FLIES 45-37 Armando Trovajoli - SESSOMATTO / KINKY PEANUTS
7''

Woo-hoo! Two of the best Italian rare grooves ever are finally back on 7'' for the first time since their original French release on the format! Both are from that most iconic film soundtrack of the Italian 70s (the LP is now a holy grail for collectors), Armando Trovajoli’s score to Dino Risi’s anthology sex comedy SESSOMATTO (1973) starring Laura Antonelli and Giancarlo Giannini. 

In the title track the influence of Manu Dibango’s afro-funk hit “Soul Makossa” is filtered through, and enriched by, an exquisitely Italian approach, with a sweet ’n’ groovy funk base (the terrific mid-song drum break has been a DJ favorite for decades) over which Edda Dell’Orso seductively laughs and repeats the words ‘sesso’ and ‘matto’ again and again. The wild and fun electronic samba “Kinky Peanuts” on side B is a wonderful example of ‘strange incredible music’, with infectiously quirky Moog themes and runs.    

Pretty irresistible.

Side A | Armando Trovajoli - SESSOMATTO

This album is about finding a spiritual connection with the world through the sound of the guitar.

02 13ATMO - Mir

Bitch Fever

Protean Myth

DJ-friendly edit of this slammin' hunk of funk from 1969. 

Like / Comment / Re-Post if you're diggin it.

Cyril Neville - Gossip (Waxwork Edit)

Big Up To All People In The World

Recorded over 4 years in London and Venezuela, Cuban rumba, Venezuelan tambor and tonada, Ghanaian highlife, Ethiopian blues and calypso have been soaked and infused with psychedelia and spiritual jazz to come up with what Gilles Peterson described as “a really great record”. The DJ and tastemaker included the band in his recent ‘Hot For 2013 Show’ on BBC 6music, premiering the track Cumbacutiri.

A diverse host of heavyweight musicians from both sides of the Atlantic are led by London born Jack Yglesias, producer, multi-instrumentalist and a veteran of The Heliocentrics, and his wife Luzmira Zerpa, traditional Venezuelan musician, poet and singer with a magical voice acclaimed by Manu Chao.

Recorded while living in an abandoned vicarage in East London, the record contains three different generations of Luzmira’s family as well as a cast of musicians from the wider Family Atlantic family.

One of the guests on the album, legendary Ethiopian-jazz maestro Mulatu Astatke, adds a classic touch on piano to ‘Escape To The Palenque’, soloing in his unmistakable flowing Ethiopian 6/8 style. Also featured on the record are Senegalese Nuru Kane and Afro-Cuban group Yoruba Andabo. Much of the record was recorded by the Heliocentrics’ Malcolm Catto at their East London studio.

In 2008, Luzmira traveled to the Sahara Desert in the south of Algeria to participate in the Fi-sahara Festival. While there she performed with Manu Chao who introduced her to the audience as the most beautiful voice to arrive to the desert.

Family Atlantica - Manicero

Black Voices

The Same Blood (NIT Remix)

Born in Lagos, Nigeria in 1940, of mixed Nigerian and Ghanaian parentage, Tony Allen taught himself to play by listening to records made by the American jazz drummers Art Blakey and Max Roach. He began working as a professional musician in 1960, gigging around Lagos and variously playing highlife and jazz. Today living in Paris, Allen has long been acknowledged as Africa’s finest kit drummer and one of it's most influential musicians, the man who with Fela Anikulapo Kuti created Afrobeat - the hard driving, James Brown funk-infused, and politically engaged style which became such a dominant force in African music and whose influence continues to spread today.

Allen had to overcome strong parental opposition to realise his dream of
becoming a professional musician. “My parents were…not keen. Back then, in Lagos, musicians were more or less thought of as beggars, or worse. But I just put it in front of them. I was an electrical technician, but I wanted to make a change. My mother was never happy about it, but my father, who was an amateur musician, eventually agreed.”

Allen started out as a jazz drummer. “Art Blakey was my big influence, and before that, before I started club crawling, it was Gene Krupa. When I started, I tried to play like Gene Krupa. Then I discovered Blue Note Records and Art Blakey’s Jazz Messengers - it opened up another style to me. Max Roach was important too. I studied some lessons he wrote in Down Beat magazine about how to play high-hats. Most drummers in Lagos never used them, they were just a decoration on the kit,and I’d always thought that was something incomplete.”

The Same Blood (NIT Remix)

Tony Allen

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