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lamilanomagazine · 1 year

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Lecce: La Fiera d'Arte Messapia dal 24 aprile al 7 maggio 2023

Lecce: La Fiera d'Arte Messapia dal 24 aprile al 7 maggio 2023. La Fiera d'Arte Messapia si prepara a celebrare l'arte contemporanea nella suggestiva cornice del centro storico di Lecce dal 24 aprile al 7 maggio 2023. Questo prestigioso evento, organizzato da "darte studio", metterà in mostra un'ampia gamma di opere d'arte, tra cui pittura, scultura e installazioni, in diverse location del centro storico leccese: all’interno anche una mostra evento dedicata ad Ugo Tapparini. La Fiera d'Arte Messapia che si aprirà simultaneamente lunedì 24 aprile alle 18 in tutte le sedi (il Must apre martedì mattina), ospiterà oltre 60 artisti provenienti da tutta la nazione, con opere che spaziano tra differenti linguaggi e tecniche artistiche: un brindisi ufficiale di apertura è previsto il 24 alle ore 19 presso la Galleria Maccagnani. Infatti lunedì 24 aprile, per l'occasione dei novant'anni della nascita dell’artista leccese Ugo Tapparini (1933-2016), si aprirà la personale a lui dedicata presso gli spazi della Galleria Maccagnani, in via Vittorio Emanuele II n° 58. Sarà infatti possibile visitare un allestimento riservato al grande maestro leccese sempre nell'ambito della fiera. Una ventina di opere inedite di Tapparini, appartenenti alla collezione del dott. Eugenio Serratì, racconteranno l'artista attraversando diversi decenni della sua prolifica immaginifica produzione. Il programma dell'evento prevede una serie di mostre tematiche, incontri con gli artisti, performance ed eventi musicali, suddivisi in diversi appuntamenti da giovedì 27 aprile nelle diverse sedi; la direzione artistica è di Andrea Tapparini. La Fiera d'Arte Messapia mira a promuovere l'arte contemporanea e a creare un dialogo tra artisti e appassionati d'arte, offrendo un'esperienza culturale unica nel suo genere nella città di Lecce. L'evento, che ha il Patrocinio del Comune di Lecce e della Provincia di Lecce, è gratuito e aperto al pubblico tutti i giorni, tranne che per il MUST che rispetterà la chiusura ordinaria del lunedì. Gli orari di apertura delle location sono dalle 11:00. Programma appuntamenti Fiera d'Arte Messapia: Giovedì 27 aprile dalle 18.30 sarà possibile ammirare performance di vario genere presso San Francesco della Scarpa, accedendo da Piazzetta Giosuè Carducci (Convitto Palmieri) a latere della mostra di 20 artisti. Il performer salentino Massimiliano Manieri stupirà il pubblico con un evento performativo inedito dal titolo “Perceptual Border”. Seguiranno: performance musicale di Francesco Gauna Rizzo; perfomance di live painting della calligrafa Marta Lagna e mostra di sculture di Carmelo Leone (eventi curati da Luisa Carlà); installazioni della giovane artista tarantina Serena Manca. Venerdì 28 aprile, dalle 18:30 presso Palazzo Turrisi (Via Marco Basseo, 16) a latere della mostra di 25 artisti, si terranno i laboratori curati da "Leda", associazione culturale leccese attiva nel campo della mediazione del patrimonio storico-artistico. Seguirà una tavola rotonda di presentazione della Fiera d'Arte Messapia con interventi dell’Assessore del Comune di Lecce Fabiana Cicirillo, di Claudio Casalini, Michele Pieroni e Andrea Tapparini, curatore dell'evento. L'appuntamento sarà accompagnato da un aperitivo con sottofondo musicale del dj Aremich e una performance di Massimiliano Manieri dal titolo “Palestina: modalità di abuso”. Sabato 29 aprile invece, l'appuntamento è presso la sala Off Gallery del MUST (Museo storico della città di Lecce) in via degli Ammirati 11, durante il quale si susseguiranno proiezioni e sonorizzazioni a latere della mostra di 15 artisti in corso. Dall’1 al 5 maggio sarà possibile scoprire uno speciale intervento artistico inedito di Carmelo Leone presso la Fondazione Palmieri in vico dei Sotterranei. “Sono estremamente felice del grande successo ottenuto durante la settimana dell'arte "DARTE ART WEEK" di luglio 2022 - spiega Andrea Tapparini direttore artistico della manifestazione - e mi fa piacere proseguire nel valorizzare l'arte e gli artisti contemporanei a Lecce che, a mio avviso, anche grazie a manifestazioni come questa stanno guadagnando sempre più spazio e apprezzamento. Peraltro Lecce si dimostra una città capace di accogliere e valorizzare la cultura artistica, proiettandosi verso un futuro ancora migliore. Voglio ringraziare l’Assessore Fabiana Cicirillo ed il Comune di Lecce per aver patrocinato la manifestazione, così come anche il Presidente della Provincia Stefano Minerva e la Consigliera provinciale con delega alla cultura Paola Povero, e tutti coloro che stanno credendo nel nostro lavoro cercando di supportare le iniziative in maniera concreta”. La Fiera d'Arte Messapia è un'iniziativa di grande valore culturale che celebra l'arte contemporanea e il talento di artisti provenienti da diverse realtà e paesi. Non perdete l'occasione di visitare questo straordinario evento e di immergervi nel mondo dell'arte a Lecce.... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

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thesunlounge · 5 years

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Reviews 298: Afrodesia

It began with a phone call between then Best Record label manager Marco Salvatori and Dario di Pace, a producer well known for his esoteric grooves as Mystic Jungle and his work with Raffaele ‘Whodamanny’ Arcella and Enrico ‘Milord’ Fierro in freakadelic collective The Mystic Jungle Tribe (as well as their record labels Periodica and Futuribile). The two were discussing a brief yet magical period in the 80s referred to as the “Afro-Italian movement,” one specifically centered on Les Folies Studio in Milan and artists/producers such as Daniela Paratici, Ennio Ronchelli, Daniele Losi, and Roberto Barocelli, which saw forward thinking combinations of analog synthesis, vocal exotica, machine drumming, hand percussion, and live instrumentation used to craft expansive adventures in paradise disco and fantasy jazz fusion (prime examples of which are Roberto Lodola’s Marimba Do Mar, released by Best Record earlier this year, Helen’s Zanzibar and Tunis Tunis, and Losi’s Tom Tom Beat). Yearning for the timeless groovescapes of these productions...especially Lodola’s far out “Afro” mixes...and seeking to bring the same exploratory spirit into modern times, Salvatori, Mystic Jungle, and Whodamanny decided to join forces for a project called Afrodesia: an ambitious undertaking marrying the interstellar groove and future funk mastery of Mystic Jungle’s and Whodamanny’s synths and drum machines with a cast of live musicians featuring Giulio Neri, Andrea Farias, Davide “Duba” Di Sauro and the late Italo-Nigerian percussion master George Aghedo, who appeared on many of the original recordings from which this project takes its inspiration.

Simply titled Episode One, the Afrodesia 12” marks an exciting new chapter for Best Record Italy, as it is the first release of original material from the label since the early 90s. After having closed shop during that time due to poor sales, Claudio Casalini’s influential label reformed in 2014, with Salvatori joining the operation and helping it ascend towards the upper echelons of Italo reissue quality. And now, having rescued an almost unbelievable number of obscure or rare dancefloor treasures, at least a few of which have become all time favorites, change is in the air, for Salvatori is embarking on his own new venture called Spaziale Recordings, while Casalini will continue leading Best Record as always. As well, the Afrodesia 12” sees Periodica and West Hill Studio main men Mystic Jungle and Whodamanny further refining their already sorcerous production skills, this time augmenting their Casio, Yamaha, and Roland synths and old skool rhythm boxes with saxophones, guitars, and perhaps most arrestingly, dreamy Afro atmospherics and heavenly voice harmonies from Arcella and Neri. But if you’ve been following the West Hill crew as closely as I have, these forays into worlds of African and Italian pop romance are hardly as surprising as they seem, for both Whodamanny and Mystic Jungle have been increasingly experimenting with vocal and pop textures to great effect, whether through Marcelo Antonio’s JKRNDA 7” on Futuribile Record Club, the vocoder sexualities of Mechanismo, di Pace’s co-production on Modula’s deep soul groover “Argonauta (I’ve Been So Lonely)," or Arcella’s journeys into vocal sensuality and synth-pop ecstasy on The Dance Sucker.

Afrodesia - Episode One (Best Record Italy, 2019) Helen’s “Zanzibar” is referenced directly by Afrodesia’s “Deep Down in Zanzibar,” which re-purposes lyrics and licks from that classic into a joyous new form. Snake tails introduce a low down disco beat, with cowbells ringing, güiros scraping, and timbale fills crashing through the stereo field. Hats and snare hold down the groove while cymbals generate waves of static and as the kick drum cuts away, claps delay into the void. All of a sudden, a greased up funk riff enters, with Duba’s bass guitar slithering around the fretboard, all fat-bottomed warmth walking through a tropical paradise. Quacking wah guitars percolate in as the kick drum returns to guide us through Afro-Italo dream worlds, with wiggling synth leads crawling across the sky and e-pianos generating balearic atmospheres. At some point, synths tuned like 60s psych organs scream while guitars work between hypnagogic riffscapes and bluesy acid solos and if that weren’t already perfect enough, Neri and Arcella descend upon the mix with their joyous croons…the vibe whispered and sensual…fragile and warm…with a voice in each ear singing softly and trailed by synthetic pianos and saxophones that skip across sunbeams. Sometimes the vocals fade away, leaving space for wailing saxophonics and clattering percussion cascades that seem to fill up the spectrum. Elsewhere, we move into a freaky funky riff jams before devolving into pure rhythm, with minimal and mechanized beats spreading further out as claps echo and laser blast oscillations morph into galactic fluids. And from here, Whodamanny and Mystic Jungle continue leading their session players through a coastal landscapes of African fantasy…a world of bass guitar sexualisms, joyous vocalisms, balmy synthesis, fusion guitar freak outs, and screaming tenor refrains.

In “Desert Storm,” reverberating hand drums pop amidst rising waves of noise while synthesizer squiggles swim through blasts of granular static. A simple snare beat enters as one of the best basslines all year drops, recorded so hot and up-front that you can practically see the dust snapping off the strings. Double-time hi-hats tick irresistibly as everything builds in anticipation, with the kick drum finally dropping while blasted funk riffs converse ear-to-ear, space age synthesizers weave neon threads, and wah guitars hammer on and scrape. Sometimes the melodic elements fall out and we’re led through rhythmic bridges, wherein the liquid funk basslines of Duba are replaced by that more familiar West Hill synth-bass squelch and screaming voices from the cosmic void descend from a stormy sky. Interstellar noise bursts careen across the mix and chaotic chordscapes bleat over the reverb-soaked disco drum tropicalisms, all while mutant basslines stoke alien dancefloor magic. As we drop back into the live instrumentation, with shakers rattling and bass guitar and six-string working through ultra-tight jam patterns, the terrifying screams still disperse through the stereo field while horror-tinged synthesizers move through gothic themes and rainbow colorations. For most of the rest of the track, we switch off between these two moods: a squelching synth bass groove out awash in Mystic Jungle-style sci-fi boogie sorcery and a stoner groove paradise led by sunshine guitars and funk bass fluidity. During one of the live instrumentation passages, a druggy synth solo drifts into focus, all zoner cosmic magic hovering like an LSD haze…minimal, spacious, and absurdly confident in its wafting, almost apathetic flow. And capping off the track is a baked coda of machine disco rhythmics and fluid funk guitar psychedelics.

The title of “Meet in Tunis” is perhaps another nod to Helen, though the music here seems less referential than in “Deep Down in Zanzibar.” Emotive riffscapes flow over uptempo snare and hat patterns while hand drums and further palm-muted guitar textures billow in from nothingness. The beat sees kicks stomping, snares breaking and gliding, tom fills sucking air out of the skull, and cymbal taps and bell tones ringing all throughout the background...the vibe mysterious and awash in dark disco intensity, though eventually tempered by romantic feedback melodies…as if Arcella’s Casios are mimicking Alessandroni western whistles while synthetic pianos float through golden cloudscapes. The guitars sparkle like Chic and Neri’s sax sounds hollowed out and spectral as it presages the upcoming vocal fantasias and indeed, he and Arcella work through earworm repetitions of “Tunis” before ascending into rapid fires soul verses that overflow with 70’s disco pop perfection…pushing almost towards all out Bee Gees ecstasy, except devoid of overt leads and flowing instead like a closed eye daydream. It’s so ebullient and transportive, with my imagination drifting to a Tunisian beach paradise…some sort of exotic seaside fantasy overflowing with forbidden romance. There are moments where the vocals cut out as we flash into zany percussive storms, with rave whistles flying over psychosonic rhythm cascades. All the while, Duba’s bass continues slipping, sliding, and growling through timeless funk riffs, with shakers pushing the groove euphoria to a maximum. And after another passage of wild percussive ritualism, with snares, bongos, and crashing toms sitting beneath quacking riffs and whistles, we flow through saxophone sensuality into a final “Tunis” vocal refrain, which repeats hypnotically as everything else fades to silence.

Closer “Orion Beat” comes to life on blasting kicks and rocketing claps before before settling into a slamming electro beat. Burning siren waves arc across the mix, bringing that kind of freaky atonal synth psychedelia that could only come from Mystic Jungle Tribesmen. Growling synth bass lines are smothered in cavernous verb as palm-muted guitars flutter overhead and the drums are so hot and heavy, with cymbals spitting fire and snares and claps cracking through the air. There are moments where the burning synth waves usher in passages of interstellar jam perfection, with guitars holding it down while panoramas of phase-distortion and frequency modulation synthesis generates dial-tone scats and telephone tracers while bleeps and bloops are repurposed into fusion fire. Elsewhere, we move into sections of slinky stoner bass guitar riffing while harmonious pads swim through the sky, their hovering chords of heavenly majesty surrounding an electro-funk zoner jam. Then following a bridge that leans towards progressive rock, the mix reduces to just kick drums and claps before dropping into an amazing passage of Afro-tribal intensity…the vibe like entering an otherworldly jungle, wherein crazed hand drum tapestries flow through deep space reverb tunnels. The groove stutters and stomps before smoothly gliding back into electro breakdance magic…like cruising the cosmos on the tail of a comet with starshine gas trails flowing all around the spirit. And after further burning wavefronts of dissonant synthesis subsume the mind, the Afrodesia crew work themselves into dueling harmony magnificence, with synths and e-pianos descending together in pure retro-funk majesty and bass guitar ripping through romantic soul motions…brief yet so perfect as the heart is carried way to paradise realms far beyond the stars.

(images from my personal copy)

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stradarecords · 4 years

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ADOLF STERN / MORE... I LIKE IT : BEST RECORDS ITALY (12") 【再入荷！】Claudio Casalini主宰Best Recordのリイシュー・ラインBest Record Italyより、79年イタリアのCiaoからリリースされたAdolf Sternによる『More... I Like It』がリマスタリングされ12インチで正規リイシュー！エフェクト加工されヨレヨレになったヴォーカルが印象的な傑作イタロ「More... I Like It」、美しいピアノ・ソロとシンセ・パッドがエレガントに包み込む「Twenty Seven」の2曲に加え、今回オリジナル7インチには入っていない「More... I Like It」のインスト・ミックスも収録！オリジナルは100ドル越えというプレミア・アイテム、しかも今回限定プレスとのこと、お早めに！ https://www.stradarecords.com/shop/item/18453/index.php #adolfstern #more...ilikeit #bestrecordsitaly #claudiocasalini #ciao #twentyseven #reissue #disco #nudisco #12inch #kobe #motomachi #recordshop #vinyl #vinyljunkies #dj #stradarecords (Strada Records) https://www.instagram.com/p/B8vUIkIA1D8/?igshid=jnlu417o7ji2

#adolfstern #more #bestrecordsitaly #claudiocasalini #ciao #twentyseven #reissue #disco #nudisco #12inch #kobe #motomachi #recordshop #vinyl #vinyljunkies #dj #stradarecords

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romadjpianobar · 6 years

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Come Organizzare serate anni 60 - 70 - 80: Claudio Casalini Master DJ

Romadjpianobar® un video storico, Organizzare serate anni 60 - 70 - 80 con Claudio Casalini DJ Mr. Casalini - Art Director and Dj's Godfather con l'Agenzia di Spettacolo Romadjpianobar DJ Staff Agency since 1982 - DJ Claudio Casalini Art Director Serate e feste ovunque! Many thanks to gruPPone and Mr. 'PP' Paolo Pasquali, the best entertainer of vintage sixty seventy eighty night in Rome, Italy [email protected] http://www.romadjpianobar.com http://www.weddingdj.it +39 - 3283334184 DJ Service for Events, parties, weddings, in all Italy and everywhere

#annisessanta 60s 70s annisettanta anniottanta 80s revival disco discomusic discodance ballo dance claudiocasalini romadjpianobar

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maggiemayhan · 9 years

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youtube

We Just (Our Revolution) - Moses

Dutch TV’s Tros Pop Formule 27-01-1985

Written-By – J. Cutillo, M. Tagliaferri, R. Musumarra

I only remembered to look into this little italo gem by 80s Euro band Moses recently. And wow, what a find - regret not getting around to it earlier.

The single was released in 1985 by Moses, a pseudonym for Jerry Cutillo, with vocals known as ‘Our Revolution (We Just)’ and instrumental as ‘We Just’. information is scant but did find this interesting titbit from dublab.com (2012):

“According to some totally legitimate YouTube comments, this is one of the first Italo songs played live on TV (not-synced). Regardless of the truth to that, everything is so right about this video – it makes the memories of the 80s seem like some out-of-reach Utopia. I can only dream about being in this crowd… Caught within those wonderfully-psychedelic camera transitions; hypnotized by Ms. Moses’ heartbreaking gaze”.

‘We Just’ reached Number 3 in the Dutch Top 40 in February 1986 and even hit #1 position on the 12″ Top 25 charts. It also did well on the Belgian and Flemish charts, reaching Top 10.

A side: Our Revolution (We Just) on Italian TV, SPQR, 1985

We Just/Our Revolution (new 2015 version) on SoundCloud by Jerry Cutillo

Drums, Percussion – Walter Martino Effects [Emulator] – Mario Tagliaferri Executive-Producer [Uncredited] – Claudio Casalini Keyboards – Jerry Cutillo Mastered By – Marcello Spiridioni Producer – Luciano Lo Celso, Romano Musumarra Producer, Engineer – Gianpaolo Bresciani

*Claudio Casalini, Chairman of Best Record. Italian pioneer club-DJ, author, producer, publisher, journalist. Considered “The Djs Father”. Produced Cellophane

#moses italo #we just (our revolution) moses #Italo disco #jerry cutillo #claudio casalini

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thesunlounge · 5 years

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Band Aid - A Tour in Italy [Mediterranean Version] (Best Record Italy, 2018 reissue)

#band aid #a tour in italy #pellegrino #pellegrino s. snichelotto #re-edit #remix #best record italy #polaroid #tour boat #venice #balearic #italy #pop #sunshine #tony carrasco #marco salvatori #claudio casalini #sun lounge #octagon eyes

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thesunlounge · 5 years

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Reviews 186: Bandaid

Best Record Italy and Early Sounds Recordings main man Pellegrino join forces once again for a welcome reissue of Bandaid’s classic “A Tour in Italy.” This storied Italian band recorded the A Tour in Italy EP in 1983 with Oderso Rubini and Tony Carrasco, moving slightly away from their instrumental “no-jazz” and prog/fusion stylings by introducing vocals and an air of mediterranean pop romance. I first encountered the track in its B-side dub form on Moonboots’ and Balearic Mike’s Originals compilation on Claremont 56 several years ago and was instantly enchanted by its seaside world of marimba melodies, sun-soaked guitars, funk basslines, hypnotic drums, and radiant voice cascades. So it’s truly great to own remastered and freshly pressed versions of the original track and it’s accompanying dub, along with newly touched up artwork adding in lush blue/violet tones to play off the eye-popping pinks and reds. That there is an overdub and edit from Pellegrino only sweetens the deal and just as was the case with Man Face’s “You’re Hurting Me” and Gruppo 2001’s “Stratosfera,” his touch is subtle yet transformative as he deftly reconfigures the various parts into something exciting and new while still preserving the soul of the original. It’s especially transcendent how he holds off on the angelic “near the sea” chorus, reserving it instead for a peak-time and all-to-brief balearic climax.

Bandaid - A Tour in Italy (Best Record Italy, 2018) The original version of “A Tour in Italy” sees kick drums and hi-hats underlying a paradise cascade of marimba melodics…all from Fabio Sorti. Guitar riffs flash in the sky as Ignazio Orlando’s basslines enter alongside the full beat, establishing an irresistible island groove that supports jangling six-string sunbeams and tropical mallet tones fluttering in the air. There’s a playful conversation about traveling through Italy that plays out over the mediterranean groove until spellbinding brass fanfares fly over Ignazio’s ascending bassline fantasias. Then following a brief passage of wavering seasick synths, an energetic voice speaks lyrical raps alongside further cinematic horn blasts before we glide smoothly into the epic “near the sea / right near the sea” chorus, wherein the angelic voices of Francesca Nemola, Guilia Fasolino, and Mara Pacini sing out over the sounds of sparkling blue waves. Further fast motion voice scats and dazzling horn and bass performances lead to a passage of masteful balearica, featuring palm-muted guitars playing sunshine spells while polyrhythms and tones of rainbow glass flow over the panoramic beach funk jam. The rest of the track moves through more “near the sea” choruses, samples of playful aristocratic travel chatter, explosive brass runs, and rapid fire speech cascades, before ending with a climactic sonic rush as the “near the sea” vocals are delirious cut-up and effected…morphing and phasing towards a sunset horizon.

Pellegrino’s “Mediterranean Version” lets the tropical hand drums and island marimbas play hymns to the sun over thudding kicks, splashing snares, and radiant cymbal crashes. It’s an extended drum introduction, with further tom layers flying faraway in the mix and drunken melodies of ocean wonder floating through the sky. The riffing guitars and low down basslines are moved along by 16th note hit-hats while snippets of travel conversation alternate with sun-soaked brass fanfares. Rapid lyric flows intermingle with English travel conversations during blasts of energetic momentum and we eventually move into a palm-muted guitar paradise, where the magical marimbas help the track hit a swooning balearic stride while vaporous aquasynths flow in the background. Glassy polyrhythms rain down and solar horn fantasias soar through the mediterranean air until finally, the timeless “near the sea / right near the sea” chorus hits, with light touches of delay hovering perfectly around the edges. And even though Pellegrino held off for a seeming eternity before dropping the wondrous angel tones, he pulls them away quickly…so brief yet so narcotizing. After another passage of crystalline mallet melodies and palm-muted guitar dreamscapes, lush bass movements join charging voice spells and Afro-minimalist marimba melodies as snippets of travel conversation float on warm ocean currents and psychedelic woodblock fx morph into feedback shards. Then near the end, Pellegrino’s editing hand is felt most prominently as the mix is psychedelically chopped up while the vocals and horns drift on cosmic echo waves.

Fabio’s drums splash through pools of deep blue reverb in the dub version, while the sparkling marimbas skip across white crested waves. The magical horn melodies are initially reduced to a lonely trumpet wandering a seaside desert, swirled all around by an exploding ocean of rhythm. The drunken melodies of seasick synthesis make an appearance before a hot and heavy bassline drops, allowing the track to glide on vibes of Italo-dub perfection. Shimmering pads of aquamarine flow behind the jangling six-strings and the “near the sea / right near the sea” chorus drops amidst a thick haze of cerebral reverb, also overdubbed and moving in round as it merges with the wave motions for moments of paradise enchantment. The travel conversations are cut-up and blasted through wild delay fx alongside the exotic speech rapidity as all the hypnotic voice layers come together to weave head-spinning webs of psychedelia. The epic horn harmonies flow skywards while smashing drum solos with huge crushing toms are morphed through cerebral reversing fx…as if time and space are flowing in reverse for brief moments. Electro-tambourines shake over slippery bass fluids and solar guitar riffs while strange voices merge with cavernous drum layers and the track ends as ecstatic brass explosions and cut-up vocal tapestries reflect and refract through intergalactic oceans.

(images from my personal copy)

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