1998 - LA STORIA DI SABAZIO

To say the Emerson Lake & Palmer were highly influential in Italy would be the under- statement of the decade during the 70's: not only were Le Orme, and Banco DMS, but countless lesser-known bands that recorded just on or two albums at the time. Amongst which Triade (named after the Chinese mafia), a keyboard-dominated trio (from Florence) whose sole album was released in 73 on a small label named Derby. While there has been three different reissues, (Si-Wan, Vynil Magic and a MMG-Warner issue), none give out any kind of info (legible to this writer) as to whether this album is a concept album (but most likely it is) and they are obviously augmented by at least one string player (a cellist is sure), which could be the bassist.

All the tracks are composed by the Nobile-Coccimiglio team (if you can consider the many classical borrowings composing), and while their sound is obviously derivative, there is nothing shocking, and is often more agreeable than their masters of thinking. A four-part sidelong suite Sabazio, which sounds like a collage of direct classical influences, takes up the first side. The keyboardist uses mainly an organ, and his playing resembles a bit late XIXth century Romantism/Impressionism School (from the French Debussy to the Russian Prokofiev and everything in between), so I find it rather tedious as it seems to be taking its blueprint on The Nice's Ars Breva Vita Longis and the Five Bridges Suite.

The flipside however present more interesting side as three of the four tracks are sung, even if it starts a bit in the same mode than previously with Il Circo. Espressione starts on a poorly-chosen synth sound (only because it sounds like cheap synth of nowadays), before a very pleasant-sounding voice and an acoustic guitar with a piano give a welcome breathing space to the formula organ-bass-drums interspaced with a few cello lines. Next is the pleasant (but definitely lifted) Caro Fratello, which happens to be again not following the typical song format, and is the highlight of the album. The finale happens to be the other title track (and there is a hint that this song might have come out as a single with the Fratello track) not as good as the previous two tracks but still holding its own.

While not essential on a historical or even national scale, Triade's only album (and a very short one at that, clocking at less than 30 mins) is a sure bet for ELP lovers and certainly surpasses anything Triumvirate has ever done. Clearly saved by the more personal tracks of the second side, this album is rather honest but still very derivative.