Friday, 30 October 2020
Wednesday, 28 October 2020
It seems almost criminal that his solo works are almost forgotten. On this blog I presented the stunning progressive songwriting collaboration he made with Thomas Korberg (from the well-known Swedish band Made in Sweden, followed by Solar Plexus)-- an LP which remains for me one of the most beautiful albums I have ever heard in this lifetime of seeking out advanced and unique music; but following this he made three more albums of which the (prog) highlight is Music for Music Lovers (1983). For music lovers indeed-- no simple-minded commercialese-enamoured lowlife with a small acoustic cerebral hemisphere could ever enjoy this intellectual, advanced, delicately varied, and very thoughtful album and I can only imagine what a horrific reception it must have received in the year 1983 when everyone was obsessed with Duran Duran, simple chords on digital drums, and I want my MTV. The title track pretty much says (musically) it all:
Before anything more, Stefan Nilsson:
Swedish composer and pianist, born 27 July 1955 in Kukasjärvi, Sweden.
Subsequently Stefan made this instrumental piano concerto-type record with an easy listening style string orchestra-- well, I should say it's more of a complete classical orch, don't want to insult anyone-- presumably to showcase his classical composition skills. I can't imagine how unpopular this must have been in the mid-80s when already 'muzak' had such a bad rep. This is not as progressive as the previous record, though he is capable of some very intriguing composition as in the track very atmospherically called Morning Mist:
Strings from the Royal Opera House Orchestra
Monday, 26 October 2020
It's true, both the artist name and the title of the album are a little nauseating. And the cover too!
But pull out the ondansetron then because the music is really not that bad. At least, some of it isn't, the covers or rather jazz standards must be excised of course, like the metastatic carcinomas that they truly are, but then some beautiful shapes can be discerned in the twilight.
The band made only one album, in 1978. It's the usual mix of light jazz with some female vocals, a bit of that scat (short for scatological perhaps?) annoyingness, sometimes elevating to better composition, for example Dance with the wind, by Peter Sprague:
Friday, 23 October 2020
I'm grateful that those who requested this did so.
Wednesday, 21 October 2020
As a pianist, his virtuosity is undeniably brilliant.
Part of the big interest of this record too is that it's one of those 'tax scam labels' I think which I talked about (really just quoted a more knowledgeable guy) here in this post.
It would be so cool if you had the time and money to buy every album to listen to from Tiger Lily to see if there are lost treasures in there!!
Monday, 19 October 2020
Charly Antolini in Atomic Drums, Knock Out, Antolini Live, Countdown, Special Delivery (1972 to 1980), and the Catch Up Albums (1975, 1976)
Jazz drummer, born 24 May 1937 in Zürich, Switzerland, now living in Munich, Germany. Appears on records since the 1950s with artists like Bill Coleman (2), Wolfgang Dauner, Eugen Cicero, Stuff Smith, Baden Powell and Lionel Hampton or Benny Goodman in the 1980s. He also played in the dixieland group "The Tremble Kids" and the German big band of "Süddeutscher Rundfunk". Has been a band leader and session musician. At present he tours regularly with his band "Jazz Power".
Perhaps everyone knows the two Catch Up albums which were made in the mid-seventies with the great bassist/composer/library guy Milan Pilar and pianist Max Greger Junior, they were really wonderfully accessible fusion explorations with some nice ideas and that sweet sweet variation in moods typical of Euro-fusion, at times delicate and thoughtful, at times super-high energy. The remainder of Antolini's discography was somewhat disappointing, being quite percussion-dominant, which is not conducive to resolving my frequent migraines problem, though the 1980 LP Special Delivery in which he assembled a big band to play some funky more jazz-based fusion was the best that I heard.
I bought and ripped the LP so you can get off on the beautiful sound of the instruments, bar the (boring, sorry to the percussionists out there) drum solos that necessarily permeate the opus. Thank god we are gifted today, in the age of social media, with the ability to fast forward without more than moving one finger, as opposed to moving our entire bodies as we were forced to do back when this record was first made, walk over to the record player, lift up the needle, and advance to an unknown place somewhere into the future of musical time. Thank god we have social media too!! And thank god for twitter! Boy is it ever helpful for politics! Just miraculous. I mean, the things that social media has done for democratic institutions, it's just priceless. Should be canonized by the pope just like that teenager who made the website for miracles. And I recommend you ready that story--a heart-warming story indeed. It is. Anybody have a clean doggie bag?
Notice the compositions are handled by such luminaries as bassist Wolfgang Schmid (I should do a post just on his stuff, starting with his Wolfhound and moving on he produced some really amazing fusion in his own right which I collected long ago), and keyboardist/arranger Dieter Reith, also a well-known, highly visible Goth Fusioneer. His stuff also probably well known to all fusion fans.
Again you'll note I added the compositional credits which to me, but no one else I think, are highly valuable. Wolfgang Schmid's The Pump contribution melds together disco and fusion in an altogether successful (?) manner:
I subsequently found a wonderful Milan Pilar library from 1980 I hadn't known before full of interesting progressive ideas, funky sounds, amazing atmospheres painted in music, etc., it's this one, and I included it down below:
And what a wonderful cover photo too!!
Saturday, 17 October 2020
I suppose I should delve further on in his discography past that one but as usual I'm quite terrified by the idea of getting into really new agey fuzak stuff which I'm sure happens sooner or later. Especially when you take a look at the titles of some of those later works.
Friday, 16 October 2020
Beautiful cover painting! And surprising for the late year, 1986. Looking on the back I see the 'cover' has been credited to Gyémánt László and the graphic design to Henk István. I'm entranced by the way he has depicted the chest of the woman who looks to be in either jeans or casual pants, like a modern day statue of the revolution.
I'm guessing the database isn't complete for Gonda Janos, since it seems awfully sparse to me. You might be familiar with the great album he made in 1976 with Gonda Sextet with its very dark and Hungarianly pessimistic ethnic-progressive fusion sound. I was curious about this record because of the involvement of Richard Kruza, who I posted before, here. The third guy is jazz pianist, Pleszkán Frigyes, who contributed two tracks. Gonda does most of the heavy lifting here, we have mostly jazz piano but occasionally some brilliance and synthesizer work shine through.
A3 Zene Három Tételben - Music In Three Movements by Gonda is very clearly progressive and stands out to me as the best written composition:
Wednesday, 14 October 2020
So beautifully arranged too, with the 'fake trumpets,' 'fake strings,' all the digital instruments pretending to be a full orchestra but with all the right touches, like a master's painting with a wealth of detail, the more you look, the more you find.
Monday, 12 October 2020