CADMO with Massimo Urbani _ 1978

«Antonello Salis faceva parte dei CADMO, l'unico gruppo sardo che all'epoca era riuscito a varcare il mar Tirreno, ad andare a vivere fuori ed avere successo. Successo fra parentesi: noi non lo sapevamo ma erano arrivati a Roma con un furgone e vivevano fuori del Music Inn; Antonello, per sopravvivere, andava a scaricare le cassette di frutta ai Mercati Generali di via Ostiense! Io conservavo con amore la registrazione in cassetta di un concerto fatto nella capitale dai CADMO. Questo per dirti la devozione, la reverenza e la stima che avevo nei confronti di Antonello»[1]

«Massimo Urbani era l'uomo degli estremi, nel bene e nel male, ma alla fine sempre pronto e gentile con me che ero agli inizi. Ho appreso molto da lui e ho appreso soprattutto l'arte del fare posto all'esigenza e all'urgenza creativa senza dimenticare il colore del suono e, anche se non sempre, la magia dello spazio. Massimo è stato il predecessore del jazz odierno. Di quel jazz che ridiventa musica popolare com'era stato dagli anni Venti fino agli anni Sessanta. Max è stato forse il primo musicista del dopoguerra a venire dal popolo e dalla borgata come io vengo dalla campagna e dalla terra. Era un musicista che si è fatto da solo e che non deve niente a nessuno! [...] Massimo era la quintessenza dell'energia e della trasparenza vera, senza maschere attoriali. Insomma, il distillato della semplicità! [2]

***

CADMO WITH MASSIMO URBANI _ 1978

Label: Edizioni Dell'Isola

Catalog#: EIJ 2026

Format: LP

Country: Italy

Recorded at Rome on 1978

Antonello Salis (p),

Riccardo Lai (bass), Mario Paliano (drums)

special guest

Massimo Urbani (alto sax on #B2)

***

CADMO with Massimo Urbani Side A

CADMO with Massimo Urbani Side B

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[1] Paolo Fresu “Talkabout” con Luigi Onori; Stampa Alternativa, 2006 

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[2] Paolo Fresu “Musica Dentro”; Feltrinelli, 2009

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)

CADMO & Massimo Urbani - Flying over Ortobene mount on July Seventy-seven

I CADMO born in Alghero (Sassari, Sardinia) in 1973 as a quintet which soon became a trio, consisting of Riccardo Lai on electric bass and Mario Paliano on drums, as well Antonello Salis on piano and Hammond organ.

I CADMO are remembered as one of the most original of the Italian scene of those years, capable of blending progressive rock with free jazz and traditional music from Sardinia.

In 1975 the three moved to Rome, where they performed at the Music Inn, the most important jazz club in town, and begin to come into contact with the musicians of the Roman scene.

In the same year i CADMO recorded in the studio the first of their two albums, entitled "Boomerang."
In 1975 i CADMO cooperate with Massimo Urbani, Maurizio Giammarco, Tommaso Vittorini, Enzo Pietropaoli and Roberto Gatto, and, in the same year, recorded their second album, "Flying over Ortobene mount on July Seventy-seven" and known in Rome Lester Bowie.

This meeting will deeply mark the group.

Later, played with CADMO also Sandro Satta and Danilo Terenzi.

Credits:

Label: Edizioni Dell'Isola

Catalog#: EIJ 2026

Format: LP

Country: Italy
Recorded at Rome on 1978

Antonello Salis (p),

Riccardo Lai (bass), Mario Paliano (drums)

special guest

Massimo Urbani (alto sax on #B2)

Tracklisting:

Side A

A1) Julius Mountain's

A2) Flying over Ortobene mount on July Seventy-seven

Side B

B1) Linea AZ

B2) Giuggiole