SAAR Archives - Guerssen Records https://wpguerssen-test.odoo.rgbconsulting.com/label/saar/ Guerssen Records Wed, 23 Apr 2025 14:22:28 +0000 en-US hourly 1 https://wordpress.org/?v=6.8.5 https://wpguerssen-test.odoo.rgbconsulting.com/wp-content/uploads/2022/04/cropped-isotip-32x32.png SAAR Archives - Guerssen Records https://wpguerssen-test.odoo.rgbconsulting.com/label/saar/ 32 32 The Soul Of “Ali” Ben Djamballa (Clear Blue) https://wpguerssen-test.odoo.rgbconsulting.com/product/the-soul-of-ali-ben-djamballa-clear-blue/ Tue, 19 Mar 2024 23:00:00 +0000 https://wpguerssen-test.odoo.rgbconsulting.com/product/the-soul-of-ali-ben-djamballa-clear-blue/ Alberto Baldan Bembo (1938-2017), also known as "Ali" Ben Djamballa, Bedan, Blue Marvin or Shorty Baldan, was a multi-instrumentalist (vibraphonist, organist and pianist). Since 1959 he has been part of the group I Menestrelli del Jazz and in 1963 he joined Bruno De Filippi's group. Appreciated as a sideman, he was for several years pianist and organist in the group that accompanied the Italian singer Mina.
He has also spent much of his career as a composer of film soundtracks and published several albums through our label, among which we must remember the soundtrack of "Codice d'amore orientale", released by SAAR/Joker in 1974, which will soon be re-released on vinyl as a limited edition by our label.
The Soul Of "Ali" Ben Djamballa (Alberto Baldan's 1974 album) is a highly sought after LP by record collectors around the world. Following the creation of the Afro-flavored funk of this period, represented by Fela Kuti (Nigeria) and Osibisa (Ghana), the album features European Library Music grooves, including "Blue Jeans", "Black Coffee", "Take Six" and "Niger". The record contains a number of solid breaks, noteworthy sampling material and a good dose of rare and funky grooves.

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]]> Alberto Baldan Bembo (1938-2017), also known as “Ali” Ben Djamballa, Bedan, Blue Marvin or Shorty Baldan, was a multi-instrumentalist (vibraphonist, organist and pianist). Since 1959 he has been part of the group I Menestrelli del Jazz and in 1963 he joined Bruno De Filippi’s group. Appreciated as a sideman, he was for several years pianist and organist in the group that accompanied the Italian singer Mina.
He has also spent much of his career as a composer of film soundtracks and published several albums through our label, among which we must remember the soundtrack of “Codice d’amore orientale”, released by SAAR/Joker in 1974, which will soon be re-released on vinyl as a limited edition by our label.
The Soul Of “Ali” Ben Djamballa (Alberto Baldan’s 1974 album) is a highly sought after LP by record collectors around the world. Following the creation of the Afro-flavored funk of this period, represented by Fela Kuti (Nigeria) and Osibisa (Ghana), the album features European Library Music grooves, including “Blue Jeans”, “Black Coffee”, “Take Six” and “Niger”. The record contains a number of solid breaks, noteworthy sampling material and a good dose of rare and funky grooves.

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]]> Nuda Per Satana (Transparent Green) RSD25 https://wpguerssen-test.odoo.rgbconsulting.com/product/nuda-per-satana-transparent-green-rsd25/ Mon, 17 Mar 2025 23:00:00 +0000 https://wpguerssen-test.odoo.rgbconsulting.com/product/nuda-per-satana-transparent-green-rsd25/ Finally, fifty years after the release of the film in Italian cinemas, Alberto Baldan Bembo's music score for "Nuda per Satana" is released for the very first time on vinyl and taken from the mono master tapes of the original session kept in the archives of Edizioni Musicali S.A.A.R. Fifteen tracks were selected with a total duration of approximately 37:35. Maestro Baldan Bembo created an electronic soundtrack introduced by the opening credits theme (A1) with the intervention of diabolical female voices. The atmosphere of terror is represented by suspended synthesized sounds (A2, A3), sometimes more aggressive with piano and percussion (A4, A8, B3) and by macabre themes with female voices (A6, B6). This OST also contains more tonal moments, with a danceable flavor (A5, A7, B1, B2, B5) that break the tension of the story. A record that wants to pay homage to the musical art of Alberto Baldan Bembo and genre Cinema with many fans around the world.
"Nuda per Satana" is a horror film directed in 1974 by Luigi Batzella, screenplay by Luigi Batzella, photography by Antonio Maccoppi, editing by Luigi Batzella, music by Alberto Baldan Bembo, starring Rita Calderoni, James Harris, Renato Lupi, Iolanda Mascitti, Barbara Lay, Luigi Antonio Guerra, Augusto Boscardini, Alfredo Pasti, Stelio Candelli, CRC production, General distribution. The protagonist Rita Calderoni said in an interview that the director Luigi Batzella had chosen her for the film after having seen her in the film "Riti, magie nere e segrete orge nel Trecento" by Renato Polselli. From a database it appears that filming of "Nude for Satan" began on March 25, 1974 and was carried out at the Monte San Giovanni Campano Castle in Frosinone, Lazio, lasting approximately five weeks. The car crash sequence took the director an entire night of filming. "Nuda per Satana" was released in Italy on 23 October 1974.
First ever LP edition exclusive for Record Store Day 2025 on transparent green vinyl with 30x30 cm insert. Liner notes and audio remastered by Claudio Fuiano.

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]]> Finally, fifty years after the release of the film in Italian cinemas, Alberto Baldan Bembo’s music score for “Nuda per Satana” is released for the very first time on vinyl and taken from the mono master tapes of the original session kept in the archives of Edizioni Musicali S.A.A.R. Fifteen tracks were selected with a total duration of approximately 37:35. Maestro Baldan Bembo created an electronic soundtrack introduced by the opening credits theme (A1) with the intervention of diabolical female voices. The atmosphere of terror is represented by suspended synthesized sounds (A2, A3), sometimes more aggressive with piano and percussion (A4, A8, B3) and by macabre themes with female voices (A6, B6). This OST also contains more tonal moments, with a danceable flavor (A5, A7, B1, B2, B5) that break the tension of the story. A record that wants to pay homage to the musical art of Alberto Baldan Bembo and genre Cinema with many fans around the world.
“Nuda per Satana” is a horror film directed in 1974 by Luigi Batzella, screenplay by Luigi Batzella, photography by Antonio Maccoppi, editing by Luigi Batzella, music by Alberto Baldan Bembo, starring Rita Calderoni, James Harris, Renato Lupi, Iolanda Mascitti, Barbara Lay, Luigi Antonio Guerra, Augusto Boscardini, Alfredo Pasti, Stelio Candelli, CRC production, General distribution. The protagonist Rita Calderoni said in an interview that the director Luigi Batzella had chosen her for the film after having seen her in the film “Riti, magie nere e segrete orge nel Trecento” by Renato Polselli. From a database it appears that filming of “Nude for Satan” began on March 25, 1974 and was carried out at the Monte San Giovanni Campano Castle in Frosinone, Lazio, lasting approximately five weeks. The car crash sequence took the director an entire night of filming. “Nuda per Satana” was released in Italy on 23 October 1974.
First ever LP edition exclusive for Record Store Day 2025 on transparent green vinyl with 30×30 cm insert. Liner notes and audio remastered by Claudio Fuiano.

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]]> Bags Groove (Mono) https://wpguerssen-test.odoo.rgbconsulting.com/product/bags-groove-mono/ Tue, 24 Oct 2023 22:00:00 +0000 https://wpguerssen-test.odoo.rgbconsulting.com/product/bags-groove-mono/ There are a multitude of reasons why Bags' Groove remains a cornerstone of the post-bop genre. Of course, says All Music Guide, there will always be the lure of the urban myth surrounding the Christmas Eve 1954 session -- featuring Thelonious Monk -- which is documented on the two takes of the title track. There are obviously more tangible elements, such as Davis' practically telepathic runs with Sonny Rollins (tenor sax). Or Horace Silver's (piano) uncanny ability to provide a stream of chord progressions that supply a second inconspicuous lead without ever overpowering. Indeed, Davis' choice of former Dizzy Gillespie Orchestra and concurrent Modern Jazz Quartet members Milt Jackson (vibes), Kenny Clarke (drums), and Percy Heath (bass) is obviously well-informed. This combo became synonymous with the ability to tastefully improvise and provide bluesy bop lines in varied settings. The up-tempo and Latin-infused syncopation featured during the opening of Airegin flows into lines and minor-chord phrasings that would reappear several years later throughout Davis' Sketches of Spain epic. The fun and slightly maniacally toned Oleo features one of Heath's most impressive displays on Bags' Groove. His staccato accompaniment exhibits the effortless nature with which these jazz giants are able to incorporate round after round of solos onto the larger unit. Bags' Groove belongs as a cornerstone of all jazz collections.

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]]> There are a multitude of reasons why Bags’ Groove remains a cornerstone of the post-bop genre. Of course, says All Music Guide, there will always be the lure of the urban myth surrounding the Christmas Eve 1954 session — featuring Thelonious Monk — which is documented on the two takes of the title track. There are obviously more tangible elements, such as Davis’ practically telepathic runs with Sonny Rollins (tenor sax). Or Horace Silver’s (piano) uncanny ability to provide a stream of chord progressions that supply a second inconspicuous lead without ever overpowering. Indeed, Davis’ choice of former Dizzy Gillespie Orchestra and concurrent Modern Jazz Quartet members Milt Jackson (vibes), Kenny Clarke (drums), and Percy Heath (bass) is obviously well-informed. This combo became synonymous with the ability to tastefully improvise and provide bluesy bop lines in varied settings. The up-tempo and Latin-infused syncopation featured during the opening of Airegin flows into lines and minor-chord phrasings that would reappear several years later throughout Davis’ Sketches of Spain epic. The fun and slightly maniacally toned Oleo features one of Heath’s most impressive displays on Bags’ Groove. His staccato accompaniment exhibits the effortless nature with which these jazz giants are able to incorporate round after round of solos onto the larger unit. Bags’ Groove belongs as a cornerstone of all jazz collections.

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]]> Relaxin’ (Mono) https://wpguerssen-test.odoo.rgbconsulting.com/product/relaxin-mono/ Tue, 24 Oct 2023 22:00:00 +0000 https://wpguerssen-test.odoo.rgbconsulting.com/product/relaxin-mono/ Relaxin' with the Miles Davis Quintet is in every way a masterpiece. When Miles Davis, the trumpeter (1926-1991), had formed the band in 1955, his colleagues - tenor saxophonist John Coltrane, pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones - were not considered jazz-world A-listers. And before conquering his narcotics addiction earlier in the '50s, Davis had seen his once-promising career go into eclipse. By 1956, however, his sound, especially when muted, was an achingly personal counterpart to the vocals of Billie Holiday and Frank Sinatra. Relaxin' (plus its prestige companions, Miles, Cookin', Workin' and Steamin') reestablished Davis, and elevated his quintet as the gold standard of small groups.
This set is called Relaxin' because of the ballad performances in several different bright tempos. From medium-bounce to crisply up, Relaxin' remains one of Davis's sunniest outings, a prime example of one of the outstanding ensembles of the 20th century reaching the summit of their artistry.

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]]> Relaxin’ with the Miles Davis Quintet is in every way a masterpiece. When Miles Davis, the trumpeter (1926-1991), had formed the band in 1955, his colleagues – tenor saxophonist John Coltrane, pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones – were not considered jazz-world A-listers. And before conquering his narcotics addiction earlier in the ’50s, Davis had seen his once-promising career go into eclipse. By 1956, however, his sound, especially when muted, was an achingly personal counterpart to the vocals of Billie Holiday and Frank Sinatra. Relaxin’ (plus its prestige companions, Miles, Cookin’, Workin’ and Steamin’) reestablished Davis, and elevated his quintet as the gold standard of small groups.
This set is called Relaxin’ because of the ballad performances in several different bright tempos. From medium-bounce to crisply up, Relaxin’ remains one of Davis’s sunniest outings, a prime example of one of the outstanding ensembles of the 20th century reaching the summit of their artistry.

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