Luigi Bonafede Gruppo Jazz - Locomotiva - 1976

This is an important record for me, not only because it contains a piece of the sound of Luigi Trovesi, or because documenting the research, the validity and the beauty of the music of Luigi Bonafede.
This is an important record for me, because I was always given an idea of community, exchange, collaboration genuine and spontaneous, as well as a strong passion and a desire to document the moment.

Even the cover says this:
the ecstasy of enjoyment after creating (Bonafede n°1), the exchange of glances and thoughts (Trovesi, Terzano and Marsano, n°2, 6 and 4), the satisfying search continues (Marchesini and Pellegatti, n°3 and 5, discuss over a copy of Transition by John Coltrane) and then the friendship, art, literature, the smoke and the music enclosed in a single room represented in those splendid 12-inch or 31x31 cm.

And then the music, music that pulls forward, pushing the head in the right, taking account also the last of his wagons because, you know, in the stations of life, you can always reverse the direction, but the link should not be interrupting ...

For this reason, I consider this an album for jazz collectors, real ones.
Or better still, this is an album for jazz lovers, because it represents them, describes them and tells of them better than a thousand useless words mine.

I dedicate this post to Alessandro of Bergamo who contacted me after recognizing some records, that he sold me long time ago, on my blog dedicated to HORO label.
Recognized, you understand, as it does with the children away and loved for a long time, even forever, though now they no longer live in the same house.

Here, this is jazz: liaison, exchange and passion.
Thanks Ale, thank you mate.

Credits:

Bonafedegruppo Jazz - Locomotiva

Label: ARISTON
Catalog# AR LP 12314
Format: LP
Country: Italy

Recorded in Milan, 1976

Luigi Bonafede (piano), Gianluigi Trovesi (soprano sax, alto sax),
Alberto Marchesini (el. guitar), Paolo Marsano (fender bass),
Paolo Pellegatti (drums), Lucio Terzano (bass on #A1, A2, B2)


Tracklisting:

Side A

A1) Locomotiva - 9'44"
A2) Verano - 8'27"

Side B

B1) Stranezza - 6'16"
B2) La Notte - 6'00"
B3) What's Up That's It - 8'13"

Amedeo Tommasi Trio + Conte Candoli - Jazz in Italy n°11 - EP CETRA 50

Secondo "Conte" Candoli (July 12, 1927 - December 14, 2001) born in Mishawaka, Indiana, is the second of two brothers, both trumpeters, born into a italian family of origin Emilian (Cesenatico, Forlì).
Their father was also a brass player, an amateur musician.

In '43 he was recruited by Woody Herman with which remains several years, participating in many of the most famous recordings of the Orchestra.
In 1948, he enters in the Stan Kenton Orchestra, in the same period in which there were Frank Rosolino, Lee Konitz, Zoot Sims, Stan Levey and Bob Burgess.
Is with this orchestra that, between 1950 and 1951, Conte Candoli came for the first time in Italy.

Conte and Sal Salvador at Birdland with Stan Kenton in the 50's.

In 1960 and ‘61, Conte joined Gerry Mulligan’s Concert Jazz Band, with Bob Brookmeyer and Bill Holman and toured for several weeks in Europe.
And this time, November 15, 1960 in Milan, which Conte records for the series "Jazz in Italy" by CETRA, with the trio of Amedeo Tommasi.
During his long career, Conte has played also with the orchestras of Benny Goodman, Dizzy Gillespie, and in Doc Severinsen's NBC Orchestra on The Tonight Show.

There are two reasons that prompted me to publish this EP:

The first is that the Italian-American jazz musicians, should dedicate a book, and instead, just in their country of origin, there is very little literature.
I think of Joe Venuti, Lennie Tristano, Tony Scott, Frank Rosolino, Jimmy Giuffre, Scott La Faro, but also to Nick La Rocca, Eddie Lang or Tony Sbarbaro and more.

The second is that this series is extremely rare, almost impossible to find where it was printed, but very famous in Japan...

Well, strange land, mine.

Credits:

Jazz in Italy n° 11

Label: CETRA
Catalog# EPD 50
Format: EP
Country: Italy

Recorded in Milan, November 15, 1960

Conte Candoli (tp),
Amedeo Tommasi (p),
Giovanni Tommaso (bass), Franco Mondini (drums)

Tracklisting:

Side A

Sposin' - 5'45"

Side B

Chambers Blues - 5'20"

Nuove Tendenze Del Jazz Italiano Vol.2 - 1975

Born in an antifascist family (his paternal uncles had been seriously engaged in the antifascist resistance during World War II), Sergio Veschi supports the political struggle, especially that of the students and juvenile movements of his town and, in particular, that of Milan State University where he is enrolled as a working student in the faculty of political science, also holding some leading roles in the years 1969-73.

Towards the end of his political militancy he is asked to organize jazz concerts within the cultural activities promoted by the Movement.

Therefore, he organizes different concerts with American and Italian groups in the years 1973-76, among which Max Roach quartet, Don Cherry, Mal Waldron, Sam Rivers and others. He is also concerned with the promotion and diffusion of jazz music, mainly addressed to young people and workers, involving several Italian jazzmen, which leads to a famous (for that time) Italian Jazz Festival in the Main Hall of Milan University between late 1974 and early 1976.
From which, on his own initiative, 5 live records are taken and distributed by by ECP (Editions Culture Popular) an independent label which no longer exists.

These records are:
VPA 101 Giorgio Gaslini Quartet - Concerto della Resistenza
VPA 102 Claudio Lo Cascio New Jazz Society - South-East Pipe-Lines
VPA 103 Mario Schiano - Concerto Della Statale
VPA 104 Quartetto di Guido Mazzon - Ecologia Ecologia
VPA 105 Patrizia Scascitelli - Patrizia Scascitelli

The night when Alberto Alberti called him to suggest to record the trio of Sam Rivers ("The Quest" VPA 106), passing through Italy from Hong Kong to attend the Bergamo Jazz Festival, comes the Red Records, a longest label of Italian jazz, defined by Joe Henderson "The Blue Note of Europe".
This record, and the previous one (VPA 107), witness the end of one of the most important Festival ever organized in Italy and, at the same time, the birth of one of the labels that have contributed to record the history of Jazz.

Credits:

Nuove Tendenze Del Jazz Italiano Vol.2

Label: Edizioni di Cultura Popolare
Catalog# VPA 108
Format: LP
Country: Italy

Recorded at the State University of Milan, 1975,
November 28, 29 and 30


Tracklisting:

Side A

A1) Metamorfosi Mediterranea - 13'55"
CADMO:
Antonello Salis (p), Riccardo Lai (bass), Mario Paliano (drums)

A2)
a) Tarantolata - 2'10"
b) Spagna Libera - 3'30"
Pino Distaso (g)

A3) Ictus
Andrea Centazzo (perc)

Side B

B1) Itinerari - 13'55"
O.M.C.I.
Renato Geremia (fl, viol, p), Mauro Periotto (bass), Toni Rusconi (perc)

B2) Moto Continuo - 5'50"
Piero Bassini (p)

Nuove Tendenze Del Jazz Italiano Vol.1 - 1975

There was a time when the Jazz was participation, sharing, community, social and research.
There was a time ...

Credits:

Nuove Tendenze Del Jazz Italiano Vol.1

Label: Edizioni di Cultura Popolare
Catalog# VPA 107
Format: LP
Country: Italy

Recorded at the State University of Milan, 1975,
November 28, 29 and 30


Tracklisting:

Side A

A1) Sonia - 8'20"
Giorgio Gaslini (p), Bruno Tommaso (bass), Andrea Centazzo (drums)

A2) 3/4 di Rivoluzione - 10'00"
Guido Mazzon (tp, p), Edoardo Ricci (alto sax),
Roberto Bellatalla (bass), Toni Rusconi (drums)

Side B

B1) Medley - 12'15"
a) Quella Vecchia Leggenda
b) Contraddizione
c) For Jelly Roll
Gaetano Liguori (p),
Roberto Del Piano (el. bass), Filippo Monico (drums)

B2) Gifte telli - 7'08"
Claudio Lo Cascio (p), Renato D'Anna (el. vl), Rosario Vizzini (g),
Franco Messina (el bass), Salvatore Cammarata (drums)