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Melanie Charles: Y'all Don't (Really) Care About Black Women
by Angelo Leonardi
Questo primo album della cantante Melanie Charles per l'etichetta Verve apre alla cantante di Brooklyn un pubblico più ampio della nicchia dove ha operato finora: quell'universo dove s'incontrano nu—jazz, neo—soul, spiritual jazz e sperimentazioni elettroniche con campionamenti e remixaggi. Attiva da un decennio in quest'area la Charles non è solo una splendida vocalist ...
Ohisashiburi: Reimagining The Beatles
by Chris May
One might imagine that making an album of Lennon & McCartney covers is as easy as falling off the proverbial log. Not so. For starters, even if the listener has never bought a Beatles record in his or her life, they will have heard the songs countless times and boredom may have set in. More than ...
Whatitdo Archive Group: The Black Stone Affair
by Chris May
Great music recorded in the 1960s and 1970s, never previously released and thought to be lost forever, continues to be unearthed. In 2018, there was John Coltrane's Both Directions At Once: The Lost Album (Impulse!). In 2019, there was Miles Davis' Rubberband (Warner Bros). Now, in 2021, comes another historic discovery: the long-lost soundtrack of visionary ...
Nicola Conte & Gianluca Petrella: People Need People
by Chris May
For over twenty years, the Italian producer, composer and guitarist Nicola Conte has pursued a resolutely independent path in jazz and jazz-related music. The Schema label, with whom he has almost exclusively partnered since his breakthrough album, 2000's acid-jazz masterpiece Jet Sounds, is based in the fashion-centric northern city of Milan. But Conte nearly always records ...
Meroli: Notturni
by Chris May
Jazz has a great track record when it comes to film scores. Standouts include Miles Davis' soundtrack for Louis Malle's Ascenseur Pour L'échafaud (1958), Charles Mingus' for John Cassavetes' Shadows (1959) and Krzysztof Komeda's for Roman Polanski's Knife In The Water (1962). There are dozens more, particularly from the 1950s and 1960s, before rock became the ...
Nicola Conte: Good Juju From Italy’s Spiritual Jazz Shaman
by Chris May
Ever since his debut album, the acid-jazz masterpiece Jet Sounds (Schema), in 2000, the producer, composer, DJ and guitarist Nicola Conte has kept the jazz world guessing by constantly moving the goal posts. The trumpeter Miles Davis famously said, “I always gotta change. It's like a curse." But with Conte, it feels more like a blessing, ...
The Invisible Session: Echoes Of Africa
by Chris May
It is surely no coincidence that the Ishtar family of labels— tagline “Modern Sounds from Italy"—is based in Milan, that most stylish and go-ahead of Italian cities. New imprint Space Echo's launch release is The Invisible Session's sophomore album, Echoes Of Africa, and it slots right into Ishtar's sophisticated aesthetic, which exists at the intersection of ...
Gaetano Partipilo: Boom Collective - Live Somewhere
by Chris M. Slawecki
Italian saxophonist Gaetano Partipilo has been playing and studying music since he was eight. After conservatory studies, Partipilo was engaged to perform by the likes of Mark Murphy, Enrico Rava and Tony Scott. Having spent several months in New York City, Partipilo returned to Italy where he formed the Urban Society project, with whom he recorded ...
Places in Space, in Time
by Chris M. Slawecki
Abraham Inc. Together We Stand Table Pounding Music 2019 “Ever since I formed Klezmer Madness! in the mid 1990's I've been exploring the possibilities of adding funk, jazz, and lately hip-hop influences to klezmer," explains David Krakauer, an expert clarinet voice in jazz, klezmer and classical ...
About Nicola Conte
Instrument: Multi-instrumentalist
Results for pages tagged "Nicola Conte"...
Nicola Conte
To comprehend fully Nicola Conte's music originality and sensibility we should refer, together with his productions, to the unavoidable Fez's activity, a cultural movement founded by Conte himself in Bari in the early nineties. A real melting pot of several creative musicians, who first of all are friends and grew up together with the same intellectual, music and political similarities. Cultural trouble-makers, emotional dreamers, Jazz enthusiasts of the fifties and sixties, deep "nouvelle vague" connoisseurs, compulsive vinyl collectors, design and graphic experts, people crazy for cultural beat and books written by revolutionaries like Jean Paul Sartre and Boris Vian. The atmosphere at Fez seemed to be the same detectable at Tabou, the legendary "caveau" in Saint Germain de Pres, described by Vian himself
