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2 Sep 2017

Eden Ahbez "Eden’s Island" 1960 US masterpiece of Hippie Beatnik Psych Exotica

Eden Ahbez  "Eden’s Island" 1960 US  Hippie Beatnik Psych Exotica

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Originally released in 1960 on Del-Fi Records.
"Surf Rider" (B7): Unreleased track from the original session for the first time on vinyl.
Silk-screen handprinted new cover + insert.
classic – and only – album release from the man who wrote the massive selling
‘Nature Boy’ as made famous by Nat ‘King’ Cole and covered by everyone from
Sinatra and Esquivel to Nick Cave.

A masterpiece of easy listening that has inspired chill-out compilations around
the globe, not to mention a better way of looking at the world, ‘Eden’s Island’
is pure exotica on one dozen beautifully-crafted songs.
the A-side of his only single release, ‘Tobago’ and the only recording of his
‘Nature Boy’ suite along with nine other Ahbez-penned slices of exotica... 

"It is 1960. Rock 'n' roll has just lost a couple of its protagonists during this and the previous year. The time of the great balladeers has just begun but soon will run out, due to the new and exciting beat invasion. In the US mainstream, the tiki culture has reached a certain peak and is about to collapse, but still goes strong, and with it comes the so-called "exotica" music, a crossover between smooth jazz and swing, Latin grooves, and haunting melodies rooted in global folk traditions, plus weird sound effects that often create a spooky jungle or dreamy island beach atmosphere. See palm trees growing out of your speakers; witness monkeys and parrots having fun in your room. eden ahbez (1908-1995) lived a consistent dropout and hippie lifestyle way before the movement was born in the mid '60s. As a poet and composer, he wrote the hit tune "Nature Boy" that gave Nat King Cole his first big success in 1948. On Eden's Island, originally released in 1960, he approaches the field of exotica music from a different point of view, creating an epic concept album about a utopian society living in peace and harmony on an island far away from the modern western world as we know it. Relaxed grooves; easy-listening swing; Latin patterns; peaceful, dreamy, even transcendent vocal melodies; tinges of folk music from around the world; and a whole color palette of mind-expanding sounds, with narrated lyrics and eden ahbez's wood flute. A truly unique effort; highly recommended to exotica aficionados who, for example, love Frank Hunter's 1959 White Goddess album. Psychedelic music before the term was even invented." - Captain High Records......

Eden Ahbez (born George Alexander Aberle; April 15, 1908 – March 4, 1995) was an American songwriter and recording artist of the 1940s-1960s, whose lifestyle in California was influential on the hippie movement. He was known to friends simply as ahbe. ahbez composed the song “Nature Boy,” which became a #1 hit for eight weeks in 1948 for Nat “King” Cole and has since become a pop and jazz standard. Living a bucolic life from at least the 1940s, he traveled in sandals and wore shoulder-length hair and beard, and white robes. He camped out below the first L in the Hollywood Signabove Los Angeles and studied Oriental mysticism. He slept outdoors with his family and ate vegetables, fruits, and nuts. He claimed to live on three dollars per week. In 1959, he began recording instrumental music, which combined his signature somber tones with exotic arrangements and “primitive rhythms”. He often performed bongo, flute, and poetry gigs at beat coffeehouses in the Los Angeles area. In 1960, he recorded his only solo LP, Eden’s Island for Del-Fi Records. This mixed beatnik poetry with exotica arrangements. ahbez promoted the album through a coast-to-coast walking tour making personal appearances, but it sold poorly. This wonderful piece of unique music is now available again with a silk-screen hand printed new cover. The record has been remastered. In fine, ‘Surf Rider’, an additional song from the original record session has been added to the B-side.....Light in The Attic....~
Musically, Ahbez' 1960 outing was squarely in line with the exotica fad, utilizing then-unusual combinations of instruments (flutes, bongos, vibes) and sound effects like creaking boats to conjure up the aural equivalent of a tropical breeze. Unlike Martin Denny or Arthur Lyman, Ahbez often added his own spoken poetry, speaking of coves, paradise, and other idyllic subjects. Occasionally he even sang in a thin voice (he's no Nat King Cole). Even those who share Ahbez' yearning for heaven on earth must concede that his recorded effort to invoke these states is, to put it bluntly, sophomoric. Yes, it's good for some snickers from the exotica revival crowd, but that's almost definitely not what he had in mind when he was making Richie Unterberger.....~

Eden Ahbez was one of the original hippies before the term was used. Eden was most certainly before his time, living a true bohemian lifestyle(sporting long hair and a beard, he must of seemed really weird to the folks back then) influenced by the california "nature boys" who lived outside under the stars, ate fruits and nuts and practiced meditation and yoga. These "nature boys" was a heavy influence on the later known hippies of 1960's and the music here relects their philosophy. Eden wrote all the tunes, plays a few of the instruments along with singing occassionally and reciting his beat style poetry. The music is exotica (a weird mix of tropical sounds, 50's pop and jazz)which can be considered kind of like the "new age" music of its day, very relaxing. If for nothing else, this is a great historical document in song and sound of the precurser to the late 60's counter culture....Bycaioreach....~
Eden Ahbez was best known for writing "Nature Boy" - a big hit for Nat "King" Cole. This album, however, should be viewed as an instrumental album (a Martin Denny style cross between islandesque and jazz music - featuring jazz great Paul Moer!) with a sort of beat poetry accompanying it. (Bob Keane of Del-Fi Records described Ahbez's lyrics as a cross between Kahil Gibran and Rod McKuen.) In any event, the lyrics and the music work together to create a very ethereal sound that is absolutely haunting - in a positive way!..ByShawn Sutherland....~

Eden's Island is music for the end of a stressful day. The soothing sound of musical seashells blended with soulful prose, lifts one's spirit from the mundane world of techno and transports it into Paradise. A glass of wine and an ocean breeze helps. Ahbez is a unique artist who reveals his soul without regret. This is a CD worthwhile having in your collection. I first heard Ahbez's music while I was at the university in the 70's and have never grown tired of listening to it.....~
Ahbez, was a 20th century maverick, possibly comparable to Moondog and Harry Partch. A bearded, vegetarian, sandal wearing traveller, known for sleeping in caves and even under the Hollywood sign - in the 1940s. He wrote Nature Boy, first recorded by Nat King Cole and numerous others. This record, his only album, recorded in 1960, sits quite comfortably alongside exotica proponents Arthur Lyman and Martin Denny: vibraphones, heavenly choruses and bamboo sticks abound, with poetic meandering and a sprinkle of jazz. LP comes housed in silk screened sleeve, with liner notes insert....~

Eden Ahbez (born George Alexander Aberle in Brooklyn, New York on April 15, 1908; died March 4, 1995) was an American songwriter and recording artist from the 1940s-1960s, whose lifestyle in California was influential on the hippie movement.
Ahbez composed the song "Nature Boy", which became a #1 hit for eight weeks in 1948 for Nat "King" Cole, and has since become a pop standard.
Living a bucolic life from at least the 1940s, he traveled in sandals and wore shoulder-length hair and beard, and white robes. He camped out below the first L in the Hollywood sign above Los Angeles, studied Oriental mysticism, and claimed to live on three dollars a week, sleeping outdoors with his family, and eating vegetables, fruits, and nuts.
In 1959, he began recording instrumental music, which combined his signature sombre tones with exotic arrangements and (according to the record sleeve) "primitive rhythms". He often performed bongo, flute and poetry gigs at beat coffeehouses in the Los Angeles area. In 1960, he recorded his only solo LP, Eden’s Island, for Del-Fi Records. This mixed beatnik poetry with exotica arrangements. Many consider it as one of the weirdest exotica records ever created, and it was not a commercial success.
This guy could well be the first hippie! Living the life of a hippie long before the hippies came along.
I love this very special record! Del-Fi label boss Bob Keane estimates the sales of the original LP to less than a hundred copies......

Eden Ahbez was one of the authentic fringe figures in space age pop, a one-shot wonder so dramatically different from anyone else that he became, perhaps, a greater legend than his accomplishments justify. Born a good Jewish boy in Brooklyn, he ended up cultivating a Christ-like appearance and reputation among the fruits and nuts of sunny southern California.
Just what brought him from Brooklyn in 1908 to Los Angeles in the mid-1940s awaits a better biographer's investigation. He claimed to have been raised in an orphanage, and have crossed the U.S. on foot eight times by the age of 35. He settled in L.A., married a woman named Anna Jacobsen, slept with her in a sleeping bag in Griffith Park, claimed to survive as a vegetarian on three dollars a week, and stood on street corners in Hollywood lecturing on various Oriental forms of mysticism.
He emerged to public attention around 1948, when Nat King Cole recorded his song, "Nature Boy," that told a fantasy of a "strange enchanted boy" "who wandered very far" only to learn that "the greatest gift" "was just to love and be loved in return." Having no job and no fixed residence, he had plenty of time to hang around places like the Lincoln Theater, where he accosted Cole's manager, Mort Ruby, insisting that Cole look at the soiled, rolled-up manuscript of "Nature Boy."
Cole recognized the underlying Yiddish melody in the song (as did the publishers of the Yiddish song, "Schwieg Mein Hertz," who later settled out of court with Ahbez after the tune became a hit) and expressed mild interest in adding it to his repertoire, since he was looking for a Jewish song to add to his act. After trying it a few times in his show, he decided to record it, with Frank DeVol provided the arrangement. He and DeVol tossed out the original waltz melody and went rubato, without a set rhythm, and recorded it on 22 August 1947. Buddy Cole played the piano part Nat had written.
Cole and Capitol didn't know what to make of the song, so they sat on the record for months. Meanwhile, word-of-mouth about the tune began to grow from Cole's live performances, and eventually Cole realized the record should be released. Unfortunately, no one had bothered to secure the rights to the song, and Ruby went off on a hunt to locate Ahbez. Legend has it that he found Ahbez and his wife camped out below the first "L" in the "HOLLYWOOD" sign. It turned out that Ahbez had given a half dozen people different shares of the publishing rights, and he ended up with virtually nothing. (After Cole died, his wife eventually gave the rights in toto back to Ahbez.)
Capitol released the tune as a "B" side, but when it first played on WNEW in New York, the station was bombarded by calls, and "Nature Boy" quickly became Capitol's #1 single. Frank Sinatra, Dick Haymes, Sarah Vaughan, and others rushed out cover versions, with the Petrillo recording ban looming just days away.
Ahbez was a legend in Hollywood for his unusual life style. Even after he and Jacobsen had a son, they kept on living out under the stars, with not much more than a bicycle, their sleeping bags, and a juicer to their name. The story may be apochryphal, but it's said that once, when Ahbez was being hassled by a cop who assumed from his wild appearance that he deserved to be hauled off to a mental institution, he remarked calmly, "I look crazy, but I'm not. And the funny thing is, that other people don't look crazy, but they are." The cop thought it over and responded, "You know bud, you're right. If anybody gives you any trouble, let me know."
Although Ahbez (or "ahbez," as he insisted in being called, holding that capital letters should be reserved for the divine) later had another tune, "Land of Love," recorded by Cole, he faded back onto the street corners until 1960, when Del-Fi Records boss Bob Keane brought him into the studio to record Eden's Island. For this album, Ahbez recited his poetry/songs in front of a pseudo-Martin Denny jungle exotica arrangement. Mickey McGowan has described this album as sounding like "Martin Denny had gotten together with Jack Kerouac" (if Kerouac had become a hermit instead of a beat, that is).
Ahbez popped up in a few different places during the 1960s, most prominently with Brian Wilson somewhere in the days before the legendary Pet Sounds and Smile albums were recorded. He cut another album, Echoes from Nature Boy, similar to Eden's Island, putting his poems in musical settings, which was released posthumously. Ironically, he died in 1995 after being hit by a car.....

Yes, Eden Ahbez was the first true hippy, an original cave-dweller, tree hugger and even lived for a time under the "L" on the famous HOLLYWOOD hill sign. He wrote the jazz standard "Nature Boy" and lived for much of his life on a prescient diet of nuts, pulses and raw fruit. He was also an exceptionally talented musician and songwriter but sadly only produced this one utterly magnificent and rare solo album, which sold very poorly indeed on its original release. It's a classic and seductive mix of his spoken philosophies and dream-like music. It's a journey into sunsets and absolute calm. One of the most magical, most beautiful and staggeringly blissful albums of all time. You need this music in your life. .......~
Lest the obvious need restating -- everybody loves a character…
It's likely that few fit that description in Hollywood's record biz history better than Eden Ahbez, the man who penned one of pop-song’s most enduring pieces, "Nature Boy." If not for the plethora of evidence confirming his life story, one wouldn’t be out of line thinking it a made up fairy tale, but it goes like this.
In 1947, Capitol recording artist Nat King Cole's manager handed him a tattered piece of sheet music received from a stranger backstage during a gig at Downtown L.A.'s Orpheum Theatre. Cole began playing the song for live audiences, who immediately took to its haunting melody, somber harmonics and mystical lyrics about a boy who wandered across the earth communicating man’s greatest natural desire -- to love and be loved in return. One problem… when Cole sought to record the song (titled "Nature Boy"), he could not track down its composer to firm up contractual obligations. Thus a sort of "Hollywood-insider" APB was put out in search of the stranger who dropped "Nature Boy" off that fated night at the Orpheum.
When Cole's management finally found its composer, Eden Ahbez, he was living with wife under the "L" of the HOLLYWOOD sign, his appearance befitting the enigma (Ahbez wore long unkempt hair, a bronze beard and sported flowing white robes with sandals). Even more improbable for a first-time composer was that "Nature Boy" shot to #1 on the Billboard charts, and remained there for eight consecutive weeks during the summer of 1948. When the press caught wind of Ahbez's off-kilter lifestyle, a media frenzy ensued. Ahbez was covered simultaneously in Life, Time and Newsweek magazines during the summer of 1948. Frank Sinatra, Sarah Vaughn and Dick Hymes all released versions of "Nature Boy" around the same time, and the public seemed hungry for more from whence came this "liturgical road song," as one writer called it.
Eden Ahbez was born George Alexander Aberle on April 15, 1908 in Brooklyn, NY. He was adopted by a Chunute, Kansas family and raised under the name George McGrew. During the '30s, McGrew/Ahbez moved to Kansas City to partake in the burgeoning jazz dance-craze known as "Swing." In between his move to Kansas City and his appearance in Hollywood around 1941, Ahbez's whereabouts are shrouded in mystery.
He apparently lived in New York City during the late 1930s. Some have speculated that it was during this time that Ahbez rediscovered his Jewish heritage and became involved with the Yiddish theatre popular in Manhattan during the '30s, based around plays by composer Herman Yablokoff. Papirosn was one of Yablokoff's more popular stage projects from that period and featured a song titled "Sveig Mein Hartz" ("Be Still My Heart"). In 1948, when Ahbez's "Nature Boy" was a smash hit, lawyer's representing Yablokoff sued Ahbez for stealing the melody of "Nature Boy" from "Sveig Mein Hartz." Yablokoff wrote about the lawsuit with a full chapter in his 1981 autobiography, Der Payatz (Bartleby Press). Apparently, Yablokoff settled out of court for $25,000, but not before having a phone conversation with Ahbez, where Yablokoff claimed that Eden pleaded his case for not having ripped off the melody from "Sveig Mein Hartz." However, it has been hypothesized that due to Eden Ahbez's technical dexterity on the piano (and other instruments), that he played in the orchestras of various Yiddish plays during the '30s, and hence the melody of "Sveig Mein Hartz" had become a part of his consciousness.
What is certain is that Ahbez arrived in Los Angeles in 1941, and began playing piano in the Eutropheon, a small health food store on Laurel Canyon Boulevard, owned by the German husband/wife team of John and Vera Richter. John Richter gave lectures throughout the Greater Los Angeles area during the 1940s, and some of the employees of the Eutropheon were Americans who had adopted the Richter's German Naturmensch and Lebensreform philosophy, wearing long hair and beards, eating only raw fruits and vegetables. These were soon dubbed "The California Nature Boys." Some of the familiar names included Bob Wallace, Gypsy Jean, Emile Zimmerman, Gypsy Boots, Tati, Buddy Rose and Eden Ahbez. It is likely that Ahbez discovered Eastern philosophy and mysticism during this period, adopting the name "eden ahbez" (and choosing to spell his name with lower-case letters, claiming that only God was worthy of capitalization). For more information on the pre-hippie movement in Germany and Southern California, Gordon Kennedy's Children of the Sun is a primary text.
During this time, Ahbez met Anna Jacobson, who was to become his wife and the mother of his only child, Zoma. Little is known about the lives of Anna and/or Zoma Ahbez. Some pictures remain, showing Anna as a kindred earthy spirit to Eden, as well as photos of Zoma from childhood through his teenage years. Later photos have Zoma sitting in the mountains meditating with his father, their likeness uncanny. Anna Ahbez died in 1964 at the age of 32, from cancer. Footage from her funeral shows family members and friends looking on as Eden sits crossed-legged by Anna's gravestone, playing a gong and reciting some unknown words (the footage being silent). This clip was posted in 2006 to the website. Anna's brother, Al Jacobson, started the Garden of Eatin' health food manufacturing company in 1971.
Zoma Ahbez mysteriously died during the late '70s, having been found face-down, floating in a river. The child of Eden and Anna Ahbez had not yet been born when "Nature Boy" hit the charts in 1948, but was mentioned as being on the way in Eden's interviews with Life, Time and Newsweek, as well as a first-time meeting with Nat King Cole during the television show We the People, from 1948.
Sometime during Ahbez's working days at the Eutropheon restaurant, he met Cowboy Jack Patton, a songwriter and radio personality in the Western genre. Patton would later become a spa and health guru to the stars, but during the mid-'40s, he was a mentor of sorts to Ahbez, providing financial support and record biz advice. It is believed that Patton was the one who helped Ahbez first plug "Nature Boy."
Soon after "Nature Boy" hit the top of the charts, R.K.O. Pictures optioned the rights to turn the song into a feature-length movie script, which may or may not have melded into the late 1948 film, Boy with the Green Hair (directed by Joseph Losey, starring Dean Stockwell); the picture featured "Nature Boy" throughout and Eden Ahbez's name was amongst the first in the opening credit roll.
In 1949, Ahbez followed-up "Nature Boy" with a Nat King Cole exclusive titled "Land of Love (Come My Love and Live with Me)." While the arrangement for "Land of Love" was just as sophisticated as "Nature Boy," perhaps the lyrics rambled a bit and the overall tune lacked the intrigue of its predecessor. The "Land of Love" sheet music, however, boasted a genius minimalist Deco drawing that graced its cover. Popular jazz singer Doris Day recorded the song a year later for Columbia Records, as did the Ink Spots for Decca. Neo-jazz singer Eve Zanni covered "Land of Love" for her 2002 album Songs for Modern Mermaids.
According to a brief bio on Cowboy Jack Patton from "Jack and Eden got written up in Life magazine and elsewhere and other songwriters began to contact him [Jack] for advice or help in promoting their songs. One was Stan Jones. Stan had been reciting a poem on the radio called 'Rangers in the Sky' on Jack's radio show. This poem was said to be written by an old Texas ranger way back when, who was no longer living. Jack advised Stan Jones to turn it into a song, using public domain music. He played around with and a few years later, came back with the song 'Riders in the Sky.' Jack then had another idea for Stan -- add the word 'ghost' to the song title. The three of them -- Stan, Jack and Eden -- agreed to handshake agreement of a three way split on the song. Jack and Eden pitched the song to a singer by the name of Burl Ives. His recording of it reached #14 on the musical charts. Not to be deterred, the boys pitched it again, after getting it signed to B.H. Morris Publishing Co. and in 1949, a recording by Vaughn Monroe was released. This one rocketed to the top of the charts and stayed at the top for eleven weeks."
During the 1950s, Eden Ahbez would compose a series of songs recorded by some of the biggest jazz and pop artists of the day, distributed on the biggest record labels in America (RCA Victor, Capitol Records, Warner/Reprise, Columbia Records and Mercury). In 1950, Ahbez's own Nature Boy Orchestra (Mercury Records) released "End of Desire" b/w "California" (the latter was also recorded by Hoagy Carmichael, re-titled "Sacramento," about a vagabond traveling the California coast by freight train). "End of Desire" was also recorded by Jack Powers (Lotus Records), backed with another Ahbez original, "Guitar Totin' Cowboy." April Stevens recorded a version of "End of Desire" (Society Records), as well. Later that year, Ahbez would pen several other quality cuts released on 78 RPM -- "Wine, Women and Gold" by the Carsons (a bold philosophical jump number about man’s excesses) and "The Shepherd" (Columbia Records) by Herb Jeffries.
Herb Jeffries was known as "The Black Singing Cowboy" featured in several Western films of the 1930s and '40s, and was male-vocalist in the Duke Ellington Orchestra during the Billy Strayhorn years. Jeffries sang lead on the Ellington hit "Flamingo" and was the leading role in Ellington's controversial Los Angeles play, Jump for Joy (1944). Eden Ahbez and Herb Jeffries would often spend time together at Lake Shrine, the Southern California ashram of Paramahansa Yogananda, and in 1948, Ahbez wrote a four-page article on mysticism for Yogananda's Self-Realization magazine. In 1954 Herb Jeffries and Ahbez collaborated on an album titled The Singing Prophet (which included the only recording of Eden's four-part "Nature Boy Suite").
Next up for Ahbez was "Hey Jacque," a song written with new collaborator Wayne Shanklin, whom Ahbez would compose over a dozen songs with during the 1950s (only "Hey Jacque" would ever hit vinyl). Released in 1954 by Eartha Kitt, "Hey Jacque" was obscured somewhat due to it being the B-side to Kitt’s holiday smash, "Santa Baby" (RCA Victor). Millions of homes unknowingly had another Ahbez masterpiece on their hands (if only they had turned the record over). And though "Hey Jacque" itself was not a hit, its dense orchestration (by Henri Rene) was the perfect foil for Eartha Kitt's somber vocal, reminiscent of Parisian chanteuse Edith Piaf.
Following "Hey Jacque," Ahbez penned tunes for various white jazz/standard performers, such as Giselle McKenzie ("They're Playing Our Song," RCA Victor), Vicki Young ("Let Me Hear You Say I Love You," Capitol Records) and television personality Frankie Laine ("The Jalopy Song," Mercury Records and "Rockin' Mother," Columbia Records). "The Jalopy Song" began life as an independent single (on Gold-Tone Records) first recorded by Ahbez's friend Cowboy Jack Patton -- a novelty song featuring early vegetarian lyrics with a background of party sounds (simulated in the studio). Ahbez also wrote two rock 'n' roll novelty singles during the mid-'50s -- "Elvis Presley Blues" by Anita Ray & the Nature Boys and "Song of the Fool" by the Crew-Cuts (of "Sh'Boom" fame).
Ahbez would continue to record with prominent black artists throughout the '50s, including Sam Cooke, whose 1957 "Lonely Island" (Keen Records) would be the second (and final) Ahbez composition to hit the Top 40. Gene Chandler (of "Duke of Earl" fame) also recorded a near-identical version of "Lonely Island" that same year. In 1958 Ahbez produced a doo-wop version of "Nature Boy" by R&B vocal group the Shields (featuring Jesse Belvin).
His first foray into the instrumental genre now know as exotica came in 1956, with three cuts that Ahbez wrote for Bob Romeo & his Jungle Sextet's, Aphro-Desia -- "Lisbon Street Dance," "Zen" and "Sahara." The album jacket was graced by Anita Ekberg (replete with gypsy costume), and featured West Coast cool jazz giant Laurindo Almeida on guitar. Bob Romeo (who played flute on a 1954 James Dean session) met Ahbez's Middle Eastern chord structures with proto-exotica percussion and abstract flute tones. (The cover also warned that the primitive rhythms therein could arouse uncommon emotions for the unaccustomed listener). In 1958, Ahbez wrote the Anglo-Mambo single "Ahbe Casabe" for Howdy Doody Show actress Marti Barris. That same year, the Ahbez-written "Teen-Age Love" by Richard Day & his Music (Kem Records) was a very good Percy Faith knock-off, while 1959's "Palm Springs" (recorded by the Ray Anthony Orchestra) would combine Ahbez's signature somber tones with an exotic arrangement indicative of the oncoming swarm of '50s bohemia.
In 1960, Ahbez would get his first crack at recording a solo long-player, Eden’s Island (Del-Fi Records). He had spoken of a "spiritual song cycle" as far back as 1958 (in an interview he did with the Washington Post), and often performed bongo, flute and poetry gigs at L.A. beatnik coffeehouses such as the Insomniac Café (Hermosa Beach) and the Gas House (Venice Beach). Eden's Island seemed to be the grandiose summation of Ahbez’s philosophic idealism, couched in a beachcomber context of Martin Denny-esque arrangements, with Ahbez himself reciting poems about his own mystical hideaway. The album flopped.
After that time, Eden Ahbez’s appearance on vinyl (and in the public) was scant. During the '60s, he released only three singles -- "John John" b/w "Surfer John" by Nature Boy & Friends (Bertram International Records), "Nature Boy" b/w "Lonely King of Rock and Roll" by Don Reed & Lorelei (A&R Records) and a "Tequila"-inspired novelty tune titled, "Mr. K" by John Bean (Reprise Records). Ahbez was also photographed on January 5, 1967 with Brian Wilson during a "Heroes & Villains" session for the latter’s Smile album. That same year, UK folk singer Donovan tracked Ahbez down in Palm Springs for what was, reportedly, a near-telepathic conversation between the two "wanderers." Perhaps public consciousness was catching up with Ahbez, just as the youth counter-culture was reaching its '60s zenith. Recognizing the pacifism of Ahbez's message, groups such as Great Society (Grace Slick's pre-Jefferson Airplane band) and Gandalf recorded versions of "Nature Boy" during the psychedelic era.
Ahbez would only release one more song during the remainder of his lifetime -- a home-made 45 on Elefunt Records, "Divine Melody" b/w "Richard Milhous" (a double-shot of bloated hippy intrigue from 1971). Thereafter Ahbez faded into obscurity. He passed away on March 4, 1995 due to injuries incurred from an auto accident. At the time of his death, Ahbez had been working on a book and album titled The Scriptures of the Golden Age. Only a small sampling of various prose and poetry have been found from the book, while his last collaborator Joe Romersa retains an archive of over 100 songs (in various states of completion) recorded for the Scriptures of the Golden Age project. Unfortunately Ahbez’s estate has blocked Romersa from releasing this material to the public. Perhaps with more light shed on the talent and legacy of Eden Ahbez, public demand can one day force its release. Until then, "The Secret of Love," "Nature Girl," "Anna Was Mine" and "The Path" -- from the Scriptures of the Golden Age sessions -- have been released; these on a posthumous CD put out by the Ahbez estate titled Echoes from Nature Boy, featuring an additonal six Ahbez cover songs by Lawrence Welk guitarist Buddy Merrill, plus one demo tape of Ahbez singing "No Bums Allowed."
Also, just prior to Ahbez's death, a resurgence of interest came about for his 1960 Del-Fi solo album Eden's Island. By 1994, a heady swirl of exotica, lounge, surf music, swing and burlesque hit the post-rock environment like a storm. While Eden's Island was far from the focus of this pop culture trend, it was viewed as a true oddity worth seeking out according to Andrea Juno and V.Vale's seminal book Incredibly Strange Music, Volume Two. Soon after that, author Domenic Priore made an attempt to find Eden and interview him for the Del-Fi CD reissue of Eden's Island. Priore's liner notes for the CD booklet turned out to be the first shot at telling Eden's life story, culled from a variety of sources, including four Nat King Cole biographies. No interview with Ahbez ensued, and he soon-thereafter passed away. However, Priore was able to get an unreleased 1960 Ahbez song titled "Surf Rider" onto the disc as a bonus track.
In 1998, the Australia Broadcasting Company ran a radio program devoted to Eden Ahbez broadcast on the show Imaginary Island, hosted by lounge DJ Brent Clough. Around this time, psych-pop band the Wondermints recorded Ahbez's "Full Moon (Tropical Blend)" for the Del-Fi compilation Delphonic Sounds Today, while Victoria Williams covered "Mongoose" on her Sing Some Ol' Songs album. Both of these cuts were culled from Ahbez's Eden's Island LP. Meanwhile, Eden's last collaborator Joe Romersa launched, a website that offered the first real insight into what Eden Ahbez was like in his private life. The site hosted video clips and pictures from Ahbez's life, as well as stories and quotes, plus several MP3 clips of Ahbez calling Romersa on the phone and leaving messages on his answering machine.
In 2001, director Baz Luhrman's Moulin Rouge featured "Nature Boy" as its theme in the Paris-based film about a bohemian quest for universal love. "Nature Boy" was utilized throughout the movie, in various tempos, to convey the plot, and was played under the closing credits in a version by David Bowie. Further Ahbez excursion into film came from the BBC-Scotland's documentary The Secret Map of Hollywood (2004), which featured a nine-minute segment on the life of Ahbez (filmed by yours truly, Brian Chidester, with Domenic Priore). Priore had previously followed his Eden's Island liner notes with a biographical article on Ahbez in issue #3 of Cool and Strange Music magazine, while Chidester penned an expanded portrait of the man in an issue of Record Collector News from 2006. He also hosted a pair of two-hour episodes on the radio show Beatnik Beach ( devoted to Eden Ahbez, which featured over seventy Ahbez tunes.
For Crescent magazine's winter '05/'06 issue, an Ahbez-centric article was written by Integral Yoga therapist, and long-time friend of Abee's, Youngbear Roth, IAYT, NAAP. Rather than focusing on Ahbez's music, Youngbear told his story of meeting Ahbez in 1971, after the former had spent several years running from the law. Ahbez not only taught Youngbear about how to clean up his act, but also gave him important lessons in mental and physical health.
In the spring of 2007, a account registered as "ultimessence" posted a five minute hand-held video clip of Eden Ahbez from 1992 (age 84) in the California desert town of Indio. Ahbez is reluctantly filmed standing by his white van, where he has a bed stashed in the back, as he talks about various philosophies in a somewhat paranoid tone. The owner of this video hypothesized that Ahbez was the basis for R. Crumb's ZAP Comix character "Mr. Natural.".....By Brian Chidester........~

Eden Ahbez: In 1959, he began recording instrumental music, which combined his signature somber tones with exotic arrangements and (according to the record sleeve) "primitive rhythms". He often performed bongo, flute, and poetry gigs at beat coffeehouses in the Los Angeles area. In 1960, he recorded his only solo LP, Eden’s Island, for Del-Fi Records. This mixed beatnik poetry with exotica arrangements. Ahbez promoted the album through a coast-to-coast walking tour making personal appearances, but it sold poorly.. ~

Sometimes records just stop you in your tracks and you have to have them. It’s rare but it does happen. It’s happened a lot over the years to me but as you get older it gets rarer. Well, I reckon this album might do to you what it did it for me. This is a special record it has a great feel, some off key poetic lyrics and the vocal harmonies and arrangements are both sublime and enchanting. It’s different.
The poetry side should be no surprise when you find out that Eden Ahmez was the writer of the standard, ‘Nature Boy’. A huge hit for Nat King Cole in 1948, and a song that has since been covered by Frank Sinatra, George Benson and thousands of others. He also wrote the great ’Lonely Island’ for Sam Cooke (another gem) but Eden was not your average Brill building jobbing songwriter.
Eden was a very different sort of talent. He was, a kind, of proto hippie way back in the late 40’s and early 50’s. After he had gotten Nat King Cole’s manager the music and lyrics for 'Nature Boy’, and it had found its way into being a firm favourite in Nat King Coles live sets, before they could record it they needed to find it’s author. Eden at the time was living bare foot under the Hollywood Sign in LA ! This caused an outrage in the press at the time but was totally in keeping with the rest of Eden Ahmez’s ways of living. Upon arriving in LA from NYC he had gotten a job in a cafe run by two Germans who followed a Naturmensch philosophy. Meaning that they and their associates grew their hair and beards long and ate only fruits and vegetables. They called their followers 'Nature Boys’. Eden was one and hence the song (it was originally part of six song suite). I suppose Eden was an early Beatnik but he looked much more Hippie than that.
So that leads us to this 'Eden’s Island’ which has a very Jesuit image of Eden on the cover. Originally released in 1960 on Del Fi Records. It is informed by his state of living. Poetic, primitive and exotic. It has the feel of exotica, it’s a bit Les Baxter in the use of vibes and resonant tones but it has a deepness and a spirituality that makes it sound much more contemporary and engaging. The album paints the picture of Eden’s ideal world. Eden indeed ! A great example is the track 'Full Moon’. A melancholy flute and some vibes set the mood for a tale of life on an island where the world is free and life is isolated, easy and everyone gets on in one big natural love in. It is idealistic and naive but a perfect narrative over the lush, easy sounds that accompany it. When the choir is employed the tunes have the feel of those deep spiritual jazz albums from the likes of Black Jazz or Strata East but they predate those records by years and are much less complex and more fun.
I don’t know exactly why I have gotten so excited about this record but it really has blown me away. Yes its got a good back story to it and it is a long lost obscurity from a true original and may be that is why the music has taken me somewhere that isn’t cold London in December but a different time and place. It has an optimism that possibly embodies Eden’s original bohemian life style but it is the music that does it. It is a great jazz inflected curiosity that works from beginning to end. I love those. It is a full album and a different one and If you are looking for that sort of mood I can’t recommend it highly enough…

If you've yet to upgrade your Eden's Island from the cruddy rip that was floating around for so long, then I have some news for you: there's a nice rip of it over at Basic Hip Digital Oddio. But go with haste, my child, for it's only gonna be there for you until Feb. 5. That's how things are done over there. HURRY. 

Eden's Island is about as essential and magical as an exotica LP can get. If you miss out on this one, I do recommend the Black Sweat reissue, which sounds great, even though they fucked up the cover like a bunch of fucking clowns. 

A1 Eden's Island 
A2 The Wanderer 
A3 Myna Bird 
A4 Eden's Cove 
A5 Tradewind 
A6 Full Moon 
B1 Mongoose 
B2 Market Place 
B3 Banana Boy 
B4 The Old Boat 
B5 Island Girl 
B6 La Mar 
B7 Surf Rider 

Futuro Antico ‎ “Dai Primitivi All'Elettronica"1990 Italy Electronic,Experimental,Ambient,Prog,Raga,Ethnic

Futuro Antico ‎ “Dai Primitivi All'Elettronica"1990 Italy   Electronic,Experimental,Ambient,Prog,Raga,Ethnic…recommended..!


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"An outstanding raga-like drone LP with a distinctive cosmic vibe, Futuro Antico was a short-lived collaboration between the two Italians Walter Maioli (Aktuala), Riccardo Sinigaglia and Gabin Dabiré (from Burkina Faso). The synthesis between ancient, ethnic and analog electronic music is just perfect, the minimalist repetition with slight changes lends associations to slow growth; cyclic repetition gives the listener an opportunity to discover the sounds, to meditate, to go into the music, join the same journey through ancient, primitive cultures and modern electronic soundscapes. Originally released in 1980, the sound is completely analog and warm. This limited to 300 copies reissue maintains the original tape artwork, with info and photos." - Black Sweat........

A one-off collaboration featuring African, Indian, and Italian members, Dai Primitivi All'Elettronica is a vibrant, psychedelic fusion of international styles. Starting as a kaleidoscopic duet between piano and synthesizer, then growing to encompass hypnotic, propulsive percussion, various wind instruments, didgeridoo, and other musical elements, this masterfully sequenced record practically demands to be taken in as a whole.........

Jetting out their debut album in 1980, this runs a neat sonic parallel to Jon Hassell’s notion of fourth world music, melding minimalism, ambient and South Asian classical tropes. Futuro Antico are an Italian group interspersed with Indian and African members, rather than another distant westerner’s constructed exotic fetishism. They live up to their name, which renders the sound timeless. Often, it’s tricky to decipher whether this is a product of childlike, spontaneous vulnerability, or calculated engineering. There’s a host of indigenous instrumentation present, as well as synths, vocals, and maybe even a didgeridoo. 
If cascading pianos, howls of swinging creatures in the distance, or labelmates of Franco Battiato Dru Grossberg.

Aktuala released a self produced cassette in 1980 called Futuro antico, along with keyboardist Riccardo Sinigaglia, ... issued on vinyl later in a numbered #350 edition. Electronic ethnic prog..,.....

I never heard world music quite like this! Futuro Antico, translating something as "Antique Future" pretty much describes this Italian ensemble, that had connections with a '70s group called Aktuala. Aside from Italian musicians, the group also appeared to have Indian and African musicians, which really lent the ethnic credibility to this wonderful album. This is not your typical run of the mill world music album, but one with a highly avant garde bent. The group wasn't called Futuro Antico for nothing, as they also incorporated electronic with lots of African and some Indian influences. All sorts of modern and ethnic instruments used, like synthesizers (apparently a Minimoog), organ, piano, marimbas, jawharp, kalimba (African thumb piano), flutes, sitar, and something that sounds like a didgeridoo (if they got a hold of a didgeridoo, they must have not got the circular breathing technique down because it keeps stopping after a few seconds and besides, in 1980, the didgeridoo was pretty unknown outside of the Australian Aboriginal community). "Piano Synt" is one of my favorites here, stunning use of piano and trippy use of '70s analog synths that remind me a bit of Tim Blake circa Crystal Machine. "Eco Raga", as you might expect, is quite dominated by the sitar, with a strong Indian bent. "Piano Synt" is a lot less ethnic, with emphasis on piano and stunning '70s analog synths. This piece really blows me away, I find it hard to believe this was from 1980 and not 1976, but it is from '80! "Sinikorò Kumà" is very much dominated by marimba, lending to an African feel, while "Concrete Music" starts off rather avant garde, but eventually you get treated with marimba, kalimba, Fender Rhodes electric piano and even didgeridoo (I believe, but then where's the circular breathing or those screeching sounds associated with that instrument?) 

This out of the way: I have never been called a world music enthusiast. I obviously have no problems when a group like Ozric Tentacles included lots of Middle Eastern and Asian influences in their music which really gave that group character, it's straight-up world music that I am not much into. But then Futuro Antico isn't conventional world music as there's lots of avant garde, electronic, psychedelic and even some prog rock influences to go with it. 

The album was apparently released only as a privately issued cassette, after all, this was 1980 and record companies were by this point interested in what sells. Had this album been released in 1973, a label like Bla-Bla would have released this album (Aktuala actually recorded for that label, just like Franco Battiato). Certainly the finest thing I ever heard from 1980. It sounds way more '70s than '80s to begin with. In 1990 the album received a limited edition reissue, but it really needs a more permanent reissue. For the adventurous listener, this comes highly recommended!  Proghead72 ...

A more spacious Aktuala crossed with the minimalism of Raul Lovisoni / Francesco Messina / Lino "Capra" Vaccina. One of the vital albums of the criminally unheralded late 70s Italian scene, a time when the spiritual and the political, the avant-garde and the popular, and the future and the antique, intermingled to create something genuinely unique, just as most everyone else in the West was giving up. Considering the late release date, Futuro Antico is perhaps the last album from that scene, ..

"Black Sweat Records presents the CD version of Dai Primitivi All Elettronica, Futuro Anticos 1980 second album, which Black Sweat reissued on vinyl in 2014 (BS 009LP). An outstanding raga-like drone album with a distinctive cosmic vibe, Dai Primitivi All Elettronica is the second release by the short-lived collaboration between two Italian musicians, Walter Maioli (Aktuala) and Riccardo Sinigaglia, with Gabin Dabire (from Burkina Faso). The synthesis between ancient, ethnic, and analog electronic music is just perfect. The minimalist repetition with slight changes recalls slow growth, and the cycles afford an opportunity to discover the sounds, to meditate, to go into the music, to join the same journey through both ancient, primitive cultures and modern electronic soundscapes. The sound is completely analog and warm. This reissue maintains the original tape artwork and includes info and photos." - Black Sweat. .....

Blissed out, sacred, luminous semi acoustic / electronic "trip" from Italy "underground". Released in 1980 it can almost figure as a classic, revealing mysterious extended "drones", classical arrengements and a great variety of "exotic", non west instruments. "Eco Raga" is a sonic acoustic meditation for buzzing sitar and chanting flutes lines. The atmosphere is very floating and pleasant. "Piano synt" is surfing on "new agey" territories but succes to create a gloriously spacious and environmental ambience with "kosmisch" synth waves, beautiful modern classical / jazzy piano sequences ( in a sense it reminds me Tim Blake's peaceful, lysergic analog synth excursions). The final theme "Suoni Naturali" starts as a weird immersion into a "jungle" of unusual, "shamanic" sounds, it carries on an ethereal, "voodoo" like incantation with ethnic, ritual percussions altered by electronic treatments and nocturnal flute lines. A very strong effort with a lof of innovative experimentations, I can only regret the new agey influences on some philippe ...

 In 1980 Walter Maioli and Riccardo Sinigaglia come up with a bit of a thesis, having an earnest set of goals: complex interpretation of concrete-like and programmatic music, a fusion between expression and spirit, imposing the sound together with the meditation, and using a natural and rich index of music layers. And this work is pretty well done. It's, more than anything, something interesting, given that even the notions of "experiment" and "concrete music" themselves rarely reach natural and artistic forms, within the field of rock, electronic programmed music or even "world music". D'ai primitivi all'elettronica is, perhaps, only far from being innovating, considering that the material doesn't change or dramatize the essence of the styles it's using, neither consumes a remarkable originality; on top of this, Futuro Antico stays an obscure study, released precariously. 
This project should attract some attention in relation with the band Aktuala (in which Maioli previously played), a band that's more classic and more renown. Futuro Antico, of course, doesn't sing the same music, still Aktuala is, somehow, an ensemble that also study composed music, resuming only to put it inside folk and rock, concept or sonic/color psychedelic. 

The title of "D'ai primitivi all'elettronica" is very sugestive, though music doesn't draw into "primitive" characters, neither exceeds its style of technically processed sound. More suggestively is instead the ethnic breadth, since, besides Maioli and Sinigaglia - the first having great studies in acoustics, natural sound and cultural music, the second being the most experienced in complex, post-modern or ambient-reflexive electronic - Gabin Debire, Indian vocalist and multi-instrumentalist, shines, plus the African percussion catches a fine taste through two guest musicians. The archetypal styles of Futuro Antico are equally sugestive, without, however, having a stable character. Aromatic and psycho-transitive, this band's music is not raga, nor part of Oriental expressions. The same thing goes with the electronic inclination, despite the effective and eclectic use of drones, synthesizers and experimental programmers. D'ai primitivi all'elettronica doesn't subscribe to the great electronic course, suffering largely because it assimilates in little way the common styles of that period. This music doesn't even confound with the pleasures of ambiance, though there is new-wave. It's a different music, superior to the electronic technique. A third style would finally be that of "world music", expressed very good through the multitude of traditional instruments, as well as through the fact that it sounds artistic and spiritual. 

This album's material resumes to five pieces, some complex, others imperfect. In essence though, Future Antico compose a long essay of sound and music, having a kaleidoscope of styles - untreacherous in their art - that vary and undulate from the already mentioned nucleus of electronic/art raga/world sound to small extremes of psychedelic or harmony music - the last being the most limited. The technique usually melts in "senses" and "feelings", a touch that's, as usually, charming but also difficult to like. In the end, it is excellent that this music addresses to the spirit, that it has a concentrated value that's far from stressful, that it approaches the aesthetic out of taste (and not vanity), that the electronic over-dues the "artificial" in favor of "expressiveness" - and so on. 

I'll give a positive note to this album, despite that it isn't perfect, nor an emblematic measure within the genre it experiments and interprets - it's worth something! Deep, special, unusual music, accomplished by the taste of music that speaks with the heart and with the Beautiful.... by Ricochet ....

A pleasant album by Futuro Antico! 
It is always a pleasurte to listen to this album, i use to do it in several situations, if i'm tired or had a difficult day or i am not in the mood to listen to the first thing i see, but so far i have always felt great when i listen to this album, it is full of an inner peace that make you feel calm and relaxed. 

I discovered this gem thanks to a good friend from Guatemala (once member of PA, pepefloyd) whose musical tastes are alike to mines, and who always surprises me with some recommendations. 

If you have read my reviews, you may know then that i try to give you some details about the band or artist before writing the review of the album itself, this time that will not happen since to be honest i don't know anything about Futuro Antico, i just know what i read in their bio here and the previous reviews, so it's not accurate to write something that can be seen in other people's reviews, what i can tell you is that this was a band created by Italian people with an orientation to the electronic, ambiental and folkish eastern music. 

This album was released in 1980 and is entitled D' ai Primitivi all' elettronica and features 5 songs and a total time of almost 40 minutes of pure bliss. 

It opens with Eco Raga by the name you can judge the kind of music played here, well first of all let me tell you that this is an instrumental album, and yes, this song shows a beautiful and peaceful feeling made by a folkish background while a sitar and some flutes are playing here and there, the mood created gives you instantly a sense of relaxation, why not meditation if you use to do that. 

Piano Synt is the first long song, the opener was a short one just like an introduction to the album's main goal, which in my opinion is to take you directly to the music's mood, the different atmospheres will invite you to continue to this trip of relaxation and harmony for your ears, i can assure you that you will feel better when you have already finished the album, this song has a lot of instruments involved, while sometimes it seems only to be playing some piano, synths and percussion, if you listen carefully you will notice a mix of several peculiar sounds, made of course by some unusual instruments that give the album the ambiental and electronic style. 

Next one is Sinikoro Kuma which is probably the song that keeps in my mind easily, it does have a rythm made by the percussion, i dont really know if there are some cymbals or xilophone sound over there, at the second half of the song there is an spacey atmosphere with some mother nature sounds that fill the song in an excellent way. 

Concrete Music / Oa Oa , man this is pure bliss and what a trip you can have here, it's impossible not to say that if you close your eyes, you will be captured by the music's intriguing sound, this is the epic track of the album with more than 15 minutes, and it opens with a sound that may figure some glass breaking or something, and the song is progressin gradually, little by little until you are totally inside of it. What we can listen here are a lot of things that may be described with several adjectives, the music is peaceful, spiritual, atmospheric, folkish, even new age, it's a song full of inner secrets that you will discover while it runs, through the minutes there will be nothing more surrounding you but this. Following the previous songs characterization, this track provides you an exquisite percussion sound and a no less exquisite flute delicate effort, while there is always a use of the synths creating the background and atmospherical effects, there are some moments that also reminds me to some traditional and ethnic mexican music. 

The album ends with Suoni Naturali which in my opinion is the strangest track since it has a different flavour in the beginning, i will concour with a previous reviewer who said that this sounds like a ritual, i am not stealing his phrase but i simply think the same here. There are some enviromental sounds, an african percussion and the flute that always immerses you to the deepest atmospheres of the album. 

An album that i enjoy a lot when i listen to it, it is not for everyone that's sure and it is not a masterpiece either, but believe me, this music provokes in me a beautiful sense of peace and tranquility, and i believe it's highly recommendable to any prog fan, so my final grade is 4 stars! 

Enjoy it! memowakeman ......

Vanishing all borders! 
Recently having aquired a modest but fruitful bunch of Italian prog/electronic albums (among others), I finally found this "overlooked and obscure gem" of the subgenre, FUTURO ANTICO's , 1980 "D'ai primitivi all'elettronica" (from primitive to electronic). 

Consciously focused on the blend of "electronic" sounds and "primitive" percussions, Futuro Antico also dares to bend other rules in order to achieve a more composition wise wild adventure. 

But let me brief you a bit on the members of this 3 record band (2 official releases + an unreleased live recording). This the one I review its their first studio release. Founded in Italy, between Walter Maioli and Riccardo Sinigaglia, Futuro Antico at least in this album and the live one, had the privileged collaboration of master and native musicians coming from India and Africa. Thus the true nature of the musical experimentation between Africa meets slightly India plus European electronics results. 

So as I mentioned, one of the real thrills of this project aside from mixing instrumentation is the way this music moves coherently from electronic, native and even classical structures as freely and naturally, as if perfectly woven into a single intention. 

The project as such is perfectly structured, composition wise, but then again surprisingly experimental. Therefore rich in creative ideas that work out in balance, subduing the inherent cliches and temptations that usually happen in this kind of fusions. 

Better than that, each of the 5 compositions dares to take different routes, some more "primitive" ( Central African music comes to my mind), others more subtly-modern, but respectfully displaying their own characteristics without stepping in each others toes. 

A sure hassle to find even in Italy, but worth the time and money. 

****4.5 PA admireArt .........

Futuro Antico is one of the most experimental and influential groups of Italian minimalism. 
Their music has no time and place. Between 1980 and 1981, they recorded some tapes which traveled from hand to hand among different generations of fans. Their mix of modern sounds and ancient instruments gave birth to “ethno electronic music”. They are reuniting especially for ZUMA. 
Futuro Antico have no official discography. You might have seen tapes titled “Afghanistan” or “Les Balafons De Haute-Volta”. Their most representative record is “Dai primitivi all'elettronica”, whose title itself is a manifesto of the group’s musical vision. 

Futuro Antico is Walter Maioli (wind instruments and composition, founders of the legendary and obscure Aktuala), Gabin Dabiré (voice, percussions, guitar and composition, he is dedicated to the rediscovery and preservation of African music, and to its incorporation into several musical genres) and Riccardo Sinigaglia (keyboards and electronics, teaches electronic music at the Milan Conservatory and is active as a composer in different fields). ...

"An outstanding raga-like drone lp with a distinctive a cosmic vibe, Futuro Antico was a short living collaboration between Walter maioli (Aktuala) and Riccardo Sinigaglia. I love this album, the alternation between electronic drone, hypnotic passages and the eastern tinged acoustic sections gives the album a very pleasant, intrinsic flow. The synthesis betwwen ancient and electronic music is just perfect, the minimalist repetition with slight changes gives associations of a slow growth, of cyclic process, the persistent repetition gives the listener an opportunity to discover the sounds, to meditate, to go into the music, join the same journey trough ancient, primitive cultures and modern electronic soundscapes.".

Aktuala released a self produced cassette in 1980 called Futuro antico, along with keyboardist Riccardo Sinigaglia, ... issued on vinyl later in a numbered #350 edition. Electronic ethnic prog.

Futuro Antico is a group of experimental music that in 1980 and 81 created a preview of a mix of the sounds of ethnic musical instruments, especially prehistoric and primitive people, and electronic sounds, hence the definition of "ethnoelectronic music".
Group composed by Walter Maioli, Riccardo Sinigaglia and Gabin Dabiré.
Walter Maioli, wind instruments and composer. Founder of the legendary Aktuala group. He has done extraordinary research on the origins of music, archeoacoustics and psychoacoustics, music of nature, prehistory and ancient civilizations.
Gabin Dabiré, singer, percussionist, guitarist and composer works in the rediscovery and preservation of African music heritage and experiences African music with the most varied musical genres.
Riccardo Sinigaglia, keyboards and electronics. Lecturer in Electronic Music and Conservatory Sound Department at Giuseppe Verdi Conservatory in Milan. He composes "electronic" works for the most varied contexts.
After 25 years, the Futuro Antico has been reconstructed to experiment with new possible sound and music solutions in search of archetypal intonations. After a search and a concert at Ameno and followed a 4-day recording made in September 2005, the result of which was given to an Archetipe CD Intonations, containing 7 music tracks, the last track: Arte nelle Stelle, is a recording analogue of 1980.
Text from the brochure of the Futuro Antico music group, written by Adriano Abbado, who was involved in the visual aspect, Walter Maioli, Riccardo Sinigaglia and Gabin Dabiré. Milan, 1980

At present, the cultural landscape in the world is nevertheless vast and multifaceted.
The development of electronic technology has enabled the construction of devices with the most diverse functions, from sound generators and images to information systems through symbolic logic. At the same time, the importance of aerospace has greatly increased the aviation and satellite communications.
The immediate contact with different cultures and the knowledge of peoples whose systems of life and thought differ from the patterns of provenance have linked vital universes that interact and transform.
Ancient Future has as its main purpose the knowledge, the stage and the diffusion of these cultural realities and the search for an expressive unit through the most diverse media we have cognition.
Ranging from ethnomusicology to electronic music, from theater to audiovisual systems.

Walter Maioli, Barbarano Romano Forest, 2005

Decades have passed since the "vision" of Futuro Antico, and more than thirty years since I was involved in world fusion music, founded the Aktuala group. So we can begin to draw conclusions, check whether the message came, if the sound vision anticipated the times, and what alchemical sound changes occurred.
There are expressions of the arts that explore unknown dimensions, which open the doors of perception. The masks of the universe are hanging. The sound of the stars, of the cosmos, is reflected in a "sacred" pool of water, falling from the sky, where the rock has been thrown and circles are widening.
One of the most important features of precursor artists is to go beyond the daily, paid for exploring and treading unknown streets. Music anticipates the times. Sounds like patterns penetrate into the ears by rela- ting human action. What you hear becomes. And that is why we listen, and we play, the sounds of nature, the wind whisperings, the vital breath of mother earth, the music of the stars, the cosmos, ourselves, the vibrations and the words of the masters and the deep soul of the different peoples, through the voice of their musical instruments.
In recent years, many artists have been inspired by Ancient Future, but by interpreting it and enclosing it in a single temporal, cultural, historical, ethnic, or pseudomulti-ethnic dimension (including the notes at the bottom).
While the music made in the Eighties by Future Antico, it is universal music, out of time. In fact, the Ancient Future sought that inner dimension populated by archetypal sounds and rhythms, which are the foundations of all the music of the world. In fact: music is not a universal language, archetypal sounds like.
Sounds organized beyond tonal systems of standardized music cultures. An extraordinary alchemic acoustic formula, due to a careful choice of matching instruments and sounds. That was not based on you: you African sound the balafon accorded to the piano scale, or all of you pitch on an Arabic or Indian musical scale, maybe playing Japanese instruments. In addition, there were other extraordinary premises, such as trying to make acoustic sounds of different cultures with electronic sounds, the result we call it ethnoelectronic music.
And here we have realized that true electronic music was searching for the cosmic sounds of the origins.
My research on prehistoric sounds, like the sound choices of the African musician Gabin Dabiré, followed patterns and territories that some electronic keyboard makers, such as Richard Sinigaglia, were traveling along with contemporary avant-garde music. In practice: could you live with acoustics and electronics? How can you say, can you live in nature with your computer in your pocket? Well, now, at this stage in 2005, to judge where and how I write: I would say yes.
Cloned Sounds and Multiethnic Sound Minestrons

In today's world context, I would say almost global, are impervious to music from cloned and set sounds. People every day eat these horrible electronic sounds, without realizing it, through TV and electronic equipment in the context of a highly polluted sound landscape, which has severely raised our listening threshold. In the midst of this, we are also witnessing an incredible multi-ethnic soundtrack that reflects and creates the current relationship between the different cultures of the world. So African drums from plastic skin are combined with championship flutes and mixed with cloned maracas sounds ... and it can certainly be missed, mixed in the minestrone, or even played alone: ​​the didjeridu or didgeridoo, the megaphone alterator of the "poor" Australian Aborigines. The latter have literally seen taking off their traditional instrument par excellence, and now you can hear the didjeridu, played by Europeans and Americans, even in advertising. Instrument considered by the "sacred" aborigines, and much more. Shops in all cities around the world sell didjeridu, but the majority, unfortunately, are instruments from Indonesia. But the mood is that such a tool, like a food, belongs much more than what we think, to the environment from which it was generated.
If an instrument has been created and found to have developed in a certain culture and in a certain place, it will have its reason. And then, the low sound of the digiriduu, belongs to the sphere of hypnotic sounds, which act remarkably on certain precise psycho-physical levels. These sounds are not always therapeutic, indeed, in some cases or for some people, are really bad, they can trigger everything. Music therapy is a serious thing, which unfortunately most often is taught, and applied badly. Combining sounds, creating new sounds, exploring the unknown, not everyone, is not enough to go to the conservatory, or to the refresher course, or be animated by the hacking of everything. I always remember a basic premise for those who want to listen to music and different music: all the music can get you in, but you have to see where they are going......

Line-up / Musicians 
- Gabin Debirè / tambourines, xilophone, tom-tom, fischio, raspa, zanza, ektar, bastone sibilante, bonghi, conghe, legni, tamburo parlante, sonagli 
- Walter Maioli / flute nai, osso d'acquila, fischio africano, sonagli, armonica bassa, arco a bocca, maranzano, flauto d'oppio, jangro, richiami, sonagli 
- Riccardo Sinigaglia / synthesizer, piano, organ, echoes, bongos, tibetan bells 
- Kala / tambura 
- Oiseau / tamburi

Eco Raga
Piano Synt
Sinikoro Kuma
Concrete Music
Suoni Naturali

johnkatsmc5, welcome music..







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