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Arti e Mestieri - Tilt - Immagini Per Un Orecchio (1974)


Una excelente banda de Jazz rock proveniente de Italia, en un disco fenomenal, lleno de potencia y virtuosismo, con un batero que lo compararon con Neil Peart y uno de los mejores violinistas inmersos en el rock, seguidos por grandes músicos en el resto de los instrumentos interpretando canciones que son para caerse de culo.

Artista: Arti e Mestieri
Álbum: Tilt-Immagini Per Un Orecchio
Año: 1974
Género: Jazz Rock/ Fusion
Nacionalidad: Italia
Duración: 37:26

Lista de Temas:
1. Gravità 9,81
2. Strips
3. Corrosione
4. Positivo / Negativo
5. In Cammino
6. Scacco Matto
7. Farenheit
8. Articolazioni
9. Til

Alineación:
- Furio Chirico: bata y percusión
- Beppe Crovella: pianos eléctrico y acústico, sintes, Mellotron, Hammond
- Marco Gallesi: bajo
- Gigi Venegoni: guitarras, sintes
- Giovanni Vigliar: violin, voces, percusión
- Arturo Vitale: saxos soprano y baritono, clarinetes, vibrafono




Un disco que Juaco, de la primera horda de primigeneos cabezones que crearon este blog, dejó a medio publicar y que hoy revive gracias al aporte del Mago Alberto. Un disco genial, y acá el comentario de Alberto:

Se termina el año y la Escuelita de Moe sigue dando clases de recuperación, por lo tanto acá vamos con una gran banda tana: Arti E Mestieri, de la cual vamos a presentar no toda su discografía sino algunos de sus muy buenos discos, y éste es precisamente uno de ellos. Corría el año 1974 cuando en plena ebullición progre surgían al mundo los AEM, y lo novedoso de su propuesta fue el protagonismo de el violín, pero en un contexto más de banda, con fraseos originales, y despojados de clichés típicos del momento, armonías deliciosas, solos inspiradísimos, un álbum que da puntapié a una seguidilla de albumes que marcaron una trayectoria muy definida, ambiciosa, y llena de matices muy atractivos. Quien no conoce a esta banda los va a sorprender la calidad musical, su estilo. Es una banda que hace mucho tiempo tendríamos que haber presentado pero que la voragine del mundillo ciudadano fue postergando. No es nada fácil conseguir material de AEM, pero acá damos el inicio de subidas que ojalá sigan, y digo ojalá porque si el Vampiro sigue así le va a caer la Gestapo amable y condescendiente de M&M y lo mas probable que el blog pase a otro plano, pero eso no importa, las ideas y la música no mueren jamás.
Este es un grupo tano que bien podría ser considerado como uno de los mejores de todas las épocas del rock progresivo italiano, pero que por esas cosas de los medios siempre estuvo tras bambalinas, pero no va ni fue en detrimento de su altísima calidad. Banda que si le abrís el corazón se quedará allí por siempre como novia incondicional.
Alberto

El comentario que vale es el de Alberto que nos trae el disco pero aquí tenemos otra opinión:

El día de hoy traigo una banda de la corriente del Jazz Fusion italiano. Arti E Mestieri (estilizada como Arti+Mestieri), fundada por ahí de 1974 o quizá un poco antes (yo supongo) y que suele resaltar por su baterista Furio Chirico (uno de los mejores de Italia si no el mejor, se suele comparar mucho con Neil Peart) y el violinista / vocalista Giovanni Vigliar. Al principio sólo tocaban con Area y mostraban tintes de jazz rock, y no les fue muy difícil llegar al estudio de grabación teniendo los amigos de Area y el público de éstos mismos.
Con los nombres de los miembros más alabados acabo de citar lo más sobresaliente de la música de Arti E Mestieri, muy en común con Mahavishnu Orchestra: voces, violínes y tambores, agregados a elementos jazz como saxofones y clarinetes. Nunca salieron del término "gema obscurecida" pero llegaron a abrir más de un concierto de Premiata Forneria Marconi y de Gentle Giant. Fuese como fuese, nadie puede negar que esta banda llegó a colocar una obra maestra en la escena de 1974, titulada "Tilt", y aunque no se esperaba mucho de la banda por parte del público en general, resultó ser un disco que hoy es leyenda en el progresivo, una referencia obligada para cualquier fan de RPI y un gran tesoro para los coleccionistas.
Aquí lo tienen, un muestrario ambicioso de lo que era la italia "rock-jazzera". un álbum lleno de increíbles tonadas e instrumentación agresiva. Es un trabajo obligatorio para todo fan del prog, sin mencionar que es una de las portadas más icónicas del progesivo italiano. Recomiendo las canciones Strips (veradero arranque con voces geniales), Positivo / Negativo (trabajo genial del violinista) y Articolazioni (casi 14 minutos de jazz rock sin precedentes). Me ha costado horrores el decidirme por este o por su otro magnífico trabajo Giro Di Valzer Per Domani. Realmente creo que éste último esta mucho mejor armado y con muchos más elementos de jazz fusion, pero ¿qué he de decir? Tilt es Tilt señores, y eso es la única verdad.
Darling95

Y si no creen en nuestras palabras, acá les dejo una serie de comentarios en inglés...

Excellent debut album, whose re-mastered version earns a lot, in comparison to the original issue. It's a fusion progressive, with some music elements already included within a few albums by some jazz progressive bands such as PERIGEO and AREA, but these latter are often more experimental or harsh,sometimes less pleasant too, in a lot of circumstances... The use of the violin is very clever as well as balanced, in the whole production of ARTI & MESTIERI!! The new re-mastered version is highly recommended!!
Lorenzo

"Tilt" is the amazing debut album by a band whose members were not newbies at all. The six musicians' combined former experiences had led them to the roads of jazz and prog rock (even the very young, masterful drummer Furio Chirico had played in The Trip's last two albums) for some time, so their expertise was quite obvious and quite impressive as well by the time "Tilt" introduced Arti + Mestieri to the eyes of the world. The jazz-rock oriented sound delivered by the band serves as an appropriate field for the expression of every individual's skill, while the compositions and arrangements are cleverly ordained in order to create an "orchestral" feel that keeps all individuals united in a fluid rapport with each other. It is precisely that "orchestral" feel which allows their sound not to be restricted by the habitual standards of regular jazz rock, but makes the band draw a bit closer to that special sensibility, that typical mix of baroque and Mediterranean folk so frequent in Italian symphonic prog. Some of this magic is expressed by the mellotron layers, the classically oriented lines that the violin and wind instruments indulge in at times, and the "suite-like" sequence of the linked tracks (1-4, 7-8). Given the immense diversity of the instrumentation (saxes, clarinets, violin and vibes join the usual ensemble of guitar-bass-keys-drums), it can be easy to rely on some extremely free stuff and go with a chaotic flow, but these guys prefer to act similarly as a small orchestra, giving every part for each instrument a proper place in the sonic landscape exhibited on each number. But again, Chirico's superb (which some may consider over-played, but I simply label as genius) drumming, Venegoni's cadence on his guitar leads and picks, and Crovella's subtle use of his piano/electric piano parts (a times complemented by the vibes, occasional courtesy of saxophonist/clarinetist Vitale), keep the listener well reminded of the jazzy essence of Arti + Mestieri's overall sound. That's where Vitale and Vigliar get some space to expand themselves on - in both the prog and jazz sides of the band's sound, the violinist and the wind player play almost all leading roles. As for drummer Chirico, he clearly relies on Gallesi's precise bass playing so he can beat and roll endlessly and become the other leading man. The weird title track closes down the album with a disturbing touch of dissonant layers of mellotron and ARP synth, occasionally accompanied by a few ad-libitum parts on bass clarinet and violin: this is AM emulating Area, which should not come as such a big surprise, since Area's guitarist Paolo Tofani (together with Venegoni) produces the album. I actually like this Cage/Stockhausen-inspired stuff, but I feel that it would have found a more suitable place in the middle, as a curious rarity, instead of the closure, which eventually kills the captivating splendour displayed in the final section of 'Articolazioni'. Apart from that, let me tell you that it's hard for me to pick a particular fave in a mostly homogeneously great repertoire; anyway, I will mention tracks 1-4 and the 13-minute long 'Articolazioni' as the most impressive and significant examples of what this band is all about. All in all, I regard "Tilt" as a masterpiece of 70s Italian prog.
César Inca

A great album, to be sure. I just wish that someone would have given the drummer some downers before each recording session. And that's coming from someone who played LOUD drums in several rock bands before I took up electronic music. He's a wonderful, gifted drummer, but his "fill every nook and cranny with a loud sound" philosophy distracts the listener away from what the other musicians are doing, and from the music itself. Furio obviously doesn't know the meaning of the words "nuance, subtlety and delicacy". And the other musicians DO, which is what makes it an issue. I bought the LP when it came out, and boy, what a crappy press!! I went through two or three copies, and they were all scratchy, though obviously new. So, although I don't have a remastered copy of the CD, I'm "contented".
soundsweird

Compared to their Italian progressive rock contemporaries PFM and American based groups like MAHAVISHNU ORCHESTRA, ARTI & MESTIERI were an excellent but overlooked band. These Italian purveyors of prog-rock deserve further consideration as Tilt proves to be an archetypal interpretation of a sound that was still in the developmental stages at the time.

In very small-italicized print underneath the album's bold title are the words "Immagini Per Un Orecchio", translated it means "Images For An Ear." I find that very insightful as I am always saying how good instrumental music has the ability to create images inside my head, thus eliminating the need for vocals.
This was the group's first release in 1974. For a maiden voyage into the world of recorded music, they faired quite well. Although they use vocals sparingly, they really did not need them at all. Their music was very visually stimulating. By using all of their talents to their fullest capacity, a pleasing mixture of keyboards, guitars, bass, percussion, violins, saxophone, clarinet, and vibraphone became part of their final creation. Because they used so many different instruments, their music gradually pushed itself to another level of complexity, in so doing it transformed their compositions into progressive quests that were a captivating treat for your ears and mind.
As per usual, the 180-Gram vinyl LP format never lacks for sound and quality.
Keith Hannaleck

"It seems there's no time to wait for science and for losing doubts. It needs too much patience..." (excerpt from "Articolazioni").
I'm not really a jazz-rock sub-genre's great amateur. Probably I've never been and I'll never be that! Despite this, I enjoy to listen to Arti & Mestieri's 1974 musical debut in its fresh (and always excellent) Akarma re-issue!
I have to admit Tilt is a strong release wisely builded up by jazz, classic symphonic prog and mixed with a folkish delicate taste. Musicianship offers enough pleasure to the exigent ears of any prog-lovers! Violin, clarinet, guitar, mellotron and hammond organ are the most relevant instruments. All the band's members are talented musicians and played live supporting other historic bands as Premiata Forneria Marconi and Gentle Giant.
Vocals are very sparse and feature in only two songs: "Strips" and the memorable long track "Articolazioni" (13,41 mns), the best of the album in my opinion. Close second is the instrumental opener "Gravità 9,81" (only 4,06 mns).
Another excellent album from the vast and deep ocean of the seventies' impressive italian prog scene!
Andrea Cortese

Arti+Mestieri's debut album titled "Tilt" was Italy's answer to the Mahavishnu Orchestra. Layer on top of an album full of high energy and high creative explosions the masterful drumming of Furio Chirico and you have a recipe for great success. With varing styles and major tempo and mood swing this band unleash a truely wonderful album that will light the ital-prog veins in you! I should also mention that there is a good dose of Mellotron work here too. The addition of Saxes, piano, and vibraphone also give this album a stong polarity into the jazz genre. The violin wok of this album (Giovanni Vigliar) reminds me very much of Jean Luc Ponty and when combined with the band in full sounds truely majestic. Strongly recommend this album to all fans of Fusion and Ital-prog genres.
James Unger

The Italian jazz-rock scene is a solid subsection of the famed Prog tradition, with numerous bands of extraordinary virtuosity, none more so than the undisputed leader of the pack, Arti+Mestieri. Unquestioningly led by the dazzling (an appropriately named) Furio Chirico, one of the greatest stick "n skins men ever and revered by many prog drummers, the band kicks some serious butt, a fast-paced, intense prog-fusion that rivals anything by anyone in the same genre. At times quite symphonic due to Beppe Crovella's sweeping keyboards, shouldered by some frenetic fretting provided by Gigi Venegoni and the wild sax ramblings of Arturo Vitale , doubling on violin and flute, the main focus remains on the overpowering and hyperactive Furio, leaving one to wonder about his propulsion pack (first nuclear drummer?) . Neil Peart is not unique, dear Rush fans! This is not just all technique, the material is original, distinctive and highly infectious.. No wonder this album retains a hallowed place in many a Prog collection and deservedly so. 4 furious drumsticks
Thomas Szirmay

This is the best album that i've heard in a while. They remind me of MAHAVISHNU ORCHESTRA at times, but during the mellow sections I think of PFM. Lots of mellotron too, and a drummer who reminds me of Peart and Cobham the way he is so fluid and powerful. Lots of sax and violin as well. This was apparently co-produced by AREA's guitarist Paolo Tofani.
"Gravita 9,81" opens with a blast of horns before it settles with mellotron, clarinet and violin. Amazing sound when the keys and drums come in. Gorgeous. I like the violin that follows.The bass and drums sound fantastic after 2 minutes as mellotron then sax comes in. The violin returns late. What a song ! My favourite off the album. "Strips" opens with keys as a brief guitar melody comes in. Check out the drumming and mellotron that follows. Violin, sax then vocals 1 1/2 minutes in. This reminds me of PFM, the gentle vocals and acoustic guitar. Beautiful. Mellotron before 3 minutes and violin follows.
"Corrosione" opens with mellotron as keys, drums and sax follow. A short but good instrumental. "Positivo / Negativo" opens with strummed guitar as violin comes in. Drums, bass, piano and vibes join in. It kicks into gear before 2 minutes with drums and violin leading the way. Guitar then comes in ripping it up. Nice. "In Cammino" opens with mellow sax lines. Electric piano, drums and violin 2 minutes in as the tempo picks up.The violin starts to rip it up. Mellotron before 3 minutes. Love the drumming and piano after 4 minutes. Guitar 4 1/2 minutes in is killer as the bass throbs. "Farenheit" is the only track without mellotron but then it's only 1:15 long. Piano opens before clarinet, drums and a fuller sound follows.
"Articolazioni" is almost 13 1/2 minutes long and it's a ride. It's led early by piano before violin and drums become prominant. Fantastic drumming here ! Nice bass too. Sax starts to lead. It settles before 3 minutes as sax and mellotron take over. Vocals follow. The drumming is so impressive before 5 minutes then it settles with mellotron. The tempo picks up as vocals return. Violin follows then a powerful section after 6 1/2 minutes comes in. It settles briefly with mellotron then kicks back in. Guitar, vocals and mellotron 8 1/2 minutes. Tempo picks up again. A great flood of mellotron 10 minutes in then it turns jazzy. Love the vocals 11 minutes in as it turns mellow. Mellotron is back. "Tilt" is the 2 1/2 minute closer. It's experimental with some dissonance but check out the mellotron !
Nothing less than 5/5 stars will do for this fantastic recording.
John Davie

Arti & Mestieri are one of the best known Italian prog bands and have been active since 1973. They come from Turin and were formed on the initiative of Furio Chirico (former drummer of The Trip) who met with keyboardist Beppe Crovella (former member of a band called The Mystics) and four musicians coming out from a jazz rock band called Il Sogno di Archimede, Gigi Venegoni (guitar), Giovanni Vigliar (violin, vocals), Marco Gallesi (bass) and Arturo Vitale (sax, vibraphone). In 1974 they released their debut album for the independent label Cramps, "Tilt ? Immagini per un orecchio" (Tilt ? Imagines for an ear), a brilliant mix of rock, jazz, classical, Mediterranean influences and melodic passages. The art cover by Gianni Sassi, featuring a flying funnel in a blue sky among white clouds, in some way describes the overall sound of this work where many influences floating in the air are caught and channelled through this conical utensil having a narrow tube at the apex to be blended and conveyed on the tracks of the album.
The title of instrumental opener "Gravità 9,81" (Gravity 9,81) is inspired by the law of gravity formula. Ignoring air resistance, an object falling freely near the Earth's surface increases its velocity with 9.81 m/s (32.2 ft/s or 22 mph) for each second of its descent. As gravitation causes dispersed matter to coalesce, on this track the creativity of the band perfectly blends the Mediterranean touches of colour evoked by the violin with a pulsing rhythm section and a jazzy sax solo. This piece is an authentic trademark of the band by now.
Next comes "Strips", where the dreamy and romantic mood of the music contrasts with the bitter disenchantment of lyrics condemning a reality of empty conventions, of absurdities filling your head, of languid songs and artists whispering useless words, of faded stories about planets, wizards and gods...
"Corrosione" (Corrosion) is a kind of short bridge leading to the beautiful instrumental "Positivo / Negativo" (Positive/Negative) where a first solar and dreamy part, featuring acoustic guitar and violin, gives way to a second part full of energy, featuring a great rhythm section and a good electric guitar work.
"In cammino" (On walk) is another excellent instrumental that opens with a melancholic sax introduction, then rhythm takes off and melancholy melts in joyful passages where the members of the band showcase their musicianship. On the original LP it was the last track of side A.
Next comes the short instrumental "Farenheit", where the rhythm goes slowly up like the temperature of a thermometer introducing "le plat de resistance" of the album, the long and complex suite "Articolazione" (Articulation), a piece about the necessity to live the present facing the reality. There's no time you can waste waiting dreaming for better days while the Death is leading into the grave all her dear lovers... "It's not because you think to have understood / That your future is going to change / In the mirror you must see / What is harder seeing...".
The experimental "Tilt", almost an example of concrete music, concludes an excellent album where music flows away without weak moments. A must for every Italianprog lover!
Andrea Parentin

Like their Cramps label-mates Area, Arti e Mestieri are a Zappa-influenced Italian fusion group, but they distinguish themselves from the other band by having less influence from avant-garde rock and chamber music and more influence from sources such as the early Mahavishnu Orchestra albums. Tilt is an electrifying fusion masterpiece played at breakneck pace by the band, with exceptional musicianship displayed throughout - Giovanni Vigliar's violin playing being, to my mind, a particular highlight. Composed and performed with amazing confidence for a debut album, Tilt is a fusion classic which sets the band apart from the rest of the Italian progressive rock scene of the era.
W. Arthur

A lost classic of the 70s golden era
Arti E Mestieri are an obscure band from Italy who focus on jazz rock fusion unlike many other Italian prog artists. Their debut primarily is an instrumental with moments of Italian singing. The title of the album is "Tilt: Immagini Per Un Orecchio", and this is translated as "Images For An Ear" which seems profoundly appropriate. The tracks blend together beautifully in places, such as the stunning 'Strips', 'Corrosione' and 'Positivo / Negativo', and jump wildly about with odd time sigs and virtuoso musicianship. At other times, on tracks like 'In Cammino' the sound becomes rather subdued and tranquil.
The band are consummate professionals at their craft consisting of Furio Chirico on drums, Beppe Crovella on acoustic and electric pianos, synths, mellotron, Hammond organ, Marco Gallesi on bass, Gigi Venegoni on guitar, synthetizers, Giovanni Vigliar on violin and Arturo Vitale on soprano and baritone saxes, clarinets, and vibraphone. Vitale's sax work on 'In Cammino' is an incredible tour de force and of note also is the guitar lead break of Venegoni. This track is a definitive highlight along with the spine tingling opener 'Gravità 9,81'.
'Articolazioni', the mini epic that takes up most of side 2, features vocals along with 'Strips', the only occasions, and these are rather a nice break from all the musicality. This track features stunning clarinet and some very heavy passages mixed with moments of peaceful serenity. These dark and light sections are balanced perfectly with the amazing drumming skills of Chirico. The time sigs are everchanging and it even locks into a 6/8 rhythm and beautiful vibraphones are heard from Vitale. Vigliar's violin is absolutely gorgeous and sings sweetly in the melancholy soundscape. This really is a masterpiece track with some of the finest musical structures in the 70s golden era of prog.
Overall, Arti E Mestieri's debut is a lost classic in Italian prog and really deserves more recognition. The music is similar to Mahavishnu Orchestra and at times just as astonishing in terms of virtuosity. There is never a dull moment and it is packed solid with inventive musicianship and creativity.
Scott Tuffnell

109 ratings and 17 reviews don't serve this Italian Jazz/Symphonic band justice. If classified as a Jazz/Fusion album, then it's my favorite album in the whole extensive genre. I'll explain why...
Aggressive at times, but never out of control. Peaceful at times, only to build to an opus of Giovanni's violins and Furio's furious drumming. (Not to mention hypnotic keyboards adding depth to the already dense songs). Despite the rarity of finding this album cheap, every dollar you pay goes towards the infinite replay value you'll get from this musical gem.
Some reviewers discredit the album closer, veering from the flow of the album. Though, after the confused techno-babble, there's melodies recalling previous songs. It's an amazing reprise, reminding you of all the great melodies you may have forgotten. In my take, these distorted reprises reminds me of a bubbling cauldron containing each melody only to be swooped up by the everlasting mellotron. I won't evaluate each song since they all flow into each other, ending (what seems like) abruptly. Clocking in at 37 minutes, you wish it would last just a bit longer. Any jazz- enthusiast or prog-enthusiast would find something special in this album. Hell, anyone would. If you've yet to hear this due to the jazz/fusion classification, LISTEN TO IT. It took me years to finally venture into the jazz/fusion realm, and it sickens me to think I could've missed out on this.
Brandon

Like Area and Perigeo, Arti e Mestieri blended jazz rock and fusion elements with traditional symphonic flair. Tilt may be the best representation of this movement, and along with the debut albums by Etna and Il Volo, one of my favorite fusion albums of all time. Anyone familiar with Mahavishu Orchestra will have a frame of reference here, but Arti e Mestieri takes the concept one step further by not just integrating jazz music with rock instrumentation, but also western classical and Mediterranean influences as well. A near-perfect listen from start to finish, a masterpiece of the genre, and necessity for any Prog collection.
"Gravita 9, 81" starts the album off with an attention-grabbing motif that fades quickly to a deceptively melancholy intro...the combination of clarinet, violin and synth here is celestial. Then after the electric piano kicks in and sets the tempo, the world is introduced to Furio Chirico. Italian prog stalwarts will recognize the drummer from The Trip, but to the uninitiated, hearing Furio play drums the first time is like your first kiss - a little scary at first, somewhat sloppy, and WAY TOO FAST. But then you get that feeling; that warm buzz in your stomach like hot chocolate on a winter day. It courses through your veins and fills your entire nervous system with dopamine. That's what Furio Chirico's drumming is like. Bill Bruford will always have a special place in my heart, but if I had to pick one drummer as the "best," it would be Chirico.
Nowhere is his mastery of the drum kit more evident than in "Strips." An absolute monster beat, so carefully and thoughfully composed to accentuate (not overstate) the arrangement. "Corrosione" gives us our first taste of Mellotron, and again the woodwinds playing against violin is a combination of sheer brilliance. Nothing groundbreaking, but usually intonation suffers between these two particular instruments - not here. Giovanni Vigliar and Arturo Vitale play in perfect unision, often switching instruments not just mid-song but mid-phrase! A real show of virtuosity but also restraint. We then segue into Positivo/Negativo, another amazing showcase for what the band has to offer. "In Cammino" solemnly rounds out the first side.
"Fahrenheit/Articolazioni" is one of those songs that, once you hear it, is like a part of you. I will seriously just be sitting in traffic and it pops into my head, and get goose bumps every time. The first two-thirds of the suite is structured much like the rest of the album, but the third act is where the symphonic influences really take over...an orchestral feast for the ears that tugs at your heart strings and doesn't let go. I always get a little sad at this point because I know the album is almost over. A case for quality over quantity if there ever was one. Arti e Mestieri would go on to record many albums, but none as fine as this one.
coasterzombie

Excellent crossover prog......... or whatever you want to call this music.
Fusion/Jazz it is then. Truth to be told, it is fusion, with both feet firmly grounded on Planet Jazz. But the rest of the body is all over the place. Italian Symphonic Prog, Canterbury Scene, Folk Prog etc etc. Arti E Mestieri has really created something special here. Most of all a very playful album with some very good nods towards the likes of National Health and Hatfield & The North. Some Soft Machine flirting can also be found here. Not to mention Return To Forever which is a good reference point. The songs are strong and based on various instruments. The drumming is excellent. The various instruments I refer to is both violins, guitars (electric and accoustic) and all sorts of classic tangents like moog and hammond. The result is a very warm sound. This is pretty much underlined by the lush, inviting vocals. This makes it a surprisingly poetic and pastorial album. But the music are still firmly rooted in jazz. Which makes this a very lush album and a true gem. It is also a unique album and I have never heard anything like it in my life.
It would be unfair to single out a special song here. I regard this as one single piece of music and I recommend this album.
4.25/5 stars
toroddfuglesteg

Man this is a debut album and you can hardly believe it: the sound is already so mature and complex that looks like the result of a 10 years passion for a project by the whole group.
The violin is really excellent, the drum work is incredibly powerful, but maybe it's the less mature, being too furious (as the name of the drummer, Furio, recalls); it makes a good contrast which sometimes is too much, though.
Since I'm italian, I can also talk about the lyrics: sometimes they give me the feeling of going nowhere, some others I'm able to find a deep meaning for them.
This is one of my favourite albums, with all its defects.
Fabio Napodano

The first work released in 1974 "Tilt". Album recorded by six members including violin and wind instrument. It is a present from Italy. Extraordinary masterpiece where rich music is enclosed. The sound is symphonic jazz-rock. There is a rich poetic sentiment in all melodies. It is keeps straight, simple, and there no complex construction though it is variegated music. It is a great masterpiece of symphonic jazz- rock, and one of the eminent masterpieces of Italian rock.
braindamage

Excellent band from Italy. Their music? Jazz rock with a progressive flavour. This is their best effort, showing a dreamy violin sound (in the same vein of Quella vecchia locanda) and the powerful drumming of Furio Chirico, who had jaust left The Trip. Definitely recommended.
bonzo1969

Que disfruten este discazo, otro de los grandes recomendados del blog cabezón.

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Música y Neurociencia II: la Música como Lenguaje Universal

A través de la historia humana, la música ha tenido diversas connotaciones y funciones. Además de ser un lenguaje, un vehículo de expresión y comunicación, ha sido también un arte que ha reflejado las corrientes concordantes de pensamiento religioso y filosófico, contemporáneo a su creación, lo que ha revolucionado su estructura formal y dotado de una concepción polisémica y dinámica a sus significados, sin que se excluya ningún fenómeno sonoro, natural o cultural, creado por la civilización humana. Desde tiempos remotos se han constatado, empíricamente, los beneficios de sus interconexiones. La idea de la unidad cuerpo - mente se originó en el siglo VI a.C., y el médico griego Hipócrates decía que “Las fuerzas de la naturaleza que llevamos en nosotros son las auténticas sanadoras de la enfermedad” (Gaynor). De modo que la práctica musical es uno de los aspectos necesarios para el equilibrio físico. En la antigua Grecia, a la Música se le otorgaba la “ca…

Billy Cobham & Colin Towns & HR Big Band - Meeting Of The Spirits (2006)

#Músicaparaelencierro. Jorge N. nos vuelve a deleitar mientras nos dice: "Ya que andaban dando vueltas algunas cosas de Billy Cobham, se me ocurrió pasarte un disco del susodicho, con la Big Band de Colin Towns (tiene unas cuantas cosas muy recomendables, entre ellas un disco con temas de Zappa), con temas de la Mahavishnu. Para mi gusto es un disco espectacular, digno de estar en la biblioteca cabezona...". Dicho y hecho, aquí lo tenemos para presentar una nueva versión de las canciones de la Mahavishnu Orchestra. Una nueva versión de temas ya conocidos, re comuestos e interpretados por músicos de primer nivel. Esta vez los músicos en juego han llevado esta música a una dimensión aún más lejana que la de los temas originales. Seguramente el guitarrista de Mahavishnu, John McLaughlin (quien escribió algunas de las notas para este disco) nunca esperó escuchar sus composiciones interpretadas por una Big Band, y ha comentado que la música en este disco es una revelación para él…

Derribar la Clausura de un "Mundo Muerto"

Protestas populares y sentidos de lo común en tiempos de pandemia, rutas de fuga, revuelta y re-existencia en América Latina: La pandemia del nuevo coronavirus ha saturado absolutamente todo. Incluso la memoria, que ya venía siendo atropellada y convulsionada permanentemente por el eterno presente de esta sociedad hiper-informada, inundada de datos, imágenes, video-cápsulas, memes y múltiples acontecimientos impactantes. Así que, como un acto para recobrar el aliento, como quien sofocado se quita el tapabocas para tomar una bocanada de aire fresco, hagamos nuevamente memoria de vida, recordemos los meses y semanas atrás, que determinaron todo 2019: calles calientes, millones de voces; marchas, piquetes, pancartas, consignas, pañuelos, enjambres, multitudes. Corazones latiendo, rabia, anhelo, hartazgo, esperanza. Chile, Ecuador, Colombia, Haití, Perú, Honduras, Puerto Rico, Venezuela, Costa Rica, Bolivia, Nicaragua; y fuera de las tierras del Abya Yala, Hong Kong, Francia, Irak, Líbano…

Luis Alberto Spinetta - Un Mañana (2008)

#Musicaparaelencierro. Algo que estabamos debiendo desde hace un tiempo y viene bien para empezar un día de mal clima y mucho virus. Hay que ponerles ganas y qué mejor que algo del Flaco, y gracias al aporte de José Ramón que sigue contribuyendo al salvataje de sus conciencias y su psiquismo a fuerza de pura música... Y nada menos que con un disco que fue Gardel De Oro, votado como el mejor disco del año y nominado para el Grammy Latino. El Flaco, fue cantante, guitarrista, poeta y compositor como ningún otro logró ser, y este no es sino otro ejemplo de ello.

Artista: Luis Alberto Spinetta
Álbum: Un Mañana
Año: 2008
Género: Rock
Duración: 56:41
Nacionalidad: Argentina

Les dejo otro del Flaco:

Un mañana es el decimotercero y último álbum de estudio de Luis Alberto Spinetta grabado en el año 2008. Mantiene una marcada línea jazz-rock. El corte de promoción fue Preso Ventanilla, del cuál salió un video-clip. El álbum fue elegido el mejor del año en una encuesta realizada por la website Rock.co…

Áuryn - Antes de Cerrar los Ojos (2020)

#Músicaparaelencierro. Luego de varios años de idas, venidas, retrasos, grabaciones, separaciones, producción y demoras varias, al fin nos llega el LP de Áuryn, una gran banda que habíamos presentado en el blog cabezón cuando apenas eran unos purretes. Hoy se traen un magnífico trabajo bajo el brazo, por lo que demuestran que la espera valió la pena: mucha destreza, ritmo, potencia, melodía, buen gusto, poesía,en una explosión de creatividad, destreza, energía, imaginación y buen gusto. Por eso, ya es hora de dejar de lamentarse porque su disolución representaba un gran disco que había quedado en el veremos, al fin podemos escuchar a estos grandes músicos y sumamos otro nuevo y gran disco a nuestra colección de discos recomendados. Tremendo trabajo recomendado al 100%. Un disco que parece destinado a erigirse como uno de los más notables ítems de prog argentino del presente (y apestado) año 2020. A no perdérselo!

Artista: Áuryn
Álbum: Antes de Cerrar los Ojos
Año: 2020
Género: Heavy prog
D…

Frank Zappa - Waka / Jawaka (1972)

#Musicaparaelencierro. Zappa parecia estar avanzando hacia un tipo mas elaborado de musica, explorando y creando nuevis pasajes de sonido, color e intensidad. Una continuación de "Hot Rats" que define la trilogía junto con "The Grand Wazoo", un disco con mucho jazz-rock en la línea de "Bitches Brew" o "In a Silent Way" de Miles Davis y de los primeros grupos que se registran en éste género, y las comparaciones van más allá de los musical, porque el genio inquieto de Zappa -al igual que como Miles- le impedía permanecer mucho tiempo haciendo lo mismo (hormigas en el culo dirían algunos). Más Zappa ahora de parte de Carlos el Menduco para que disfruten a lo grande, y que no se olviden del blog cabezón...  otro de los imprescindibles de Zappa y que conforma la gran trilogía jazzística de nuestro Frankie querido.

Artista: Frank Zappa Álbum: Waka/Jawaka
Año: 1972
Género: Rock / Progressive rock / Experimental / Jazz / Psychedelic rock
Duración: 36:08
Naci…

Genesis - Genesis (1983)

#Musicaparaelencierro. Lisandro nos presenta este disco que estaba fuera de la discografía publicada en el blog cabezón, hasta ahora. Y corresponde a la continuación de "Abacab", con su sonido modernizado y ochentoso, el cambio del progresivo a un sonido mas accesible para las masas y radiable a traves de la todopoderosa FM, dejando de lado las orquestaciones, el sinfonismo y los arreglos ambientales que tanto se dejaban apreciar en los albumes de los 70's. También la partida de Steve Hackett en la guitarra fue un duro golpe a la creatividad de los Genesis de mediados de los 70's en adelante. Aquí viene bien lo que publicó Raúl cuando presentó ese disco: "Lo bueno del arte, en cualquiera de sus vertientes, es la diversidad de opiniones. ABACAB representa un cambio fundamental en las técnicas de grabación. lógicamente de la mano del nuevo productor de Genesis, Hugh Padgham. En esta fase reconozco el valor de ese álbum. Pero casi todo Genesis tiene belleza de dist…

Cuicanitl - Sólo voces (1999)

#Músicaparaelencierro - Traemos de vuelta este discazo que habíamos reseñado hace algunos años, al recordarlo a través de una de sus participantes (Maggie Díaz del Castillo) cuya música acabamos de conocer en Bandcamp. Aquí se reunieron tremendxs jazzistas mexicanxs bajo la coordinación de Iraida Noriega y Dante Pimentel.

Artista: Cuicanitl Álbum: Sólo voces
Año: 1999
Género: Jazz vocal
Duración: 45:15
Nacionalidad: México
Cuicanitl fue una agrupación única: un cd, Sólo voces, y unos años de presentaciones haciendo música sin otra cosa que el propio cuerpo. Cada uno de los y las integrantes de esta agrupación tiene una luminosa trayectoria propia (que continúa hoy, 20 años después). Entre los quince temas (once y la “Suite a Don Cherry” en cuatro movimientos) incluidos en este disco, no hay una voz que predomine, ni opacando el trabajo coral, ni en el sentido conceptual: nadie dirige, cada tema tiene una comunicación horizontal entre las voces mientras se distribuyen las tareas armónicas y r…

Quique Sinesi & César Franov - Sonidos de Aquel Día (1987)

#Músicaparaelencierro. Alan se va acomodando y sintiéndose a gusto en el blog,  así que ya se está preparando para publicar sus propios posteos, mientras tanto nos presenta el primer disco del gran guitarrista argentino Quique Sinesi, el legendario "Sonidos De Aquel Dia" en colaboración con César Franov. He aquí el encuentro memorable entre el guitarrista Quique Sinesi (Dino Saluzzi, Raices.etc.) y el bajista Cesar Franov (Grupo Encuentro, Spinetta Jade, etc.) en este disco invalorable grabado en 1987 por dos grandes músicos. Es un disco importante puesto que es un trabajo en el que confluyen muchos géneros. Aquí, una caricia para el alma y los oídos, como para empezar bien el día.

Artista: Sinesi - Franov
Álbum: Sonidos de Aquel Día
Año: 1987
Género: Jazz rock ecléctico
Nacionalidad: Argentina


Podríamos asegurar que Quique Sinesi es uno de los mejores guitarristas de Argentina, ha estado trabajando en el folklore tirando al jazz en bandas como Alfombra Mágica o en trabajos de fol…

Ideario del arte y política cabezona

Ideario del arte y política cabezona


"La desobediencia civil es el derecho imprescriptible de todo ciudadano. No puede renunciar a ella sin dejar de ser un hombre".

Gandhi, Tous les hommes sont frères, Gallimard, 1969, p. 235.