Langstrasse Zwischen 12 Und 12
LP | 2016 | EU | Original (Finders Keepers)
Inkl. MwSt. zzgl. Versandkosten
Release:2016 / EU – Original
From his seemingly bottomless well of unreleased conceptual pop, jazz and pioneeringelectronic experiments, Swiss composer Bruno Spoerri, in conjunction with long termcollaborators Finders Keepers, finally unleashes the master tapes to an obscure 1972 featurelength documentary called Langstrasse Zwischen 12 und 12 (Long Street Between MiddayAnd Midnight). Directed by Gianni Paggi (who had also worked on Swiss pop music weeklyHits A Gogo) and radio host and author Max Rüeger this seldom seen film studied the starkcounter balance between the lifestyles of the inhabitants of Zurich’s famous Langstrasse - avaried and vibrant stretch of road in centre of the city which played host to a unique mixof contrasting cultural and social groups, working class families and energetic creatives.Langstrasse Zwischen 12 und 12 explored real-life stories of family run businesses, schools,nine to five commuters and the contrasting nightlife scene including the city’s liberal afterhours red light district. To accentuate the ironic and slightly schizophrenic nature of theproduction Paggi and Rüeger called upon Spoerri as one of the country’s most versatileinstrumental composers to share a first-hand impression of the area as a local himself.Exploring a wide range of musical disciplines from early modified synthesisers to rock rhythmsvia found sounds, jazz, folk and traditional Greek music, Spoerri successfully infused vibrantbursts of sonic colour into the monochrome imagery of the programme, creating a floatingnarrative undercurrent quite unlike anything heard on regular Swiss TV during the era.In scoring such a project to a precise deadline Spoerri would require a trusted group ofregular musicians, many of whom would appear on collectable records by Swiss groupssuch as The Metronome Quintet, The Rainbow Orchestra and Emphasis. As a leader ofThe Metronome Quintet himself Bruno was comfortable working alongside reliable membersFernando Vicencio (sax and flute), Ueli Staub (vibes, keys and percussion) and drummerRolf Bänninger - who’s prominent playing is best exemplified on the previous FindersKeepers/Spoerri LP Hommage Au Fromage. Other players on this session include Latinmulti-instrumentalist Antonio Conde who had simultaneously bonded with Vincencio in thejazz rock super group The Rainbow Orchestra under famous guitarist/soundtrack composerPierre Cavali (see record FKR008). Another Cavali/Vincencio collaborator to appear on thisalbum is pianist Renato Anselmi who would later join both musicians in the band Emphasis -vital to this session Renato Anselmi would provide extra keyboards to Bruno’s experimentaland textural synthesiser tones. Later in the 1970s Spoerri would also enlist Anselmi to playon the soundtrack to art house film Lilith (recently sampled by US rapper Jay Z. For hardcorecollectors of European jazz the appearance of trumpeter Franco Ambrosetti might warrantsome deserved attention. A firm fixture on the Swiss jazz scene alongside Spoerri andregularly playing with George Gruntz, Ambrosetti’s earlier work on records alongside playerslike American sax man Shahib Shihab or French saxophonist Barney Wilen remain some ofthe most expensive original items on the collectors market. The final icing on the cake for thissession would be the inclusion of Switzerland’s leading harmonica player Heinz Pfenninger,a welcome addition to the group having played with Ueli Staub in the award-winning RobyWeber Quartet (Pfenninger can also be heard playing bass alongside Rolf Bänninger onSpoerri’s aforementioned Hommage Au Fromage LP).Like most of Bruno’s releases on Finders Keepers Langstrasse Zwischen 12 und 12 sees theartist explore unique new territories, combining the skill of incredibly talented musicians andcombining his own discoveries in the realms of electronic music and his own brand of postconcrètefound sound application which would appear on his rare postcard records made forindustrial companies utilising wristwatches, pneumatic drills and forklift trucks as essentialparts of his orchestral palette. This early 70’s glimpse into Spoerri’s narrative compositionfor the small screen captures an important European artist-cum-scientist treading a seldomtrodden path between experimental pop, jazz and music technology in its infancy.