Parov Stelar «Shine» [2007]

Austrian DJ and producer Parov Stelar revived the spirit of Mittel Europa in the first decade of the third millennium. His sound is a mix of Fausto Papetti's catchiest groove, downtempo beats à la Thievery Corporation, and a certain je ne sais quoi recalling Nicola Conte's stylish nu jazz.

It once happened to me to be lost in Amsterdam, as one of the best chunes of this album is titled. The circumstances were so embarrassing I can't find the courage to share them here.

I'll make sure to write a detailed memory of that night in my autobiography, which shall be published when I'm dead and can bring no further shame to any of my beloved ones.

In the meantime let your fantasies - - - > go wild.

Burst City - di Sogo Ishii, 1982

 Un film che non ha radici nel cinema. L'ispirazione proviene da altrove: dai ritmi, dai suoni e dall'attitudine della scena punk. E' cinema liberato, che trascende le regole della forma.

L'azione si svolge in un Giappone post-apocalittico, un groviglio di aridi slum e autostrade devastate. Nella citta' esplosa chiunque è un punk, uno yakuza o uno sbirro corrotto. La mafia ha le idee chiare: per contenere la proliferazione delle le bande giovanili e ristabilire l'ordine nello slum bisogna costruire una bella centrale nucleare... e finalmente quei teppisti andranno a lavorare!

Rivolte di strada e guerre fra bande si susseguono incessanti. Potente, frenetico, bestiale, Burst City è una trasmissione proveniente dalla feccia del futuro.

Il film sta - - - - > QUI

sottotitoli italiani - - - > QUI

Hüsker Dü «Land Speed Record » [1981]

Il trio, composto dal chitarrista Bob Mould, dal bassista Greg Norton e dal batterista Grant Hart, si formo` in Minnesota nel 1978.
Mould, arrivo` nel 1978 a St Paul (l'altra meta` di Minneapolis) per frequentare uno dei suoi college e ben presto divenne il controverso disc-jockey della radio locale e mise su un complessino per il suo compito in un corso di sociologia!. Quel complesso sarebbe diventato il piu` importante dei secondi anni '80 e avrebbe cambiato per sempre il corso della musica rock, imponendo nell'hardcore il lato privato, personale su quello pubblico, sociale.
Le prime esibizioni e i primi singoli (Statues del gennaio 1981 e In A Free Land) presentarono un hardcore canonico, ma il live Land Speed Record chiari` i veri intenti,  il sound era si` violentissimo, arroventato e assordante, come da manuale punk, ma dirottato da un'ideologia tardo-hippie verso un misticismo schizoide e nobilitato da liriche profondamente personali.
Il gruppo divenne rapidamente una sensazione a Minneapolis, appunto perche' suonava e cantava qualcosa di completamente diverso dalle solite raffiche di adrenalina. Anche se gli Husker Du compiono un prodigioso balzo di qualita` con il doppio Zen Arcade optiamo per il formato ancora ortodosso dell'hardcore di Land Speed Record  (17 brani in 26 minuti).
buon acsolto

Warne Marsh Quartet «Live in Berlin» [1980]

By
PETER MADSEN

One of my first great musical experiences in New York happened shortly after I had arrived here in 1980. I was rehearsing once a week with a band co-led by trumpeter Manny Duran and singer Carla White up in Breton Hall on 86th street and Broadway. During one of the rehearsals a shy thin gray haired man with a goatee walked in the room with a tenor saxophone and began to play with us. We were playing something like Tad Dameron's Hot House and this old guy begins to improvise like I had never heard before. With a sound that reminded me of Lester Young his lines came out snakelike weaving around smoothly, crossing over barlines with ease and playing amazingly complex rhythms throughout. This is what jazz is about I thought - improvising music in a completely unique style with a sense of exploration and risk taking. He was a musical tightrope walker keeping me in suspense as to what he would do next. Fantastic! After the piece was finished I was introduced to the one and only Warne Marsh.

Shortly after this rehearsal I received a phone call from Warne inviting me over to his studio for a session. I was thrilled with the idea of getting a chance to play with this musical genius and I was curious as to what music he would want to play. At first Warne just called standards like God Bless the Child and Just You Just Me, but then he wanted to play some Charlie Parker compositions and other bop masterpieces. I felt as if he were testing me and finally near the end of the session Warne pulled out some very difficult and twisted music written by Lennie Tristano and Lee Konitz, pieces like Subconscious Lee and Lennies Pennies. I had never played such complicated bebop music before. I noticed that these pieces sounded very similar to Warnes style of improvising with their unusual rhythms and across the bar-line phrases. I took the music home and began working on it as Warne wanted to play again the following week and I also decided I had better go out and buy some recordings of this amazing music to find out what it should sound like and who these musicians were. I knew of Lee Konitz from the Birth of the Cool recordings with Miles Davis and I had heard about the great blind pianist Lennie Tristano but I really never knew anything about Warne....


here here and here