E’ disponibile da oggi su I-Tunes e su tutti i principali digital stores il nuovo singolo di Fabio Zuffanti “Musica Strana”. Il brano anticipa l’uscita del nuovo album del musicista genovese “La foce del ladrone”, prevista per il 10 maggio 2011 su etichetta Spirals/Long Song Records con distribuzione Audioglobe. Dopo 17 anni di carriera in cui ha esplorato con diversi progetti i più svariati generi musicali, pubblicato dischi e tenuto tour in tutto il mondo e collaborato con personaggi del calibro di Franz di Cioccio e Wu Ming, per la prima volta Zuffanti si cimenta con la musica pop.
L’artista è stato, nei mesi scorsi, al centro di un’accesa polemica che ha coinvolto moltissimi utenti su Facebook e svariati blog a proposito di una sua lettera sull’industria musicale Italiana pubblicata per prima da La Repubblica Veneta News a questo link: http://www.larepubblicanews.it/default.asp?contenuto=10016<=ita&sezione=Musica
“Musica Strana” riprende in parte le tematiche della lettera ma le sposta su una dimensione più personale ed ironica.
«Mi capita spesso di conoscere delle persone e rispondere alla domanda “che mestiere fai?” spiegando loro che per vivere faccio musica. – dichiara Zuffanti – In molti casi c’e quasi un senso di disagio nel sentire queste affermazioni, perché per moltissimi il musicista o e ricco e famoso o non esiste. In un caso particolare, quello che racconto in questa canzone, ci sono stati un paio di conoscenti che mi hanno fatto una sorta di terzo grado per capire nel profondo come io possa osare fare la musica che faccio e che in fondo non conosce nessuno. La domanda finale era poi ancora piu inquietante: che tipo di musica e la mia che non passa mai in (certe) radio e tv? È musica? Descrivo questi fatti realmente accaduti sotto forma di sogno, anzi di incubo, e propongo alla fine una soluzione simpaticamente efferata ai danni dei miei interlocutori. Il coro che emerge nella coda finale e un omaggio a “Non mi rompete” del Banco del mutuo soccorso, il piu grande gruppo che l’Italia abbia avuto, forse troppo grandi per sopravvivere in un paese come il nostro.»

Nei prossimi giorni sarà disponibile inoltre il videoclip della canzone diretto dal regista Luca Giberti e realizzato con un’originale iniziativa a partecipazione popolare.
ASCOLTA IL SINGOLO QUI: http://soundcloud.com/zuffanti/musica-strana-single-version

SUL WEB: www.fabiozuffanti.com – http://www.facebook.com/lafocedelladrone

Disponibile anche il video di Musica Strana: http://www.youtube.com/watch?v=fQXJpZSNk0w

Nel suo secondo CD  Cipani non fa più ricorso a strumenti rotti —  stavolta il pianoforte è integro e accordato — ma il risultato è ancora una volta sorprendentemente atipico. Questi ‘massaggi’ sulle corde del piano rivelano strati di sonorità nuove, producendo un paesaggio teso ed emozionante di armonici, bordoni, risonanze simpatiche. Cipani riesce ad organizzare tali potenzialità magmatiche in trame coerenti e la sua musica sembra sospinta da una riflessione lucida sui suoni che via via si vanno discoprendo. Check it out.Cipani’s second solo CD no longer resorts to broken instruments — the piano is now healthy and tuned — but the result is still surprisingly uncharacteristic. These piano-string ‘massages’ unearth layers of new sounds, producing a thrilling landscape of drones, overtones, sympathetic resonances. Cipani manages to organize such magmatic potential into meaningful textures and music evolves as propelled by a reflection on sound itself. Check it out.

Vi invitiamo a leggere un’intervista ad uno dei nostri più cari artist: Daniele Cavallanti, the BOSS (non Springsteen, the real one).Here’s an interview featuring one of our most beloved artist: Daniele Cavallanti, the BOSS (not Springsteen, the real one).

As some of you may have noticed, we’ve just released two new albums. These productions are in collaboration with our friends: Amirani Records and Wallace Records.

The first is “KC”, the third album by The Shipwreck Bag Show, a really unusual duo: in these 11 new tracks they walk away from experimental avant-rock and join the primitive blues vein into “songs”.

The second one is “Reciprocal Uncles”, again a duo, but this one looks in another direction: contemporary istant compositions signed by the elegant and intense touch on piano by Gianni Lenoci and the morphing sound statement of the soprano saxophone of Gianni Mimmo.

We hope you’ll enjoy these new efforts!

Come alcuni di voi avranno notato, ci sono due novità nel nostro catalogo. Queste ultime produzioni sono state fatte in collaborazione con Amirani Records e Wallace Records.

Il primo si intitola “KC” ed è il terzo album della formazione “The Shipwreck Bag Show”.  Il duo in questa terza prova discografica si allontana ulteriormente dall’ avant-rock sperimentale del miniCD d’esordio pompando la vena del blues primitivo ed impacchettandolo in undici tracce a forma di (sorpresa!) canzone.

Il secondo è “Reciprocal Uncles”, ancora un duo ma con una direzione completamente differente… composizioni estemporanee caratterizzate dall’elegante e intenso tocco di Gianni Lenoci al pianoforte e dal suono cangiante del soprano di Gianni Mimmo.

Speriamo che queste due nuove proposte solletichino il vostro orecchio..

Longsong Records vi invita a partecipare alla serata di presentazione del disco “JAZZ WITH THE MEGAPHONE?” dei TONGS.
Il concerto si terrà Venerdì 27 Novembre presso la Casa di Alex (Alex Extea) in via Moncalieri 5, Milano (zona Niguarda) – ore 22.00.

• Carlo Garof: drums&percussion, objects, sinori (thunder sheet), megaphone, live electronics
• Antonio Bertoni: double bass, electric bass, effect, sampler
• Luca Serrapiglio: baritone sax, tenor sax, bass clarinet, lo-fi electronics

Sosteniamo la buona musica! Vi aspettiamo numerosi.

A presto

Long Song is proud to present two new mind blowing releases…

These CD’s feature some of the best performers from the italian avant impro scene, in a setting which emphasizes the abilities of the single artist and of the collective.

We invite you not to READ but to LISTEN to the samples on this site. Words are never enough.

So sit back, relax and prepare to explode with…

Jusi In The Winehouse

and

Porno Jazz

Long song Records è orgogliosa di presentare il lavoro di un trio davvero speciale:

Un esordio fragoroso. Un disco maturo, potente e lucidissimo nelle sue intenzioni. Un trio di giovani e già esperti musicisti con una visione precisa e articolata di come miscelare jazz e rock con forza e carattere, in un disco puramente strumentale.
La coerenza e la profondità delle composizioni si amalgamano con sviluppi melodici ed esplorazioni dove le idee abbondano, dove le variazioni sono sempre sorprendenti, senza per questo suonare troppo ricercate o in odore di virtuosismo.
Carlo, Luca e Antonio usano tutti gli strumenti a loro disposizione (elettronica compresa) con freschezza, perizia e curiosità, giocando con le ricerche timbriche e le sperimentazioni e non perdendosi mai per strada, risultando sempre diretti, precisi e soprattutto carichi di un grande feeling.
“jazz with the megaphone?” unisce l’ebbrezza tipica del jazz trio (quello senza strumento armonico, funambolico e pulsante) al dirompente attacco delle grandi formazioni rock, sopperendo alla mancanza di una “voce” con tute le loro articolate “voci”.
A tutto questo si aggiunga una ricerca nei suoni ed un utilizzo dello studio di registrazione come “strumento aggiunto” (questo anche tipico del miglior rock), che fa sì che tutti i brani risultino singolarmente personalizzati e arricchiti, andando ben oltre la filosofia orgogliosa, ma in qualche modo limitante, del “disco jazz inciso in diretta in un giorno”.
La musica quindi si presta a molteplici ascolti, ogni volta rivelando dettagli e sfumature nuove, ogni volta esaltando.
Non vorremmo qui perderci nell’elenco solito delle influenze, che sono certo tante e di varie provenienze (free jazz? Jazzcore? Punk? Avant Rock?Etno? chi più ne ha più ne metta..).
Ci piace solo pensare che i Tongs abbiano prodotto con questo disco un lavoro bruscamente vitale, bello, emozionante, fisico e cerebrale insieme, già con un’identità assai marcata, che possa piacere ai rockettari più evoluti come ai jazzofili meno puristi.
Un disco soprattutto di livello internazionale, che non sfigura di fronte a nessuno e che pone le basi per un futuro scintillante.
“Jazz with the Megaphone” ha infatti ricevuto lodi e parole di stima da alcuni dei migliori musicisti e personalità della musica jazz e avant tra cui: John Zorn, Chris Cutler, Massimo Pupillo (ZU), Gino Robair, Xabier Iriondo, Gianni Mimmo

I Tongs inoltre privilegiano moltissimo l’aspetto dell’esecuzione live, dove la loro creatività musicale (e anche scenica) si libera  e cattura e stupisce il loro pubblico.

In definitiva un “trio d’assalto”, come amano definirsi.

Carlo Garof: drums & percussion, objects, sinori (thunder sheet),
megaphone, live electronics

Antonio Bertoni: double bass, electric bass, effects, sampler

Luca Serrapiglio: baritone sax, tenor sax, bass clarinet, lo-fi electronicsThrough an explosive debut album, a trio composed of young men, already expert musicians, set the tone for a mature record, powerful and clear in its intentions, with a precise and articulated vision of how to mix jazz and rock with strength and character in an instrumental work.

The coherence and the depth of the compositions come together with melodic developments and explorations overflowing with ideas and variations which are stunning without becoming over-thought or pretentious.

Carlo, Luca and Antonio approach all of the instruments available to them, including electronic, with a freshness, skill and curiosity. They pursue tonal developments and experimentations while never losing their way, always resulting in a direct and precise objective that is above all, full of feeling.

“Jazz with the megaphone?” brings together the exhilaration of a typical jazz trio (without harmonic, acrobatic and throbbing instruments) and a disruptive attack of tried-and-true rock formations, compensating for the lack of a “voice” with all of their articulated “voices”.

Here it must be discussed the importance of the recording studio as an “added instrument”, also found in the best rock music, which is manipulated as such that all of the songs are executed in a rich, personalized style that transcends a more limited live, one-day recording.

The music lends itself to multiple listening sessions, each time revealing more details and nuances to thrill the listener.

It would be a shame to loose ourselves here in a list of musical influences, which are numerous and varied (free jazz? Jazzcore? Punk? Avant Rock? Etno? and so forth). We like to think that the Tongs have produced an album that is brusque, vital, beautiful, emotional, appeals to mind and body, with a marked identity that both evolved lovers of rock and non-purist jazzphiles can like.

“Jazz with the Megaphone” has in fact all ready received praise from some of the best musicians and personalities in the world of jazz such as: John Zorn, Chris Cutler, Massimo Pupillo (ZU), Gino Robair, Xabier Iriondo, and Gianni Mimmo.

The Tongs much prefer playing live, where their musical and theatrical creativity is liberated, giving them a chance to astonish their audience as an “assault trio”, as they like to call themselves.

Long Song Records è fiera di presentarvi il nuovo disco Vignes, dell’Acoustic Guitar Trio: composto da Nels Cline, Jim McAuley e il compianto Rod Poole. Registrato nel 2003, è una testimonianza inedita e suggestiva dello splendido lavoro di questo trio. Ecco cosa dice Nels Cline in proposito:
Long Song Records proudly presents a new album: Vignes by Acoustic Guitar Trio formed by Nels Cline, Jim McAuley and the late Rod Poole. This is an unreleased live album, recorded in 2003 and shows the brilliant work of these three wonderful musicians. Here’s what Nels Cline says about:

Sometime in the late 1990s, I finally heard Rod Poole play solo acoustic guitar. I think it was at The Smell, an all-ages oasis for underground music in downtown Los Angeles. He was playing his just-intonated Martin guitar, fighting the very resonant leakage from the jukebox in the Latino tranny bar next door, its patrons being showered with blasts of Norteno that threatened a sonic incursion on the intimate, crystalline purity of Mr. Poole’s performance. But nothing could sully this moment for me. Many had told me that I should check Rod’s music out. He had only been in Los Angeles a few years, transplanted from his native England. He had been playing solo concerts here and there, as well as performing his music for an ensemble of bowed, open-tuned acoustic guitars. He had recorded a bit at the now-defunct recording studio and underground music haven in Los Angeles called Poop Alley, and I think that Poop Alley empresario Tom Grimley may have been the first person to tell me about Rod. But on that evening at The Smell, I was not only dazzled by the beauty of Rod’s music and by his concentration, I also wondered how I could find an avenue that would lead me closer to his art, to a possible collaboration of sorts.

Eventually, it came to me. I had known guitarist Jim McAuley since the late 1970s. He had played numerous times in the 90s at a concert series I once booked, performing on mostly acoustic guitars in various states of preparation, different tunings, etc. And I have long felt that Jim, always bubbling under the radar after years and years of creative endeavor, was under-appreciated. Like Rod (and unlike me), he possessed serious fingerstyle technique. Like me, he had a non-systematic love and understanding of salient aspects of microtonal music, which was Rod Poole’s obsession (well, one of many, it turned out). So I came up with the idea of an improvising, microtonal acoustic guitar trio. When I approached these gentlemen with the idea, they were enthusiastic, which was a bit surprising, especially in Rod’s case, because outwardly he had a sort of British reserve, and also because I had heard and felt that he was one serious fellow! Jim had apparently not heard Rod’s music, but it was no surprise that when he finally did that he loved it as much as I did. The year was 1999. The Acoustic Guitar Trio, as it would generically be called, was born; a group which I formed but one I did not lead. Our work was purely collaborative.

Rod Poole was also a tireless documenter of the local improvising and new music scene. He could often be seen in a corner, in headphones, with his DAT-loaded mini-rack and luggage cart. As such, every bang, scrape, and chime of the Acoustic Guitar Trio was recorded by Rod. Lucky us! The release of this document, “Vignes” is, of all the ‘live’ recordings Rod made, the only one that was subject to Trio scrutiny that lead to unanimous agreement on content. We really hoped that someone would release it, in spite of the car noises and whatnot, because we all liked these pieces. Rod could be quite a stickler, and it was his ear for severe editing that shaved two sets of improvising at the Downtown Playhouse (on Vignes Street) in Los Angeles to the three pieces heard on this record. Rest assured there is a lot of other good material waiting in the wings, but this was what we hoped could be the follow-up to the eponymously-named studio recording that Derek Bailey had released on Incus. Time and circumstances beyond our control prevented this. Until now.

Sometime around 2003, Rod announced to Jim and myself that he wanted to cease performing ‘live’ completely. Given his headstrong qualities and seeing what a battle it is to play music of such uncompromising delicacy and subtlety, I really couldn’t blame him. This, along with my burgeoning tour schedule with Wilco and numerous other groups coupled with Jim’s family responsibilities, caused us to all drift apart, a drift I felt was surely temporary. Unfortunately, Rod Poole was murdered not far from his and his wife Lisa’s apartment in Hollywood, the details of which I do not care to go into here. Suffice to say that it was a pointless act of the most heinous type, and we who loved Rod Poole and his music are forever wounded by it.

For now, enjoy “Vignes”, a concentrated sampling of three microtonal improvising acoustic guitars. Our methodology was quite simple: make up a tuning on the spot for each improvisation, look around at each other to find the nods and grins of agreement that meant that a promising tuning combination had been arrived at, and GO. For Jim McAuley and me, it was challenging yes, but more like breathing; natural, nurturing. We hope you like the music. All love and respect to Rod Poole, and thanks to Fabrizio Perissinotto for bringing it to the world on Long Song.

– Nels Cline

Glendale, CA

March 11th, 2009