IL MADRIGALE DEL VENTO

Calliope is "in Greek mythology, the Muse of epic poetry, one of the nine Muses believed to inspire and nurture the arts". It is coincidently also "an organ that generates sound by the release of steam or compressed air through pipes, with tunes often played mechanically, as on a player piano. Calliopes are usually found in fairgrounds or circuses." In our particular case, Calliope was definitely a new ISP band in constant progression, evolving from the jubilant "ripping" excesses of their first albums towards a more thoughtful approach, simply by having the 2 core members (drummer Gianni Catalano and keysman Rinaldo Doro) invite some fresh blood into the fray. No one more so than the splendid vocalist Annalisa Gastaldo , ably assisted by new fretman Aldo Mari , bassist Lele Tosches and second keyboardist Enrico Perrucci. This double ivory arsenal certainly can remind one of Greenslade but the mood is completely different, way more pastoral, medieval-tinged and dreamy. The disc kicks off with a 16 minute epic, "Terra di Maggio", a valiant prog delight , loaded to the gills with various ARP, Moog, Roland and Akai synths, organs, pianos and mellotrons. I am disappointed that the bass (a huge up- front feature with the previous band incarnations) is deeply buried in the mix but that is just me whining about my fave groove conductor not getting enough of a spotlight. Nevertheless, this colossal piece gets a real ride, up, down and sideways, flowing with tortuous fluidity, best exemplified with a fanfare outro that is sheer pleasure, as the choir mellotrons growl in the background. "La Nascita della Luna" is almost "cathedralesque", an echoing plaintive lament that evokes a simple fragility, a guest violin (Andrea Sibilio) gently guiding the way, where Annalisa gets to stretch out her considerable vocal skills with washes of numerous keyboards coloring the atmosphere. Definitely the serene facet of Italian prog, with massive doses of emotion, restraint and melody! Next up is the masterful traditional/renaissance classical piece , a Helvetic (Swiss) piece , "En Haute de Crete" , with choir-trons wooing intensely the fluid synth flute lead on, a touch of violin spark to add even more grandiose effect, gliding into almost vintage Oldfieldian territory. This is a highlight track that is way too short but devastatingly adroit. "La Bionda Treccia" continues on the road of reworking medieval themes, with an overtly Middle Age feel that is hard to resist, Calliope morphing into expert modern troubadours. Annalisa's speed reading is certainly a highlight. "Il Tempo Sei Tu" prefers a return to the dreamier vanguards of their style, with soaring violin (what a sound!) and a mesmerizing vocal that floats with a grandeur that perniciously abducts the senses. The finale is another gigantic four part suite, "La Visione della Dolce Pioggia", which ultimately defines the musical conscience of this band, where the classical meets the Renaissance while injecting a modern technical instrumental touch. In this, the blessed union of violin and the arsenal of keyboards provide indescribable emotions, sweeping themes with strong impressions, deft playing and a true desire to propel the listener into a distant realm. The main theme is repeated often with utter conviction and gives way to a serene introspection. The more rambunctious sections seem to push the whole piece forward, including some interesting guitar-synthesizer incursions, with great consequence. While not a masterpiece by any stretch, this album is a dedicated companion and a more than worthwhile listen. 4 Clowning Jesters.