Collettivo Apostrophe | Sempre Più Lontano

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Eugenio Mirti website Marco Giaccaria website Band page Musica Mancina website

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Jazz: Jazz-Rock Rock: Experimental Rock Moods: Type: Instrumental
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Sempre Più Lontano

by Collettivo Apostrophe

Around the world in 8 songs: a stunning blend of jazz, rock and ethnic music played by an unusual bassless trio consisting of the rock oriented drums of Sergio Ponti, the jazz guitar of Eugenio Mirti and Marco Giaccaria on flutes, violin and bouzouki.
Genre: Jazz: Jazz-Rock
Release Date: 

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  Song Share Time Download
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1. Le Tre Città
6:32 $0.99
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2. No Pasaran!
2:48 $0.99
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3. Ballad Per Laura
5:19 $0.99
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4. Hoover Dam
5:56 $0.99
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5. Blackshout Blues / Marcus
7:18 $0.99
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6. Blues Carnaval
7:04 $0.99
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7. Via Valgioie, 5
5:35 $0.99
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8. Sempre Più Lontano
9:48 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
ABOUT APOSTROPHE - Chiara Giordano
If you should name a musician that did not have a “specific” style, that did link different languages and expressive techniques, that did provoke and amaze, that did produce a schizophrenic music using elements of popular music, contemporary music, blues, jazz, always balancing experimentation with a classical approach to writing, you would indeed name Frank Zappa. And in fact the Collettivo Apostrophe makes an explicit reference to the guitar player from Baltimore even starting from the name of the band, that refers to Zappa’s 1974 album “Apostrophe”.
This is because Marco Giaccaria, Eugenio Mirti and Sergio Ponti, the three members of the band, really love to express through a schizophrenic style: the sound organization relies in fact on a fusion guitar player, a solid rock drummer and a multi-instrumentalist fond of ethnic music.
Make no mistake: the music in “Sempre più lontano” is not a tribute to Zappa, and it is not even similar to his expressive style, but Collettivo Apostrophe uses here the idea that originated Zappa’s aesthetic: always find something new to elaborate, with no boundaries and without reference points.
And so you have to make an effort to interpret the eight tracks in this debut CD, that appears to be a workshop with no leader and with compositions written and arranged by all the members.
You can find the Mahavishnu Orchestra oriented jazz-rock in Le tre città followed by the psychedelic garage sounds in No Pasaran!; the search for melody of Ballad per Laura and Hoover Dam, a “nervous” mini suite based on the classic AABA form of the American song of early XXth Century; the blues numbers (Blackshout Blues and Blues Carnaval) and the most Zappa-style- oriented of the tracks, Via Valgioie, 5; the end of the record relies on the title track, Sempre più lontano, that links psychedelic splinters à la Tomorrow Never Knows of The Beatles with baroque melodic lines and musical landscapes that reminds you of Bill Frisell.
Here’s a new music based on essentiality and a sophisticated minimalism. Jazz? Pop? Fusion? Avant-garde? It might be, but this is not the right question. Collettivo Apostrophe proposes its own music, emotionally intense, devoid of the narcissism of technical virtuosity, a nu-jazz rock type of chamber music, you might say. But even this definition makes no sense at all, because the music you will listen to was planned to look “Sempre più lontano/still farther”, and certainly, if there will be a second album, it will be radically different. A new chapter. Still farther… Sempre più lontano!

(Chiara Giordano is the editor of Jazzit Magazine)

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AUTHOR’S NOTES
1. Le tre città
The title relates to Cospicua, Senglea e Vittoriosa, three charming cities rich of history located in Malta. The three musical cities are the three solos I wanted to develop with this special line up: the drum solo, dark and misterious, with my minimal comp; the violin one, rich and well backed by the band; and mine, a long and nervous dialogue with Sergio. (Eugenio Mirti)

2. No Pasaran!
This composition, like mine others that appear in this CD, is a new version of some old stuff I wrote some 20 years ago.
No Pasaran! is written with whole tone scales, modal harmonies and irregular rhythms… too hard to explain, it’s better to listen to! (Marco Giaccaria)

3. Ballad per Laura
A song I wrote in 2003 for Laura, my eldest daughter. A delicate ballad wich express my deep love for her (and her sister Chiara as well!), my passion for Pat Metheny and my infatuation for the phrygian mode. (EM)

4. Hoover Dam
A classic from the Ropa 11 repertoire written after the US tour in 2006. Hoover Dam is a huge dam built on the Colorado river, a nocturnal and magic place, somehow even scary. The melody is written in the AABA form, and the solos sound free but are built using some definite but implied harmonies. (EM)

5. Blackshout Blues / Marcus
The first part is a Blues written by Eugenio, Blackshout Blues, played with an acoustic guitar and an American Native flute; then follows Marcus, a 5/8 number with pentatonic melody and quartal harmonies. Yes, I must confess, I’m not so keen on 4/4 and major or minor keys! (MG)
Blackshout Blues is a short melody inspired by Led Zeppelin and R. Carlos Nakai as well. Quite fun! (EM)

6. Blues Carnaval
...Surprise! I also enjoy 4/4 and major and minor keys! This composition reflects a meeting of the blues (also considered as a part of the jazz tradition), with the melody and a little bit of improvisation in 5/4 (here and there there are some irregular breaks, I’m addicted!) (MG)

7. Via Valgioie, 5
A song dedicated to Giovanna Mellino Roatta, my grandma; the title refers to the address of the house she used to live, a place where i spent most of my childhood. The melody took a long time to develop, and I’m very happy with the 12/8
section. (EM)

8. Sempre più lontano
This track is much more aural than the others: it doesn’t have a written melody but only a suggestion of a minor scale, and the song then proceeds with an improvisation on a written vamp. The introduction is the Preludio dalla suite in Re minore by Ludovico Roncalli, 1692, here presented in a lisergic version for acoustic guitar and delay. (MG)

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Reviews


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banzo

Excellent work
Excellent work.
Great care in creating a personal sound, varied and exciting, both in the original songs and in the covers.
Excellent also the quality of the execution of the three musicians.
An album with great live potential.
Rock on!
Read more...

banzo

Excellent work
Excellent work.
Great care in creating a personal sound, varied and exciting, both in the original songs and in the covers.
Excellent also the quality of the execution of the three musicians.
An album with great live potential.
Rock on!
Read more...

banzo

Excellent work
Excellent work.
Great care in creating a personal sound, varied and exciting, both in the original songs and in the covers.
Excellent also the quality of the execution of the three musicians.
An album with great live potential.
Rock on!
Read more...