SPIRITO BONO

Rounded up to the 4th star

This third album is where CDL comes of age, where they really start they "rock" career (lack of better words, since not much is actually rock or really electric, but the attitude is certainly prog) and maybe folkie Peter (Jorma's bro) Kaukonen's production of the album has something to do with it, but something has changed. Behind the bronze age artwork, CDL (now a sextet) this album present two epic-sized tracks and two "shorter" tracks that explores many facets pre-classical folk music (reminiscent of Third Ear Band and Gryphon), sometimes mixing it with some minimalism (think of Terry Riley), at others the same kind of madness that inhabits groups like Samla MM or Alamaailman Vasarat, but without the humour.

Starting out on the almost 17-mins Bailo In Re, Spiriti Bono is aptly titled, as it gives us plenty of folk adventures including wind instrument drones, violins and unfortunately for me, accordion (yuck!!). The track long meanders in different types of folk pieces found in Italy and Europe, from tarantella to sort of jigs, from Sard polyphonic vocals to semi-medieval music. The shorter Ballu is definitely more Mauresque or Turkish sounding and is reminiscent of Riley's music on Dervishes, mixed with a tad Andalucian folk. The flipside's Morte Del Pulcinella is a slow starter with a plazintive tone, so well given by the clarinet over a violin and a bowed bass, but slowly the Polichinelle's (that's a clown) spirit is revived through weird festive noises. The almost 16-mins closing title track (subtitled Coccodè) is another long adventure into the already-above-mentioned realm, this time the accordion and violin being a tad more present (and sounding like Dave Arbus) and in a way Third ear Band is just around the bend. The track does liger on a bit long, especially given the percussion solo just before the end

While this album is a stunning progressive folk album, I suggest that most progheads continue with their crowning achievement Miradas that will be released the following year on the Crac label from Area. In the meantime SB is much worth a listen!!!

Maybe the proggier of all Italian Folk bands, Canzoniere del Lazio originated from Roma with an initial line-up of multi-instrumentalist Carlo Siliotto, singers Piero Brega and Sara Modigliani and Francesco Giannattasio on accordion/percussion.The traditional Folk album ''Quando nascesti tune'' was released in 1973 on Dischi del Sole, followed by the departure of Modigliani and the arrival of multi-instrumentalist Pasquale Minieri, percussionist Giorgio Vivaldi and sax players Luigi Cinque and Gianni Nebbiosi.A second, more diverse release with a strong Folk content was released on Intingo label in 1974, entitled ''Lassa sta' la me creatura''.Another line-up change occured in 1975 with Nebbiossi leaving and entering the picture is drummer Piero Avallone.In 1976 a second album on Intingo was released under the title ''Spirito Bono''.

With their third studio album, recorded at Chantalain Studios in Rome and produced by Peter Kaukonen (brother of Jefferson Airplane's guitarist Jorma), Canzoniere del Lazio head towards the pinnacle of their sound.The style of the group is still deeply grounded in Folk fields, but the discreet use of electric instruments as well as the experimental mood of their stylistic approach shows a band ready to explore the unique possibilities of performing in looser forms.''Spirito bono'' contains two very long Prog Folk tracks, which swirl around traditional Italian Folk, Folk Rock and Experimental Music.In these tracks the band presents a rich sound full of acoustic interplays, weird interruptions towards more calm sections, psychedelic Italian vocals and a few electric moments with good use of guitars.The compositions are quite loose as aforementioned and range from tight moves with alternating acoustic sections to chaotic soundscapes with an experimental touch, that might bother the average listener, but still sound quite charming.Among these long pieces the group offers also a couple of shorter tracks.''Ballu'' is closer to Italian Folk, featuring heavy use of percussions and wind instruments, while ''Morte di Pulcinella'' has a very strong Chamber Folk aura, propably due to heavy use of sax and violins in a hypnotic and dark-sounding enviroment, supported by obscure vocal work.

''Spirito Bono'' sounds extremely tasteful for all fans of Prog Folk and all mystified lovers of acoustic instrumentals.Additionally I would definitely recommend this album to anyone willing to realize how Folk Music can transform into more rockin' forms without the strong presence of electric instrumentation.Unique dicovery to say the least.