| Disco | Paolo Rustichelli - Mystic Man |
| Year | 1996 |
| Venue | |
| Date | |
| Notes | Island Records
Compact Disc 162-531 065-2 Cassette 162-531 065-4 Release Date August 27th 1996. Mystic Man (4'14") Paolo: Vocals, Keyboards Rockman (4'38") Paolo: Vocals, Keyboards Jill Jones: Vocals Kyrie (4'11") Paolo: Vocals, Keyboards Miles Davis: Vocal whispers, Trumpet Mario Leonardi: Tenor Vocals (Dedicated to Miles' memory) Get On (4'06") Paolo: Keyboards Miles Davis: Trumpet Carlos Santana: Guitar Wild Tribes (4'22") Paolo: Vocals, Keyboards Miles Davis: Trumpet Black Isis (4'16") Paolo: Vocals, Keyboards Paisa' (Italian Immigrant)(4:16) Paolo: Keyboards Free (4'30") Paolo: Vocals, Keyboards Brenda Lee Eager: Vocals Rastafario (4'49") Paolo: Keyboards Miles Davis: Trumpet Carlos Santana: Guitar In Deep (4'31") Paolo: Vocals, Keyboards Jill Jones: Vocals Brenda Lee Eager: Additional vocals Love Divine (4'52") Paolo: Vocals, Keyboards Miles Davis: Trumpet Brenda Lee Eager: Vocals Vers Le Soleil (Towards The Sun) (4'30") Alternate Mixes Paolo: Vocals, Keyboards Carlos Santana: Guitar Rockman (Euro Mix) (4'05") Paolo: Vocals, Keyboards Jill Jones: Vocals Wild Tribes (Hi Tech Mix) (4'32) Paolo: Vocals, Keyboards Miles Davis: Trumpet In Deep (The Rhythmix) (4'50") Paolo: Vocals, Keyboards Jill Jones: Vocals Produced by Paolo Rustichelli Executive Producer: Carlos Santana All songs composed and arranged by Paolo Rustichelli Published by PsycoMusic Publishing (P) 1996 Island Records, Inc., a PolyGram Company All Songs Composed / Arranged / Performed / Programmed and Mixed by Paolo Rustichelli Published by PsycoMusic Publishing Miles Davis appears courtesy of Warner Bros. Records Inc. Carlos Santana appears courtesy of Island Records, Inc. Jill Jones appears courtesy of Paisley Park Records. Samples from: Paolo Rustichelli's private collection East West "L.A. Riots 3" . "Phat and Phunky" Sounds Good: "Eurotech" and "Methods of Mayhem" MidiMark "Vocal Bytes I & II, Karen Taylor/Tanya L.Montgomery/Davina Recorded at: Nightingale Studio, Los Angeles, CA MidiMovie Studios, Rome, Italy Fantasy Studios, Berkeley, CA Engineered by: Paolo *Devon Rietveld Mastered by Bernie Grundman at Bernie Grundman Mastering, Hollywood ,CA Album Artwork: Phil Yarnell A very special thanks to my spiritual brother Carlos Santana who shares my vision with me. Guts and Grace Music/Santana Management P.O. Box 10348 San Rafael, Ca. 94912-0348 Paolo is represented by: PsycoMusic Productions Viale dell'Umanesimo 178 Rome 00144 Italy e-mail: pr@mix.it Next Age records 139 North La Peer Dr. L.A., CA 90048 U.S.A. Fax 310-274-2717 "I like to call his peculiar style 'Total Music,' like a musical soup with plenty of different ingredients with a classical/ futuristic jazzy, spicy flavor." - Miles Davis "Paolo's music is hauntingly beautiful... His romantic, mysterious tone is a soundtrack for life in the 90's." - Carlos Santana If a good movie lets you view life and all its nuances from a variety of shots and new perspectives, then a good soundtrack lets you hear it, mirroring the range of moods presented on screen. Paolo Rustichelli's Mystic Man's then is a good soundtrack without a movie. The first new artist to be released on Carlos Santana's Guts & Grace label, Paolo traverses Italian House music, opera, R&B, jazz and Latin guitar rock, weaving them together with the synthesized melodies that have become his trademark. The resulting "total music", as the late Miles Davis termed it, lets us imagine an array of scenes and elicits from us a gamut of emotions. Strains of Carlos and Miles also resonate throughout he album. The concept of mood-shifting atmosphere enhancing "total music" comes naturally to the Rome-based musician, who spent a good portion of his career scoring films and TV shows in his native Italy. "I'm not crucified to one style." Paolo says, a bit self-conscious about the quality of his English. "When you write music for movies, you need to be eclectic. So I like to jump from one style to another." It's no accident that Paolo wound up making movie music. With over 600 scores and three Oscar nominations under his belt, Paolo's father, Carlo Rustichelli is perhaps the most prolific movie score composer in Italy. Under his father's auspices, Paolo started studying classical music at age five. By twelve he was well versed on the piano, bass and B3. By sixteen, he'd released his Opera Prima on RCA Italy. The album's futuristic, baroque rock was heavy on the organs and let to experiments on an ARP 2600 synthesizer. The first artist in Italy to make use o the new electronic instrument in the 70's, Paolo was soon doing synth session work for all of Italy's pop superstars. From there he followed in his dad's footsteps. Doing upwards of 100 soundtracks for Italy's big and little screens, he scored for such famed directors as Dino Risi, Nanni Loy, and Mario Monicelli. He also produced music for the American film Double Exposure. Virtually all his projects were stamped with both his unmistakable synth and his careful attention to melody, something he finds "...sorely missing with many film composers." In 1990 Paolo schmoozed his way backstage at Italy's Umbria Jazz Festival, where he met Gordon Meltzer , the road manager for the music icon legend Miles Davis, who was performing that day. "I think Miles' playing is very cinematic," Paolo explains. "there's a freedom to his musical behavior, a mysticism. He didn't play a lot for movies, but that was a mistake- he can play incredible melodies, be directed, invoke a mood on command." The road manager reluctantly agreed to take Paolo's tape- which included two funky songs and a ballad, all-electronic based- to the reputedly cantankerous jazz legend. A few days later, Paolo's phone rang. He recalls the succinct words on the other end of the line, imitating Miles' slow, scratchy voice: "'Paolo, I like this', he said to me." Shortly thereafter the two of them spent five hours in Paolo's studio, cutting three songs together. Snippets and samples from that session would seep into many of Paolo's future creations. Some of those creations landed on Mystic Jazz, re-titled Capri in America. Released on his own Psycomusic label, the collection of jazz fusion featured the Miles collaboration, "Capri," as well as the renowned sax playing of Weather Report's Wayne Shorter. Wayne was friends with another musical great, Carlos Santana, and sent him a copy of Paolo's love song, "Full Moon." Carlos dug the tune; met up with Paolo; and they re-recorded two versions of it. One landed on Mystic Jazz, the other wound up on Carlos' Spirits Dancing In The Flash album and became a Santana staple. Says Paolo, "Like Miles, Carlos and I speak the same mystic language. If you give him a melody, he plays it, respects it, lets it grow up. He makes his mark while respecting your melody. A lot of musicians won't do that." Since Mystic Jazz, Paolo has been in Europe doing more TV and film scores, while also working on his own music. A year and a half ago, during a visit to San Francisco, he dropped in on his old pal Carlos who told him about plans to start his own Island-distributed Guts & Grace label. Their conversation grew into a deal, making Paolo the first artist on Guts & Grace. Like the music auteur who created it , Mystic Man defies boundaries of geography. Capturing goose bump- inducing excitement, seat-squirming edginess, melancholy-tinted reminiscence, gentle loneliness and soaring hope, the album is, according to Paolo, a compilation of sonic glimpses. "Today many musicians are one-man bands, playing whatever they want to play with samples and drum machines so they are free to create many types of music- modern dance is something like compilation or soundtrack music. On this album, I'm a one-man band and I play and produce everything, so it's really pure- like a series of photographic prints of me." Bubbling over with spirit-lifting energy, the title song is a house style club track with a lovely piano melody sweeping through it, while the techno-rap ditty "Rockman," featuring vocals by Jill Jones of the New Power Generation, bristles with attitude. Jill pops up again on the erotic, jazz soaked Italian house cut, "In Deep." In contrast, the sentimental textures of "Kyrie," seasoned with operatic chants and Miles' horn, smack of nostalgia for a missed old friend. You'll also hear Miles' voice on "Wild Tribes," a bright plea for global unity, and catch more of his horn playing on "Get On" and "Rastafario" and the soulful slow rocker "Vers Le Soleil" which takes its cue from a famous French pop hit. On "Paisa'" ( song dedicated to the first Italian Immigrants in USA) a steadily plodding chiseling drum beat juxtaposed with a wistful piano and strings conjures a disenfranchised working class foreigner thinking of home; "Black Isis" and "Love Divine" both explore the mystic forces of music and life. While he acknowledges the great classical operatic tradition of his homeland, Paolo feels most of Italy's recent music has a limited appeal. As one of the first major label "diplomats" for his country, he hopes his eclectic package will help to change that. "We haven't produced anything new and memorable since these (late 19th century). Neapolitan folk songs with these simple but really great melodies. I love my country, but I do not define myself or my music by it. I want to make music for a universal audience." |
| Media | MP3 |
| Live | 0 |
| Incomplete | 0 |
| ALBW | 0 |
| Compilation | 0 |
| nVol | 48 |