Founded in early 70s by historical Rai TV trumpeter and composer Cicci Santucci (Looking Around, On The Underground Road etc.), New Tape grew up during the golden period of Italian music production and was dedicated to experimentation of new forms of sound, always hailing from the solid jazz basis of the musicians and theme music inspiration. Andrea Galtieri aka Cavalier Piscopo sequenced the very best bits from the whole label's repertoire alongside exclusive liner notes, with an explosive mix of jazz-rock, bossa, spellbinding groove and raw experimental stuff.
'"Mixed Grill" opens this series, composed by the maestro's alias, Girosan, along with Lesiman (aka Paolo Renosto) who added a more esoteric and captivating atmosphere, closer to English progressive rock. "Rengran Mix" and "Tropical" follow, with music by Paolo Renosto and the old avant-garde connoisseur, Romolo Grano. This work gave way to electronic instrumentation and weird experimentation, and was built on a rich rhythmical carpet - tropical percussions, rock and blues inspired vibes, sleazy psych, and jazz improvisations. Music from “Rengran Mix” was also used as the soundtrack for the TV programme 'Futili Motivi', and also featured the great backing sound of I Marc 4 with the accompaniment of Nora Orlandi's warm vocals.
The trademark of the label, and the most important production, is the fourth album, "Mirage" by Cicci Santucci and Enzo Scoppa themselves. This record is an explosive mix of elegant jazz, funk, and psychedelia, where every instrument finds its expressive space. We can clearly hear the connection on both the "On the Underground Road" and "Looking Around" albums, recorded that same year, bringing that unmistakable underground jazz dopeness typical of the magical duo of Santucci and Scoppa.
The last album of the series is "Appunti Di Guerra" by the mysterious Ruscigan – a very obscure alias which probably belongs to Renosto and Guido Baggiani. This work features complex and dramatic sounds properly composed for war scenes and gloomy atmospheres, with a large assortment of percussion, distorted effects, and tape manipulation – an album that foreshadowed what would become industrial music.
With a ridiculously small pressing of only 100 copies per title, "New Tape" is among the most interesting discoveries to date in terms of original production library music, and as a result, a very respectable journey begins inside the creative underground jazz of 1970s.'