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#Dario Casalini
italiaefriends · 6 months
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"Vuoi migliorare il clima? Attento a come ti vesti"
Da Slow Food a Slow FiberVuoi migliorare il clima? Attento a come ti vesti. Questa affermazione si chiarisce leggendo il libro Vestire buono, pulito e giusto, pubblicato da Slow food editore. Lo ha scritto Dario Casalini, docente universitario di Diritto Pubblico, dal 2013 passato a dirigere l’azienda di famiglia che produce maglieria e Intimo di lusso da più di 80 anni. La passione per studio e…
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lamilanomagazine · 2 years
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Rovigo, giunge alla sesta edizione il premio dedicato al trombettista Marco Tamburini
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Rovigo, giunge alla sesta edizione il premio dedicato al trombettista Marco Tamburini. Da sempre inserito all’interno delle “Jazz Nights at Casalini Garden”, il Premio Marco Tamburini, istituito nel 2016 da RovigoBanca (ora Banca del Veneto Centrale) per ricordare il trombettista scomparso prematuramente l’anno prima, giunge alla sesta edizione. Il concorso viene proposto per la prima volta a grande distanza dal festival estivo in un’unica serata che si terrà, sabato 3 dicembre alle 21, nella prestigiosa cornice del Teatro Sociale. Sono tre i gruppi selezionati per la finale fra i numerosi che hanno partecipato al concorso. Ciascuno di loro ha proposto arrangiamenti originali di due brani composti da Tamburini. Il Ndovu Quartet è guidato dalla cantante emiliana Martina Ghibellini, affiancata, fra gli altri, dal vibrafonista Dario Ponara, classe 2001; “ndovu” in lingua Swahili significa “elefanti”. Il quartetto di Antonio Ottaviano nasce dall’incontro fra il sassofonista nato nel 2002 a Benevento, che ne è il leader, ed il più esperto pianista salernitano Giuseppe Sacchi. Guglielmo Santimone Quartet è diretto dal pianista Guglielmo Santimone (Salerno, 2001), perfezionatosi a Siena Jazz; suona al suo fianco il sassofonista toscano Lorenzi Simoni. Dopo aver ascoltato le tre giovani formazioni finaliste selezionate (il concorso viene riservato, alternativamente, ai solisti ed ai gruppi), il pubblico sarà intrattenuto da un ensemble allargato composto da otto straordinari musicisti, tutte figure di spicco del jazz italiano, che Marco Tamburini ha voluto al suo fianco a Rovigo e che non hanno certo bisogno di presentazioni. Ciascuno di loro ha la prerogativa d’esser stato, o di esser tutt’ora, docente del conservatorio rodigino, e per questo si è deciso di chiamare il gruppo Venezze Jazz Teachers Reunion. Quattro di loro insegnano ancora a Rovigo – Massimo Morganti, Fulvio Sigurtà, Fabio Petretti e Stefano Onorati – mentre gli altri hanno oggi la cattedra a Firenze (Dario Cecchini), Milano (Roberto Cecchetto), Ferrara (Stefano Senni) e Bologna (Stefano Paolini). L’ottetto omaggerà l’indimenticato trombettista cesenate, che ha fondato e fatto crescere in pochi anni il dipartimento jazz del Venezze, reinterpretando con arrangiamenti originali alcune delle sue più belle composizioni. Durante l’esibizione dell’ottetto dei docenti la giuria si riunirà per decidere il gruppo vincitore, che verrà già proclamato a fine serata. Allo stesso verrà assegnato, oltre che una targa, un premio in denaro di duemila euro. Banca del Veneto Centrale (Credito Cooperativo Italiano) in collaborazione con Conservatorio Statale di Musica Francesco Venezze / Dipartimento Jazz & Pop. Evento gratuito con prenotazione obbligatoria a: [email protected] LA STAGIONE 22.23 DEL TEATRO SOCIALE DI ROVIGO è realizzata grazie al contributo e alla collaborazione di Ministero della Cultura, Regione del Veneto, Comune di Rovigo, Fondazione Cariparo, Fondazione Banca del Monte, Fondazione Rovigo Cultura, Banca del Veneto Centrale, Asmset, Arteven, Associazione Musicale Francesco Venezze, Conservatorio Statale di Musica Francesco Venezze. Mediapartner La Piazza.  INFO BOTTEGHINO TEATRO SOCIALE DI ROVIGO piazza Garibaldi, 14 - Rovigo telefono 0425 25614 - e mail [email protected]. it  ... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article
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minya8chan · 4 years
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Happy Birthday Lamberto Bava!
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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.
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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.
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(images from my personal copy)
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giallofever2 · 6 years
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1986
Demoni 2 – L'incubo ritorna
Also Known As (AKA)
(original title) Demoni 2 - L'incubo ritorna
Australia Demons 2
Brazil Demons 2 - Eles Voltaram
Bulgaria (Bulgarian title) Демони 2
Colombia Demonios 2: El terror continúa
France Démons 2
Greece (DVD title) Daimones 2
Greece Δαίμονες 2
Hungary Démonok 2.
Italy (video title) Dèmoni 2
Mexico La profecía satánica
Portugal Os Demónios 2 - Um Novo Pesadelo
Serbia Dèmoni 2
Soviet Union (Russian title) Демоны 2
Spain Demons II
Spain Demons 2
UK (video title) Demons 2: The Nightmare Continues
UK (video title) Demons 2: The Nightmare Returns
USA (video title) Demons 2: The Nightmare Returns
USA Demons 2
USA Demons 2: The Nightmare Is Back
West Germany Dämonen
West Germany Dance of the Demons 2
Dates
Italy 9 October 1986
USA 13 February 1987
France 25 March 1987
West Germany 9 July 1987
Colombia 13 August 1987
UK 18 September 1987
Netherlands 14 April 1988
Spain 17 April 1989
USA 24 July 2010 (New York Museum of Arts and Design)
Germany 20 November 2015 (Blu Ray)
Spain 4 November 2017 (Barcelona) (re-release)
Directed by Lamberto Bava
Writing Credits
Dario Argento - authorized page... (written by)
Lamberto Bava... (written by)
Franco Ferrini ... (written by)
Dardano Sacchetti... (written by)
Filming Dates
26 May 1986 - 22 June 1986
Filming Locations
Hamburg, Germany
Rome, Lazio, Italy
technical specifications
Runtime 1 hr 28 min (88 min) (Canada)
1 hr 28 min (88 min) (R-rated) (USA)
1 hr 32 min (92 min) (Unrated Edition)
1 hr 18 min (78 min) (cut) (Germany)
Cast
David Edwin Knight... George
Nancy Brilli ... Hannah
Coralina Cataldi-Tassoni ... Sally Day (as Coralina Cataldi Tassoni)
Bobby Rhodes... Hank
Asia Argento ... Ingrid Haller
Lorenzo Flaherty ... Partygoer
Virginia Bryant ... Mary the Prostitute
Anita Bartolucci ... Woman with Dog
Antonio Cantafora... Ingrid's Father
Luisa Passega .. Helga Haller
Davide Marotta ... Demon Tommy
Marco Vivio ... Tommy
Dario Casalini ... Danny - Ulla's boyfriend
Michele Mirabella... Hooker's Client
Lorenzo Gioielli ... Jake
Maria Chiara Sasso ... Ulla, partygoer with camera
Lino Salemme ... Security Guard
Andrea Garinei ... Partygoer waiting for Jacob
Luca De Nardo ... Partygoer
Angela Frondaroli ... Susan, bodybuilder
Caroline Christina Lund ... Jennifer, bodybuilder
Karen Gennaro ... Bodybuilder
Marina Loi ... Kate
Silvia Rosa ... Partygoer / Demon
Monica Umena ... Partygoer
Fabio Poggiali ... Muller, Bodybuilder
Andrea Spera ... Partygoer
Pascal Persiano ... Joe (TV Show)
Robert Chilcott ... Bob (TV Show)
Eliana Miglio ... Pam, girl with camera (TV Show) (as Eliana Hoppe)
Yvonne Fraschetti ... Jacob's Girl
Bruno Bilotta ... Jacob
Furio Bilotta ... Man in back of Jacob's car
Giovanna Pini ... Girl in back of Jacob's car / Woman in Garage
Stefano Molinari ... Demon on TV
Pasquele Valente ... Tommy's Father
Kim Rhone ... Tommy's Mother
Annalie Harrison ... Sally's Mother
Lamberto bava ... Sally's Father (uncredited
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deathofdreams · 7 years
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Şarkı önersene yabancı falan baya olsun ama bütün gece onları dinlemeyi düşünüyorum
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