Wednesday, September 20, 2017

Bambibanda E Melodie –-1974 - Bambibanda E Melodie

Bambibanda E Melodie 
1974 
Bambibanda E Melodie 



01. Pian Della Tortilla – 15:14
02. Libera E Felice – 6:48
03. Calabuig! – 6:34
04. Piccolo Gitano – 4:13
05. Mare Delle Terre Medie – 7:17
06. Canto Del Sole – 2:08

- Bambi Fossati / guitar, vocals
- Maurizio Cassinelli / drums
- Ramasandiran Somusundaram / percussion
- Roberto Ricci / bass


In 1974 a new incarnation of GARYBALDI was formed by Bambi Fossati along with old cohort Maurizio Cassinelli, bassist Roberto Ricci and indian percussionist Ramasandiran Somusundaram as BAMBIBANDA & MELODIE. Their only album has the usual leading role for Bambi's guitar, but the use of percussion gives a more latin-inspired feel that sometimes reminds Santana.

Percussionist Ramasandiran Somusundaram, previously active as session musician, also released an album and no less than three singles (in a more commercial vein) between 1974 and 1976 on the Magma label.

Bambi Fossati kept playing under the name of BAMBIBANDA for some years before reforming the old group in late 80's with a new line up including Marco Mazza (guitar) and Carlo Milan (bass) along with Maurizio Cassinelli, and they released an album, more song-oriented, in 1990, as Bambi Fossati & GARYBALDI.

It´s incredible how broad this scene is, and how it just keeps unfolding itself before you. When you think you´ve got it pinned down, it spits out another gem that makes you think twice about the true nature of the music. It´s symphonic, no wait a minute it´s eclectic - or maybe it´s more heavy based? The fact of the matter is, that it´s a very shifting and varying scene that boasts nearly every category featured here at PA. This album is no exception, as it sports a very uncharacteristic approach to the scene, but still retains its bond to RPI through melody, heart and soul.

Bambibanda E Melodie is a wonderful new experience to me, and one I hadn´t quite prepared myself for. Recently I´ve been listening a lot to Krautrock and some of the more out there electronic artists, and here the other day whilst teasing my cat with a piece of bacon, I found this record hiding underneath a commode collecting dust. It had been quite a while since my last listening, and I immediately popped it on the stereo. A far cry from the freak out records that´s been playing at my apartment the last couple of months - no doubt, but a much needed change. I had almost forgotten the sheer pleasure of being lured into ecstasy by butter instead of sandpaper and gravel.

In describing the music within, I find it almost impossible not to make references to the smooth and Hispanic rhythm based fusion of Santana. But the comparisons stop there, as Bambibanda E Melodie sounds much more melody driven and laid back. It´s music you put on, when you´re out on a moonlight drive, or going for a swim in a calm and quiet lake, where the waters nestle around you like a longtime fluid friend. From the beautiful guitar work that very melodiously leads these pieces in between bluesy wails and smooth jiving riffing, - to the tight percussion section that never tries to break the image of the aforementioned midnight swim, - this album makes you smile with conviction and relaxes you like an early morning blowjob in the shower.

Although this album only sports one guitarist, it sure sounds as a twin-duo cooking up solos that intertwine themselves as well as juxtaposing each other - and always at the right moments. Like Santana, the melodies seem to come from out of nowhere, but they are there, and rely mostly on a single guitar string at a time. Again there´s an overwhelming smooth texture attached to it, that conveys the image of a musician who´s taking his time - waltzing with the morning light. A thing he obviously enjoys together with the bass player here, who is the booming proof that the bass can be a sensuous instrument.

I guess the only thing about La Bambibanda E Melodie´s sole record that seems out of place, is the sparsely used vocals. Normally I turn to RPI for a dose of what might be the most beautiful language outside Portugal - sung with vigor and warmth that´ll break through the hardest of nutcases, but not on this release. They are a bit flat, and sound like they belong to an indecisive hangover. On the other hand, the vocals here take up about 1% of the experience, and you nearly forget about them as the music plays it´s buttery tribute.

If you´re into the fusion part of Santana´s output and just can´t keep still whenever the congas starts their hypnotic and persuasive ode to the first simian invention - the beat - you ´ll want to check out this wonderful album. Warm and smooth like a woman´s breast bathed in orange sunlight.

After the breakup of Garybaldi, Bambi Fossati decided to form a group together with musicians from Genoa, with whom he had jammed in 1974. The group was composed of, besides Fossati, another ex-Garybaldi member Maurizio Cassinelli, bass player Roberto Ricci and Indian percussionist Ramasandiran Somusundaram (also a featured session man with French prog band Magma on several of their singles). At the end of 1974, this quartet recorded an album called “Bambibanda E Melodie” for Fonit Cetra.

The principal instrument here is obviously the guitar, but the great “vibes” happening between the two percussionists are also making a distinction. This album is distinguished by a very rhythmic rock orientation; the lyrics are reduced to a minimum, while the music flows fast and direct due to the overall spontaneity of the concept. Not typical Italian symphonic rock of the era, mainly jazz/fusion oriented.

Bambibanda continued their live activity for several years, however, without producing any more recordings.

Baltik - 1973 - Baltik

Baltik 
1973 
Baltik



01. Leslie Briggs
02. Wildness Meant My Freedom
03. Keep On The Run 5:42
04. One More Reason 3:42
05. City Girl 6:13
06. Ocean Blue 2:45
07. Round And Round 6:02
08. Every Raindrop Means A Tear 5:18
09. No Registration, Please 5:05
10. We Can't Change The World Alone 2:57
11. Long, Long Weekend 4:29

Janne Schaffer   -  guitar
Björn J:son Lindh   -   piano, flute, saxophone
Göran Lagerberg   -   bass
Ola Brunkert   -   drums
Bengt Dahlén   -   guitar
John Gustafsson   -   lead vocals  (3A, 5A, 1B), bass  (3A)

Anders Henriksson   -   organ  (2A), synthesizer - moog  (4A, 1B, 2B)
Jan Bandel   -   tambourine  (3B), vibraphone  (2A, 5A, 2B, 3B)
Mike Watson   -   bass  (4A, 2B, 3B)
Anders Nordh   -   guitar  (2B), acoustic guitar  (4A)
Tomas Ledin   -   acoustic guitar  (5A, 6A, 4B), lead vocals  (5A, 4B), backing vocals  (4B, 5B)
Adrian Moar   -   acoustic guitar  (5A)
Beverly Glenn   -   lead vocals  (2A, 2B), backing vocals  (2A, 3A, 4A, 5A, 1B, 4B, 5B)
Claes Jansson   -   lead vocals  (5B), backing vocals  (2A, 5B)
David Garriock   -   lead vocals  (4A), backing vocals  (2A, 4A, 5A, 1B)
Karin Stigmark   -   lead vocals  (6A, 4B), backing vocals  (2A, 3A, 4A, 5A, 1B, 4B, 5B), chimes-wood (6A)
Paul Sndlin   -   backing vocals  (4B)
Claes Dieden   -   backing vocals  (4B)
Charlotte Hedlund   -   backing vocals  (3A)


This somewhat gloomy, progressive album, comprising cream of the crop of the era's Nordic session scene, plus one bass virtuoso from England, John Gustafson (Roxy Music, Quatermass, Ian Gillan Band, Hard Stuff) is now one of the ultimate collectors items for most Deep Purple, Atomic Rooster and Roxy Music afficionados. It starts off quite heavy, then the pace is slowed down with a gospel-flavoured ballad a-la early Elton and maybe Joan Armatrading (who lead singer Beverly Glenn certainly sounds like), which sets the mood for the rest of side A. Side B is filled with quirky, interesting but somewhat murky prog rock, which takes a little bit of getting used to - especially if it doesn't grab you from the first listen; give it another chance.

Bakerloo - 1969 - Bakerloo

Bakerloo 
1969 
Bakerloo 



01. Big Bear Ffolly (3:55)
02. Bring It On Home (4:16)
03. Drivin’ Bachwards (2:06)
04. Last Blues (7:04)
05. Gang Bang (6:15)
06. This Worried Feeling (7:03)
07. Son Of Moonshine (14:52)

- Dave ‘Clem’ Clempson / guitars, piano, harpsichord, harmonica, vocals
- Terry Poole / bass guitar
- Keith Baker / drums



Bakerloo originally formed around 1968 under the moniker “Bakerloo Blues Line” in the Birmingham area. The line-up then was Dave ‘Clem’ Clempson on guitar and vocals, Terry Poole on bass and John Hinch on drums. Initially they stuck to a largely blues based set, yet like so many of the innovative acts of the era grew tired of the formula and began to experiment. They attracted Black Sabbath’s future manager Jim Simpson, and attracted a considerable following- enough to win them a slot on John Peel’s BBC Radio 1 show “Top Gear”. However, there was a touch of spinal tap syndrome with drummers as Hinch was replaced with a multitude of players until they finally settled on Keith Baker. They also decided to drop the “Blues Line” and became the shortened Bakerloo, and were put on a package tour called “Big Bear Ffolly” (which inspired Bakerloo’s song of the same name) with other local bands Tea and Symphony, Locomotive (another highly innovative proto prog combo) and Earth, who would of course later evolve into the massively successful Black Sabbath.

They recorded their album prior to getting a record deal under the aegis of legendary, recently deceased producer Gus Dudgeon yet eventually, Simpson secured a deal with the new progressive/underground imprint Harvest Records, which housed the likes of Pink Floyd, Edgar Broughton Band and aforementioned fellow Brummies, Tea and Symphony.

Though the album received very enthusiastic reviews and the band had a sizeable cult following, it sold little. This was a shame, because it remains a genuinely progressive album with blues, jazz, classical and heavy rock meeting head-on, yet seamlessly.

However, internal ructions ripped the band apart anyway and despite some line-up reshuffles, with noted rock drummer Cozy Powell joining the band. That line-up lasted a small amount of time before Jon Hiseman, who had been impressed with Clempson’s guitar prowess, invited him to join the legendary jazz rock combo Colosseum. Keith Baker joined Uriah Heep for their classic “Salisbury” album and Terry Poole turned up on blues/jazz rock innovator Graham Bond’s albums of the era. Clempson, after Colosseum split, went on to work with heavy rockers Humble Pie who were a massive success, and Rough Diamond with ex-Uriah Heep singer David Byron, who were not. Clempson continued to work with a variety of artists. However, the other members seemingly fell off the radar after the 1970s.

Still, Bakerloo’s one and only album is a definite underrated classic and has a lot to offer fans of the genre.

Herbert F. Bairy - 1979 - Traumspiel

Herbert F. Bairy
1979 
Traumspiel



01. Traumspiel (13:48)
02. Runnin' (7:39)
03. Lady Ollala (14:40)
04. Redpeter's Dream (3:25)

Composed By, Percussion, Drums, Piano, Zither, Wind [Windharp], Harmonium, Voice, Noises – Herbert F. Bairy

Cello – Martin Klenk (tracks: A1)
Clarinet, Contrabass Clarinet, Soprano Saxophone, Flute [African Flute] – Bernd Konrad
Dilruba, Tambura – Georg Heinen (tracks: A1)
Double Bass, Bass – Thomas Stabenow (tracks: A1 to B1)
Electric Guitar, Twelve-String Guitar – Michael Weilers (tracks: B1)
Engineer [Engineers] – Christof Wertz, Johannes Wohlleben
Guitar, Twelve-String Guitar, Bass – Rob Terstall (tracks: A1, B1)
Horn [Pocket-horn] – Frederic Rabold (tracks: A2)
Organ [Church Organ] – Ulli Süsse (tracks: A1)
Percussion, Drums, Congas – Manfred Kniel (tracks: A1, A2)
Producer [Produced By] – Herbert F. Bairy, Wolfgang Kadolph
Synthesizer, Bass, Drums, Acoustic Guitar, Voice – Jeff Beer (tracks: B1, B2)
Synthesizer, Sounds – Jürgen Bräuninger (tracks: A1 to B1)
Tabla – Dizzy Pandtli (tracks: A2)
Trumpet – Rudolph Reindl (tracks: A2)
Voice – Dietburg Spohr (tracks: A1 to B1), Jeanette Mc Leod (tracks: B1), Michael Körber (tracks: A1 to B1)

Recorded 1979 at Tonstudio Zuckerfabrik Stuttgart.


Herbert F. Bairy is the pseudonym of Ferdinand Försch, German musician and sound sculptor born 1951 in Bad Brückenau. In 1980 Ferdinand released one album under the Herbert F. Bairy name, Traumspiel. Recorded in 1979, Traumspiel is a wild album, composed of loud and avant-garde jazz and fusion, Indian and raga music influences, and trippy lysergic folk and electronics. A true forgotten cult album.

I have never come across an album that so effectively conveys it's title like Traumspiel does, or Dream-game to you English speaking folks out there. There is a deliberate dream-like veil pulled over every peep and musical gesture uttered herein - be that the rather flickering way the record goes from one piece of music to another, or the manner in which the different instruments are being played. It's the very essence: dreams, no matter how bonkers and bizarrely astral they may appear. It's the red thread running through this album like an enigmatic sleepwalker telling mystical stories of old. I throw this record on the stereo and thousands of lysergic images zap through my head in an up-lit highway of movie scenes from Kubrick, Lynch, Aldomóvar, Gilliam and, perhaps most noticeable, Alejandro Jodorowsky - with the esoteric expression found on Traumspiel forever reminding this bewildered listener of the breathtaking climax of 'Holy Mountain', where the thief tumbles down the rabbit hole of dreams, Carl Jung and his own subconsciousness.

The music can loosely be described as a strange meeting between the Atom Heart Mother suite, Shakti and an album I never thought I would be drawing a parallel to, Clivage's Mixtus Orbis. A record notorious for not sounding remotely like anything else.

Starting off with the title track, Traumspiel lures you into the dream with howling wind effects sounding like they're steaming out of a synthesiser, what sounds like wind-chimes and this eerie female vocalisation which comes incredibly close to mimicking a theremin. The surroundings start quivering and you are served with fizzy electronics and vocals that seem to have been lifted straight out of a Sergio Leone movie. With the additional cello, zither and ominous organ bursts joining in - my mind instantly thinks Ennio Morricone only he's directing the soundtrack to a pirate movie set in India. The feel is far away from being jolly though as the music intensifies and starts biting with some seriously snarling grunts from the cello. At this time I vividly picture a good dozen slaves sitting beneath the deck of the ship, banging away on tin cups and cutlery. Though what may seem crude in description defies belief. This is not only Long John Silver's long lost Indian theme but infinitely more than that - when these beautiful wavering female vocals start to swoop around. This is truly mermaid music, if I've ever encountered such a thing. In dives a clean sounding electric guitar and katjing we're finally treated to rock with drums, funky piano and bass lines and most importantly that guitar soloing away. Abruptly, and quite telling of Traumspiel itself, the music subsides and somehow gets diverted into a haze, where everything feels gelatinous or like a dream set in a treacherous forest. The track ebbs out and you feel like you just ran the marathon. Wheeew what a way to start an album!

Badabing! and the bumbling and frenetic percussion led Runnin' sets off. With equal measures RIO wind instruments and fast paced Billy Cobham-like drumming, the tune agilely moves between gorgeously played space funk sections to more upbeat Latino inspired fusion stints. Again, bearing in mind the overall emphasis of Traumspiel, this actually feels remarkably like running from something frightening in your dreams.

Alright, next up comes Lady Ollala and with her 14 minutes of glacial drones, Eastern rhythmical phrasings a la Krautrockers Between, and a very delicate form of psych music that I dare not describe in words, as they might dissolve in the midst of my typing. This may just be my fave on the album, which probably also is why I have such a hard time describing the music. I always imagine snakes dancing to the wavering and bobbing Lady Ollala, only with a raw and ancient sensuousness underlining everything - ultimately throwing a beautiful Indian woman with fiery red eyes into the midst of the serpents. This is a dream.

Is it really? Oh yes, and you're reminded for the last time with the ending Red Peter's Dream as electronic and ritualistic segments of music ooze in and out of each other - perfectly capturing the illogical movements of our dreams and why you sometimes feel as if you're several places at once and that big black holes are travelling through your body like being pierced by a sea-slug and that the very lines separating your dreams from real life blur and turn misty, trade places - move about in order to tell you something...something that you can never explain to other people, only really fathom when you play music like this.