history

Mamud Band

is an ensemble that in the last twenty years, mainly led by its founder Lorenzo Gasperoni, has distinguished itself in both the italian and international music scene through the composing creativity and the involvement of renowned solo artists.

We just mention the successful collaboration of the fabulous trumpet player Lester Bowie in 1998, the participation of famous italian jazz players and the presence of the band in prestigious international festivals.

Greatly characterized by the impressive rhythmical section of Mamud Band, with Lorenzo Gasperoni and Jacopo Pellegrini on percussions and Sergio Quagliarella on drums, this ensemble is today the result of an in-depth research in the vast heritage of african, brazilian, cuban, jamaican and afroamerican music and has enjoyed the contribution of musicians of an outstanding composing and performing caliber, such as Giovanni Venosta on keyboards, Alberto N. A. Turra on guitars, William Nicastro on electric bass, Marco Motta on baritone sax, Simone Maggi on trumpet, Paolo Profeti on alto sax and Mr Bobcat on vocals.

Manifesto

Mamud Band - Opposite People - The Music of Fela Kuti - cover albumNow, after the previous record “Opposite People” (Felmay 2011), an intense and rightful tribute to Fela Kuti and his music, Mamud Band promulgates its manifesto, called “Afro Future Funk” (Felmay 2013), the last recording work, completely made up of original compositions and born thanks to the producer Diego Cattaneo and the already mentioned Quagliarella.


Mamud Band - Afro Future Funk - cover albumAfro Future Funk
is intended to be as a huge “container” of music genres, including everything that has come into the creative minds of the band.
Therefore, in pieces such as Afro Future Funk and Latte+ Mamud Band find considerable influences of Afrobeat and afrocuban music, in German Funk we discern Ethio-jazz with Davis’s traces; in Mr. Mamud and Talmud we can recognize streaks of James Brown and the legendary Herbie Hancock’s Head Hunters, that bring us closer to the “visionarity” typical of the 70s’ afroamerican funk of bands such as Mandrill, and in Wasp and Mambo Chic we hear hints of white funky-latin-music, like that of Chakachas.
The compositions Sirius Hymn and Two Warnings reveal another side of this new work, deeply bound to the devotion to the traditions: Benin and Yoruba in the first piece, enriched with Giovanni Imparato’s superb cameo on voices and percussions; the slow blues of Alì Farka Touré and Jay Hawkins, Ellington’s and Mingus’s vibrant afro-jazz peek out in the second piece.
The pieces sung by Mr. Bobcat (Careful, Tangible Dream) are something completely different: they are distinctly reggae/dub, yet characterized by the style of the winds typical of Mamud Band.

A dizzy and vibrant sound that makes it impossible to stop dancing.