

The alert gracefulness and reciprocal regard through which Mimmo and Blunt explicit their intertwined instrumental togetherness convey the same sense of fulfillment that irradiates the most surprisingly revelatory instants of normality[…]
When the duty calls, the pair is willing and ready to show the listener how peace can be restored, nimbly sailing to calmer waters without apparent effort: a musician’s thorough control of his/her means of expression is something that can be attained only by “living” the instrument day in, day out, a principle respected as The Word by authentic improvisers […]
Massimo Ricci, www.TouchingExtremes.org

Sparkling acoustic duo featuring a contemporary wild chamber attitude, improvising instant compositions, sound texture explorations and sudden lyrical flights.
Their improvisation, that has been defined “A Gentle Vertigo”, freely crosses boundaries and welcomes rich contradictions between melody and blessed chaos.
Experimental flavors, multi-perspective intuitions and reciprocal listening are the extremely well balanced blend of this duo that strives for an improvisation where “things happen”, able to face pulsing silences and airy architectures as elements of a sound sculpture.
Relationship among inner voices, live attention to detail, lyrical declinations and violent assertive moments are on display in their performances where openess and concentration take the risky route of sailing through dynamic contrasts, tackling episodes of turbulence and tranquility, passages of great delicacy and braves hazardous balances on a music that keeps alive our attention and freshes our feeling.
Freshly started in 2013 the duo has already toured Uk, Italy, Germany, Finland and right now in the Usa with concerts in Chicago, California and NY.

Side A:
1. Lasting Ephemerals

Side B:
2. Elliptical Birds
3. Scherzo
Gianni Mimmo _ soprano saxophone
Alison Blunt _ violin
Music _ instant compositions by Alison Blunt & Gianni Mimmo
Live Recording _ St. Leonard’s Shoreditch Church, London, UK, 26th June 2013
Sound Engineering, Mixing, Editing _ Matt Saunders
Mastering _ Maurizio Giannotti, New Mastering Studio, Milano, Italy
Liner Note _ Massimo Ricci, http://touchingextremes.wordpress.com
Cover Photo _ Chiara Meattelli & Dominic Lee, London, Uk
(chi-dom.com)
Graphics _ Nicola Guazzaloca
Production _ Gianni Mimmo for Amirani records,
Fabrizio Perissinotto for LongSong Records,
Teriyaki records

Warmest appreciation and thanks to the D.C.C. of St. Leonard’s Shoreditch Church and Robin T. Hatton-Gore.

Gianni Mimmo plays GLOGER HANDKRAFT saxophone neck and MASTERCLIP™ ligatureYou can find this album also here: amiranirecords.com

“A great pairing, meshed like watch cogs, a face with 17 hours working to forgotten moons.
a lesson in the creation of spontaneous sound; all you could ask for from an improvised performance.
Michael Holland, Nov 2013 Eyes4eyes.blogspot.it

“A wonderful collaboration. Both of them switching between lyricism and extended noise making fluidly, echoing each other and taking time out to listen. I spent half of their set in a semi conscious mystical state.
http://thisplaceatthistime.blogspot.it/?view=sidebar

The alert gracefulness and reciprocal regard through which Mimmo and Blunt explicit their intertwined instrumental togetherness convey the same sense of fulfillment that irradiates the most surprisingly revelatory instants of normality[…]
When the duty calls, the pair is willing and ready to show the listener how peace can be restored, nimbly sailing to calmer waters without apparent effort: a musician’s thorough control of his/her means of expression is something that can be attained only by “living” the instrument day in, day out, a principle respected as The Word by authentic improvisers […]
Massimo Ricci, www.TouchingExtremes.org

Sparkling acoustic duo featuring a contemporary wild chamber attitude, improvising instant compositions, sound texture explorations and sudden lyrical flights.
Their improvisation, that has been defined “A Gentle Vertigo”, freely crosses boundaries and welcomes rich contradictions between melody and blessed chaos.
Experimental flavors, multi-perspective intuitions and reciprocal listening are the extremely well balanced blend of this duo that strives for an improvisation where “things happen”, able to face pulsing silences and airy architectures as elements of a sound sculpture.
Relationship among inner voices, live attention to detail, lyrical declinations and violent assertive moments are on display in their performances where openess and concentration take the risky route of sailing through dynamic contrasts, tackling episodes of turbulence and tranquility, passages of great delicacy and braves hazardous balances on a music that keeps alive our attention and freshes our feeling.
Freshly started in 2013 the duo has already toured Uk, Italy, Germany, Finland and right now in the Usa with concerts in Chicago, California and NY.

Side A:
1. Lasting Ephemerals

Side B:
2. Elliptical Birds
3. Scherzo
Gianni Mimmo _ soprano saxophone
Alison Blunt _ violin
Music _ instant compositions by Alison Blunt & Gianni Mimmo
Live Recording _ St. Leonard’s Shoreditch Church, London, UK, 26th June 2013
Sound Engineering, Mixing, Editing _ Matt Saunders
Mastering _ Maurizio Giannotti, New Mastering Studio, Milano, Italy
Liner Note _ Massimo Ricci, http://touchingextremes.wordpress.com
Cover Photo _ Chiara Meattelli & Dominic Lee, London, Uk
(chi-dom.com)
Graphics _ Nicola Guazzaloca
Production _ Gianni Mimmo for Amirani records,
Fabrizio Perissinotto for LongSong Records,
Teriyaki records

Warmest appreciation and thanks to the D.C.C. of St. Leonard’s Shoreditch Church and Robin T. Hatton-Gore.

Gianni Mimmo plays GLOGER HANDKRAFT saxophone neck and MASTERCLIP™ ligature

Registrato in un rifugio alpino alle pendici del monte Grona con una chitarra acustica e poco altro, Refugio è la ricerca dell’interstizio fra due catene montuose, la scoperta di un orizzonte sonoro antico, polveroso e bagnato dal mare in cui trovare asilo, radici e prezioso ricovero per la melanconia.

Grazie all’utilizzo di accordature aperte i brani partono da una concezione modale della musica, generatrice di una base circolare per la forma canzone e per l’improvvisazione.

La ricerca di spazi, pause e sospensioni del suono si alterna a piccole rivelazioni che parlano di supposizioni, di colori, dell’arte di arrangiarsi.

LABOULE TRAILER from paolonove on Vimeo.REFUGIO. This album was recorded under the mountain dew among the Alps, on the side of Mount Grona, with an acoustic guitar and a few other instruments.
Refugio is a quest in the intersection of two mountain chains, the disclosure of an ancient, dusty and seaside soundscape where it’s possible to discover the necessary asylum to grow and find a precious refuge for melancholy.

LABOULE is Paolo Novellino: he was born in Milan in 1984 and grew up in Valtellina, among the mountains and trees to be climbed.

Guitarist by birth and poly-instrumentalist by necessity, with the desire for adventure, he spent his time in the valley exploring the guitar and founding several bands as a poly-instrumentalist.
But after listening to “Rocky Mountain raga” by Robbie Basho, he got back to the guitar with the stage name LABOULE. As LABOULE, he has self-produced an EP with the same name, which has been promoted with several concerts as the opening act for Musica da Cucina.

LABOULE TRAILER from paolonove on Vimeo.

Edizione limitata, 500 copie numerate e firmate da E#!

“Haptikon”, il nuovo cd di Elliott Sharp, un insieme di pezzi di “chitarra-molto-elettrica” accompagnati da elaborazioni su pc.

“Haptikon” può essere considerato come una emanazione del progetto di E #  “Tectonics”.

Dove “Tectonics” era una forma di jungle-noise techno-psichedelica, giocata su sassofoni e chitarre che interagiscono elettronicamente con groove e processi computerizzati, con “Haptikon” il focus è maggiormente su un approccio più melodico e lirico. E rende omaggio alla tradizione dell’improvvisazione nel jazz, nel blues, nel rock, nella musica indiana, e perfino nel country & western!

I risultati sono di portata quasi cinematografica, e danno la sensazione di essere eseguiti da una band completa.

Il virtuosismo alla chitarra di Sharp e la sua originalità come compositore sono in piena evidenza in “Haptikon”.

Limited edition, 500 copies only, signed by E# and numbered!

Haptikon is a set of very-electric-guitar pieces accompanied by computer. Haptikon may be heard as an outgrowth of E#’s Tectonics project.

Where Tectonics was a form of psychedelic noise jungle techno played on both saxophones and guitars interacting electronically with computerized grooves and processing, with Haptikon, the focus is on a more melodic and lyrical approach.

E# pays homage to improvised traditions in jazz, blues, rock, Indian music, and even country & western! The results are cinematic in scope and give the feeling of a full band. Sharp’s virtuosity on guitar and originality as a composer are in full evidence on Haptikon.

Keith Tippett, pilastro del piano jazz/avant inglese ed europeo da oltre quarant’anni anni, e Giovanni Maier, tra i migliori e più rispettati bassisti jazz nostrani da più di due decenni, si conoscono da molto tempo. Solo negli ultimi tempi la loro stima reciproca è sfociata in un concerto insieme, nel maggio 2012 a Trieste, nell’ambito della rassegna “Le Nuove Rotte del Jazz”. “Two for Joyce – Live in Trieste”, nuovo cd su Long Song Records/Audioglobe è il felicissimo e riuscito resoconto della loro performance. 50 minuti di musica improvvisata, una unica lunga traccia di musica, che mostra meravigliosamente la gamma delle loro possibilità esecutive. Secondo alcuni Tippett dà da sempre il suo meglio da solo o in duo, malgrado i molti eccellenti lavori in vari ensemble più o meno numerosi. Pianista profondo e inventivo, austero e grandioso insieme nelle cascate di note e suoni (note le sue “preparazioni” sul piano) che può creare, trova qui in Maier un partner ideale. Maier è, come noto, bassista corposo, denso, sostanziale e lucido sempre. Un vero maestro del suo strumento. La loro unione qui trasuda intelligenza, ironia; è stimolante senza mai far venire meno la tensione, e ci regala un’avventura musicale di grandissimo spessore, un conversazione esemplare di incastri e azioni/reazioni. “Two for Joyce – Live in Trieste” è, definitivamente, un nuovo tassello importante nella gloriosa tradizione della grande improvvisazione europea.Keith Tippett, a backbone of English and European piano jazz/avant for more than 40 years and Giovanni Maier, one of the best and most respected Italian jazz bassists of the past two decades, have known each other for a long time. They played together in the past with Pino Minafra’s ensemble  “Viva La Black”.

But recently, their mutual respect has launched a concert as a duo. This concert of May, 2012 happened in Trieste during the “Le Nuove Rotte del Jazz” (New Routes in Jazz) Jazz Festival.

“Two for Joyce – Live in Trieste”, a new cd from Long Song Records/Audioglobe is the successful account of their performance. 50 minutes of improvised music, a long track of music that shows the vast range of their abilities wonderfully. According to some, Tippett gives his best both alone and in a duo, which is not to diminish his excellent work to date in many ensembles. He is a profound and inventive pianist, austere and grandiose at the same time, as when there’s a waterfall of notes and sounds that only he can create. Pay close attention to his “preparations” on the piano which find an ideal parter in Maier.

Maier is as noted, dense, heavy, substantial and always lucid. A real maestro with his instrument. Coming together like this, they sweat intelligence and irony. It’s stimulating but it never loses that tension. It’s a musical adventure of great weight, a exemplary conversation of dovetails, of action and reaction. “Two for Joyce – Live in Trieste” is definitively a new and important piece in the great tradition of european improvisation.

Si intitola “IRRINTZI”, che in lingua basca rappresenta un urlo stridente, sonoro e prolungato, di un solo fiato, il primo album di Xabier Iriondo, il primo album ‘solista’ dopo 20 anni di carriera.
La musica tradizionale basca, il rock e le sue derive e la sperimentazione sonora sono i comuni denominatori di questo disco che vuole essere soprattutto un omaggio di Xabier alle sue radici e alle sue passioni. Un disco a suo modo intimo e intimista dove Iriondo ripercorre, fa rivivere e ‘rivela’ fatti, luoghi, persone e musica che hanno reso possibile il suo percorso musicale e di vita. In questo viaggio Xabier e’ stato accompagnato da alcuni musicisti di differenti aree musicali: membri di Afterhours (Agnelli, Prette, Dell’Era), Paolo Tofani (AREA), Roberto Bertacchini (Starfuckers), Cristiano Calcagnile (S.Bollani), Bruno Dorella e Stefania Pedretti (OVO), Gianni Mimmo (raffinato sax soprano), Gaizka Sarrasola (musicista basco che spazia dal folk alla musica di ricerca).Si intitola “IRRINTZI”, che in lingua basca rappresenta un urlo stridente, sonoro e prolungato, di un solo fiato, il primo album di Xabier Iriondo, il primo album ‘solista’ dopo 20 anni di carriera.
La musica tradizionale basca, il rock e le sue derive e la sperimentazione sonora sono i comuni denominatori di questo disco che vuole essere soprattutto un omaggio di Xabier alle sue radici e alle sue passioni. Un disco a suo modo intimo e intimista dove Iriondo ripercorre, fa rivivere e ‘rivela’ fatti, luoghi, persone e musica che hanno reso possibile il suo percorso musicale e di vita. In questo viaggio Xabier e’ stato accompagnato da alcuni musicisti di differenti aree musicali: membri di Afterhours (Agnelli, Prette, Dell’Era), Paolo Tofani (AREA), Roberto Bertacchini (Starfuckers), Cristiano Calcagnile (S.Bollani), Bruno Dorella e Stefania Pedretti (OVO), Gianni Mimmo (raffinato sax soprano), Gaizka Sarrasola (musicista basco che spazia dal folk alla musica di ricerca).

Retro electronics for this time!

Amazing and strong vintage synth and keys duo improvisations by free jazz pioneers Alan Silva and Burton Greene, still exploring and pushing boundaries after half a century of no compromise careers.

Burton Green says:

“It’s not about the latest (electronic) instruments or gadjets.. it’s about the creativity of the composer/improvisor. Alan Silva and I have so-called “dated” instruments or “retro electronics”, but you can just judge for yourself if what we do with them is dated on not..!.. i.e.  I’ve heard creative drummers working just with pots and pans or beating on tables or the backs of chairs with drum sticks and I’ve been amazed at what they can produce.  A colleague pianistJasper Van t’Hof worked extensively with an old PPG analog keyboard back in the 70´s and 80´s  The company stoppedproducing them for a long time, but popular demand by young musicians inspired by musicians like Jasper brought back the PPG sound in digital module form much later on.  My Roland gear is very simple.. I use an old D50 synth with a U110 module.. I’ve made something like 400 programs for it including all kinds of complex polyphony detuned orchestras, combi instruments that don’t exist other than on my keyboard or module.  Alan uses mostly just presets on his instrument but what he gets out of them, I’ve never heard anoyone else do.

Enjoy!”Retro electronics for this time!

Amazing and strong vintage synth and keys duo improvisations by free jazz pioneers Alan Silva and Burton Greene, still exploring and pushing boundaries after half a century of no compromise careers.

Burton Green says:

“It’s not about the latest (electronic) instruments or gadjets.. it’s about the creativity of the composer/improvisor. Alan Silva and I have so-called “dated” instruments or “retro electronics”, but you can just judge for yourself if what we do with them is dated on not..!.. i.e.  I’ve heard creative drummers working just with pots and pans or beating on tables or the backs of chairs with drum sticks and I’ve been amazed at what they can produce.  A colleague pianistJasper Van t’Hof worked extensively with an old PPG analog keyboard back in the 70´s and 80´s  The company stoppedproducing them for a long time, but popular demand by young musicians inspired by musicians like Jasper brought back the PPG sound in digital module form much later on.  My Roland gear is very simple.. I use an old D50 synth with a U110 module.. I’ve made something like 400 programs for it including all kinds of complex polyphony detuned orchestras, combi instruments that don’t exist other than on my keyboard or module.  Alan uses mostly just presets on his instrument but what he gets out of them, I’ve never heard anoyone else do.

Enjoy!”

The second release from two of the most fearless and creative improvisers on the planet, guitarist Craig Green and drummer Dave King. Moontower is not so much an object or fixed location as it is a state mind or stream of consciousness channeled from the energy that these two sonic sculptors posses.

Recorded and mixed over two days at the vintage audio temple, The Hideout which is nestled along the Mississippi River in King’s hometown of Minneapolis. Coincidentally, Green is from the opposite end of the river, born in New Orleans. Both musicians, set-up in one large space, surround by classic organs, amps and electronics must have looked like they were about to perform the latest Ennio Morriconi score to a 50’s sci-fi film. Sonically that may not be too far from the truth. Both Green and King have a love and pull toward a modern aesthetic. Not always the sharp and angular kind that shocks the listener into submission, but the variety that invites you in, shows you the way then offers you a unique and wildly different path to the future. Like a classic Eames chair, the past, present and future all in the same moment happen.

This is dark and moody music, like a night time soundtrack to a desert landscape, where “blue” and “black” and the light of the moon surround you. These are sounds that will haunt your imagination and will get inside you like a cold chill when you walk out into the great wide spaces on silent nights.The second release from two of the most fearless and creative improvisers on the planet, guitarist Craig Green and drummer Dave King. Moontower is not so much an object or fixed location as it is a state mind or stream of consciousness channeled from the energy that these two sonic sculptors posses.

Recorded and mixed over two days at the vintage audio temple, The Hideout which is nestled along the Mississippi River in King’s hometown of Minneapolis. Coincidentally, Green is from the opposite end of the river, born in New Orleans. Both musicians, set-up in one large space, surround by classic organs, amps and electronics must have looked like they were about to perform the latest Ennio Morriconi score to a 50’s sci-fi film. Sonically that may not be too far from the truth. Both Green and King have a love and pull toward a modern aesthetic. Not always the sharp and angular kind that shocks the listener into submission, but the variety that invites you in, shows you the way then offers you a unique and wildly different path to the future. Like a classic Eames chair, the past, present and future all in the same moment happen.

This is dark and moody music, like a night time soundtrack to a desert landscape, where “blue” and “black” and the light of the moon surround you. These are sounds that will haunt your imagination and will get inside you like a cold chill when you walk out into the great wide spaces on silent nights.

Jim McAuley fa parte di una schiera di chitarristi improvvisatori che ridefiniscono il proprio strumento, come Derek Bailey, Fred Frith, Joe Morris, ed esponenti dell’avant-folk come John Fahey e Robbie Basho. Nei suoi lavori troviamo una presenza profondamente personale e lirica, così come un suono dalla firma unica che si mescola con la sua intensità.

Questa nuova collezione di registrazioni da solista è la testimonianza dell’ampio range espressivo e improvvisativo di McAuley e non di meno della sua creatività in costante sviluppo. Utilizzando una vasta gamma di chitarre acustiche, accordature non ortodosse e originali “preparazioni”, crea una ricca trama nel suo mondo sonoro che incorpora jazz, blues, folk, elementi classici e contemporanei in uno stile che lui chiama “pan-idiomatic improvisation”. Il primo acclamato album da solista (“Gongfarmer 18”) gli regala la reputazione di maestro della chitarra acustica. Questo nuovo lavoro conferma ulteriormente il valore e lo spessore di questo artista.

“Gongfarmer 36” è una raccolta tratta da numerosi spettacoli live, registrazioni in studio e casalinghe. Come tale, essa cattura momenti speciali di improvvisazione estatica, brillante, spontanea, e offre uno sguardo intimo sui meccanismi di una fantasiosa mente creativa.

In aggiunta al suo album solista precedente, McAuley ha registrato due dischi con l’Acoustic Guitar Trio (con Nels Cline e il compianto Rod Poole) e un set di 2 CD di duetti con Leroy Jenkins, Nels Cline, Ken Filiano e Alex Cline. LongSong Records è orgogliosa di contribuire a questo “corpus” che ridefinisce e espande le modalità e le possibilità del chitarrismo del ventunesimo secolo. E’ un disco divertente, sincero ed esaltante.

“Genuinely evocative and refreshingly cliche-bashing work” (Josef Woodard–Los Angeles Times)

“Mr. McAuley’s precise writing and playing is full of blues figures and rich-toned, acoustic-fold resonance. It’s peaceful and rigorous music” (Ben Radcliff–New York Times)

“Jim has the magic!” (Dick Metcalf, Improvijazzation Nation)

“He’s capable of putting your heart in full-resonance mode” (Massimo Ricci, Touching Extremes)Jim McAuley is one of a lineage of improvising guitarists redefining the instrument like Derek Bailey, Fred Frith, Joe Morris, and avant-folk pickers like John Fahey and Robbie Basho. He brings a deeply personal and lyrical presence to his work as well as a unique signature sound, stirring in its intensity and generosity.

This new collection of solo recordings is testimony to McAuley’s wide range of improvisatory expression and constantly unfolding creativity. Utilizing a wide variety of acoustic guitars, unorthodox tunings and original “preparations”, he creates a richly textured sound-world incorporating jazz, blues, folk, and contemporary classical elements in a style he calls “pan-idiomatic improvisation”. McAuley’s highly acclaimed first solo album (“Gongfarmer 18”) established his reputation as a master of acoustic guitar. This new work further validates and enhances that reputation.

“Gongfarmer 36” was compiled from live performances, studio recordings and home practice tapes. As such, it captures special moments of ecstatic, spontaneous improvisational brilliance and offers an intimate glimpse into the workings of a singularly creative imagination.

In addition to his previous solo album, McAuley has recorded two discs with the Acoustic Guitar Trio (with Nels Cline and the late Rod Poole) and a 2-CD set of duets featuring Leroy Jenkins, Nels Cline, Ken Filiano and Alex Cline. LongSong Records is proud to contribute to a body of work which both defines and expands the myriad dimensions of 21st Century guitar playing. It’s an exhilarating, heartfelt and uplifting record.

“Genuinely evocative and refreshingly cliche-bashing work” (Josef Woodard–Los Angeles Times)

“Mr. McAuley’s precise writing and playing is full of blues figures and rich-toned, acoustic-fold resonance. It’s peaceful and rigorous music” (Ben Radcliff–New York Times)

“Jim has the magic!” (Dick Metcalf, Improvijazzation Nation)

“He’s capable of putting your heart in full-resonance mode” (Massimo Ricci, Touching Extremes)