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AZIMUT

Perigeo

Jazz Rock/Fusion


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Perigeo Azimut album cover
4.04 | 81 ratings | 7 reviews | 27% 5 stars

Excellent addition to any
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Studio Album, released in 1972

Songs / Tracks Listing

1. Posto di non so dove (6:12)
2. Grandangolo (8:22)
3. Aspettando il nuovo giorno (3:55)
4. Azimut (7:18)
5. Un respiro (1:30)
6. 36° parallelo (9:51)

Total Time 37:08

Line-up / Musicians

- Bruno Biriaco / drums & percussion
- Franco D'Andrea / acoustic & electric pianos
- Claudio Fasoli / alto & soprano saxophones
- Tony Sidney / electric guitar
- Giovanni Tommaso / vocals, basses

Releases information

LP RCA Records PSL 10555 / CD RCA Records ND 74103 (1989)

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PERIGEO Azimut ratings distribution


4.04
(81 ratings)
Essential: a masterpiece of progressive rock music(27%)
27%
Excellent addition to any prog rock music collection(42%)
42%
Good, but non-essential (26%)
26%
Collectors/fans only (1%)
1%
Poor. Only for completionists (4%)
4%

PERIGEO Azimut reviews


Showing all collaborators reviews and last reviews preview | Show all reviews/ratings

Collaborators/Experts Reviews

Review by Sean Trane
SPECIAL COLLABORATOR Prog Folk
4 stars First album from the best Italian jazz-rock band, and the first of a few masterpieces in a row, all of them being distinctive from one another, something that's not always evident in the JR/F style. Perigeo has their sound somewhere between Mwandishi, MD's BB, Soft Machine, Nucleus and Iceberg. I have rarely seen such a bizarre/ugly artwork illustrating so well the music on the disc: if you can easily picture your head/brains after listen of this album through the headphone, chances are that it wouldn't look too far away from this, maybe with added smoke coming out of the ears.

Perigeo holds one particularity that no other bands in memory (mine anyways) has: its leader is a bassist, which in jazz circles is quite uncommon. Indeed Giovanni Tomasso is not only the bassist and contrabassist (with and without the bow), but he plays synths and percussion as well as singing (quite well too) whatever few vocals there are on their albums. He's also on this album, the sole songwriter as well. The other musicians are also quite fine at their respective crafts, especially Franco D'Andrea on keyboards and Claudio Fasoli on saxes. Another particularity of theirs was to have an American on the guitars Tony Sidney, who will record a few albums on his own a bit later. Rounding up Perigeo is drummer Biriaco, whom hogs the stool quite well.

Rising on spacey noises, the sublime Posto Di Non Dove starts to grab you with a quiet electric piano over a Floyd-like organ and Tommasso's superb scatting vocals. Halfway through, the song changes abruptly with a strong repetitive descending riff on bass and guitar, while D'Andrea's piano is reminiscent of Keith Tippet, while Tommasso's singing takes on another lovely direction. The lengthy Grandangolo is a track filled with dissonant bits accompanying a pedestrian bass, before the track settles into a groove with Fasoli's doubled or tripled sax gives a bit of a brass rock chorus. Around the half of the track, the need to go higher is felt and the group increased the tempo a bit. The short and tense Aspettando was with is a relatively common track.

The lengthy title track opening the flipside starting on a bowed contrabass and Tippett-like piano are leading the tune to unsuspected peak somewhere not too far from Alice Coltrane, while Sidney's guitar finally gets a few lines, but the track returns to Tommasso's superb bass and D'Andrea's awesome piano, until it fades out. The aptly-titled short Un Respiro is Tommasso's vocals over quiet sax fills. 36th Parallel closes out by giving some exposition to Fasoli's sax lines and Biriaco's drums first, then Tommasso's bass, going dissonant again,

Quite an outstanding debut album, Azimut failed to attract much attention to itself, something the group's second album "Abbiamo.." would, as well as its Genealogia successor. It must be noted that in Azimut, the band might have well had been a quartet for young Tony Sidney's guitar is more than discreet and apart a few loud moments, iot's almost inexistent. But in either case, this will not stop Azimut to be a highly recommended debut album that all fans of Nucleus and Tippertt must own.

Review by Cesar Inca
SPECIAL COLLABORATOR Honorary Collaborator
4 stars This is where it all started for Perigeo, the band that would signal the times and heights of Italy's jazz- rock scene for the following years. Given the spirit of experimentation and renewal that was spreading all over the country in popular music, Perigeo took notice of that and turned from a traditional jazz-rock band to a modern jazz-fusion ensemble. For this "Azimut" the obvious main point of reference is Weather Report, mostly regarding the ethereal atmospheres and the fluid use of exotic cadences in the rhythm section. The opener 'Presto di non so Dove' kicks off on a tone of spiritual tranquility that almost seems to lay silent in wait for teh sun to rise in the horizon. The track's second half is a full- band jam that keeps things quite dreamy, spreading the initial mood and making it just a little bit more extrovetive. 'Grandangolo' initially follows in a similar vein albeit structured in a more intense mood: D'Andrea, Sydney and Fasoli really shine in their own respective leads on electric piano, guitar and alto sax. Somewhere near the end the group creates an absorbing moment of chaos, in this way setting a moment of frenzy that ultimately reaches a properly conclusive coda. This is one of the album's highlights, no doubt about it. 'Aspettando il Nuovo Giorno' returns to the more reflective mood of the opener, although its jam-friendly scheme keeps things quite groovy. It's a pity that this track only lasts less than 4 minutes, since its catchiuness should have definitely been more expanded. This kind of shyness is not repeated on the title track (another highlight). Track 4 reinstates the recurrent serene stance in the shape of a surreal travel through well-ordained yet free-developing sounds. You can tell that this band's debut shows true accomplished musicians, natural veterans so to speak. The amalgamation of piano arpeggios and bow-driven contrabass lines create a delicate limbo seasoned with percussive ornaments. When the guitar and bass guitar settle the middle section, it's time for the full ensemble to elaborate an agile motif that includes a spectacular piano solo. 'Un Respiro' is a brief interlude that serves as a moment of rest and softly breathing before the arrival of the 10- minute long '36° Parallelo', a very focused jam-oriented piece. The contrast between the sober electric piano chord progressions and the exuberant sax and chanting lines helps the band to bring out its extroverted side with more fuition than on any other colorful passage in the preceding repertoire. All musicians alternate the solo parts (including a magnificent drum venture by Bruno Biriaco). It's a pity that this tracks doesn't meet a proper climax to close down the album: hypothetically speaking, 'Grandangolo' would have made a more adequate closure, but all in all, it is a good idea that the album's final seconds are so patently uptempo. "Azimut" shows a few unpolished corners in Perigeo's sonic building, but it is also clear that the band is almost already there t meet its apex in albums such as "Abbiamo Tutti un Blues di Piangere", "Genealogia" and "La Valle dei Templi".
Review by apps79
SPECIAL COLLABORATOR Honorary Collaborator
3 stars 3 stars for a strong and quite original debut...

A very important jazz rock band from Italy,almost equal to AREA in terms of music value.They were formed in Rome in 1971 and soon after they were signed by RCA Label,which released their debut ''Azimut'' in 1972.Entirely written by bassist/vocalist Giovanni Tommaso,the album is quite experimental considering the time of its release,containing six jazz rock-oriented compositions with a very smooth sound characterized by the distinctive saxes and the atmospheric slow-tempo electric piano parts,without lacking in tension through some crazy moments of improvisations.There is also an intense spacey feeling during the listening,while some vocal parts are sung in a style close to byzantine hymns,making the whole effort even more thrilling.Fans of bands like WEATHER REPORT or NUCLEUS should simply check this out.A very promising start!

Review by Bonnek
SPECIAL COLLABORATOR Honorary Collaborator
4 stars If UK was the original habitat for Prog, then USA was the same for fusion. But just as with Prog there were many acts all over the world that absorbed the pioneering influence made it into their own. Germany was probably the leader of the pack, but also Italy spawned a couple of interesting acts, Area is the obvious spotlight, but also lesser known acts such as this Perigeo have made wonderful albums.

In true Italian fashion, Perigeo concentrated on creating beauty and harmony. In fact they took the magical dreamy mood of early Weather Report and removed the roughest edges of that band's experimentation without becoming too polished or cheesy. With a concentrated interplay between the members they eschewed virtuoso heroics and put all their money on composition and atmosphere. A wise choice that pays off wonderfully on the debut. Also the occasional vocals add greatly to the atmosphere.

With 6 moving fusion tracks of consistent quality that I appreciate this album as much as the early Weather Report period. It's probably not been as ground-breaking or inspiring but it's simply a great listen.

Review by Mellotron Storm
PROG REVIEWER
4 stars This is PERIGEO's debut called "Azimut" released in 1972. It would be the first of three straight albums that I think are incredible. WEATHER REPORT came to mind most often when listening to this record with the atmospheres and style of playing.This is if nothing else an interesting listen.

"Posto Di Non So Dove" opens with atmophere as piano then vocals arrive a minute in. It kicks into gear around 3 1/2 minutes with drums, bass, guitar and piano.Vocals are back late. "Grandangolo" again opens with atmosphere as sounds come and go including sax. They start to groove after a minute.This reminds me of Zappa. Some cool guitar expressions here.This sounds great with the electric piano playing over top. It's intense after 4 minutes.The guitar starts to solo before 5 minutes.The sax replaces the guitar after 6 minutes. An intense and chaotic finish to this one. "Aspettando Il Nuova Giorno" opens with gentle piano as it slowly starts to build as bass, cymbals and other sounds join in.

"Azimut" starts out with soft keys as these wind chime-like sounds join in and alto sax. Lots of atmosphere here.The intensity is rising 1 1/2 minutes in until after 3 minutes when it calms down. Bass, keys, sax and drums create a new soundscape and this sounds really good. "Un Respiro" is a short melancholic piece with reserved vocals and sax as the wind blows. "36 Parallelo" is the longest track at around 10 minutes and the closer. Let's just say they go out with a bang here. Lots of energy reminding me of MAHAVISHNU ORCHESTRA as they light it up early.The guitar solos over top. Sax replaces the guitar after 2 minutes. A drum show before 4 minutes then it's the bass' turn before 5 1/2 minutes.The sax comes in honking before 8 minutes as the bass continues. It turns intense 9 minutes in before ending with a calm.

4.5 stars is probably more like it for this ride.

Review by BrufordFreak
COLLABORATOR Honorary Collaborator
5 stars A ground-breaking Jazz-Rock Fusion band from Italy that is new to me, thanks to PA compendium of so many things Italian, James Baldwin. This is the band's debut album. Apparently, several members of Perigeo would go on to historic acclaim in solo and other projects, including keyboard virtuoso Franco D'Andrea and saxophonist Claudio Fasoli as well as the band's leader, bassist/composer Giovanni Tommaso from Lucca in Tuscany.

1. "Posto di non so dove" (6:12) Listening to the first song of Azimet, I'm immediately blown away by the Demetrio Stratos-like vocals (a year before anybody'd heard of Demetrio Stratos), the brilliant Don Pullen-like piano, as well as the truly distinctive saxophone. The transition near the beginning of the fourth minute reminds me of early Premiata Forneria Marconi and Banco Del Mutuo Soccorso. I wonder if they (or Tommaso) had ever heard of the Giuseppi Logan Quartet. Beautiful! And so refreshingly new! (9.25/10)

2. "Grandangolo" (8:22) The second song seems to convey a feeling and stylistic approach that Eumir Deodato would make popular a year later in America with crème de la crème American jazz players--though there are also Tony Williams Lifetime feelings to it as well (despite the excellent funky bass). I'm am loving this rhythm section! Drummer Bruno Biriaco is quite impressive! The Fender Rhodes soloing is okay and the raunchy electric guitar is great but it's this rhythm section! They are so tight! Great smooth saxophone soloing in the sixth minute. (I love the engineering effects used on it.) And I love the quick descent into frenzied chaos for the final minute before pulling it together for the final coda! It's so Tony Williams like! (18/20)

3. "Aspettando il nuovo giorno" (3:55) The spacious third song opens with the nice Fender Rhodes and electric bass interplay. As sax joins in and then drummer's cymbal play, the keyboard moves to a repeating chord progression while electric guitar and sax solo over the gentle jazz. This part reminds me of both The Soft Machine and Miles Davis. Quite a pleasant listen. (9/10)

4. "Azimut" (7:18) Side Two's title songs seems to continue the spacious forms from the previous song, though this one a little more free jazz-like. Piano, bowed bass and tuned percussion sounds. This sounds so much like the opening of Return to Forever's "The Romantic Warrior"! (Did Chick steal it from Tommaso?) As the song develops further, it reminds me more of the works of Alice Coltrane and Pharoah Sanders in the late 1960s. Then, halfway through, the band pauses to come together for a structured full band presentation--one in which the presentation of the main melody is traded off among the instrumentalists in a kind of call-and-response rondo! Cool! Then Franco goes off on a wild piano solo while guitar and bass keep the vehicle on the road (with drummer providing some very entertaining accents and embellishments). Once again I am reminded of the jazzier post-Third work of The Soft Machine (as well as Ian Carr's post-Nucleus albums). (13.5/15)

5. "Un respiro" (1:30) The second song on Side Two opens with gentle Fender Rhodes chords supporting the twin melody-making of saxophone and Tommaso's reverbed vocalise. Very cool little interlude! (4.6667/5)

6. "36° parallelo" (9:51) The final songs breaks out sounding very much like a song from The Soft Machine. The dirty electric guitar takes the first lead over the steady drummer, Fender Rhodes chord play, and machine gun note-delivery of the bass. The rhythm section is really moving! And the melody lines are awesome! I especially like saxophonist Claudio Fasoli's sound and style. Impressive drum solo in the fourth minute. These guys can all play but the drummer, keyboardist, saxophonist, and bass player are all of the very highest caliber! A little too oriented toward the individual solos throughout the second half, which kind of turns me off, but excellent jazz. (17.875/20)

A-/five stars; an excellent jazz-rock fusion album--one of the best j-r fuse debut albums ever! A minor masterpiece of Jazz-Rock Fusion.

Review by jamesbaldwin
PROG REVIEWER
5 stars In 1972, Italian progressive rock was still in its infancy. There are the remnants of the beat, there are the first prog albums by Le Orme, Banco and PFM, and there is jazz-rock, which arrives with the debut of Perigeo.

Perigeo thus opened a third Italian road to prog, the most original, the least epigonic of English prog-rock, the road of jazz-rock-fusion, which would express its best in Naples with Perigeo itself and the later Napoli centrale, and in Milan with Area.

As Italian prog expert J. J. John writes, Perigeo debuts with a band that includes in its ranks musicians who are already well-tested: double bass player Giovanni Tommaso from Tuscany, who emigrated to New York when he was just 18 years old; and in NY he befriended the likes of Charles Mingus; pianist Franco D'Andrea from Alto Adige, who already boasted collaborations with top stars such as Gato Barbieri and the Modern Art Trio; the Roman drummer Bruno Biriaco, who had come back from a long experience in the beat; the Venetian saxophonist Claudio Fasoli, who had played for a long time on the Bologna jazz circuit; and last but not least, the group's foreigner Anthony Sidney, who was already a highly-rated guitarist at the time.

We are talking about the most competent Italian rock band of the entire progressive era - without wishing to devalue the technical abilities of Area and PFM.

The disc consists of three tracks on each side.

1. "Posto di non sai dove" (6:12) Begins with a hiss, avant-garde sounds stand out above an impressionist piano (almost new age, but new age hadn't arrived yet) until Tommaso's stentorian voice arrives. Tommas is the author of all the music and lyrics, as well as a fantastic bass player. Together with his singing, we can hear the expressionist phrases of the saxophone (Fasoli). Around 4 minutes the suspended and twilight atmosphere fades and a cacophonous instrumental piece arrives: we can hear the virtuosity of the pianist D'Andrea emerges from a sarabande of sounds while Tommaso repeats in the background words that count above all as onomatopoeic sounds. Music of high level. Rating 8.5

2. "Grandangolo" (8:22) It's an instrumental piece. It has a beginning marked by Tommaso's bass, and then a syncopated jazz rhythm strumming Sidney's guitar slashing. The rhythm section, with Tommaso on bass and drummer Bruno Biriaco, plays an astonishing jazz-funk pace, and electric piano and electric guitar soar above it. We are witness of a slow progression that gives its best in the ending with the sax solo and the swirling cacophonic spiral that concludes the piece. From this passage we understand what the musicologist and jazz guitarist Enrico Merlin wrote when he claims that Perigeo has found his own very personal way to jazz-rock, less linked to Miles Davis than many other contemporary groups (Weather report). This piece is a masterpiece. Rating 9.

3. "Waiting for the new day" (3:55) D'Andrea's electric piano opens this suffused piece before a very determined electric guitar takes over. In the background, the rhythmic section continues to give us pearls of music . It's a minor piece, which does not reach the dramatic intensity of the previous ones, and remains on a descriptive level. Rating 7+.

End of side A.

Side B opens with 4. "Azimut" (7:18), an avant-garde free jazz piece. Atmosphere of great pathos with electronic noises. The beginning is wonderful. Then, as in the case of the first song of side A, in the middle of the piece the music changes becoming more rhythmic and structured. Here I would have gladly heard Tommaso's singing, but Perigeo opts for a more jazzy solution and in fact instead of singing comes D'Andrea's liquid piano solo. Soft Machine, especially in the end, are just around the corner. This is the second masterpiece. Rating 9.

5. The short intermezzo of "Un respiro" shows a crepuscular atmosphere where we can hear Tommaso's vocalizations in the distance. Very evocative song. (No vote)

The final piece, "36' Parallelo", perhaps the most jazzy, is a continuous surprise. Each musician contributes to his best in providing a truly particular fusion, difficult to connect to any other music, which leaves the listenere enraptured; in the second part of the piece there are exquisitely jazz solos, first Briaco offers us a delicious solo but all in all it's a quite conventional jazz solo, while the D'Andrea's bass solo is a piece that goes from jazz to avant- garde beautifully and concludes Fasoli with his sax that manages to play in a way that doesn't even sound like a sax. Third masterpiece of the album. Rating 9+.

Fantastic album, full of musical ideas that transcend all genres and create a very original universe. The music from beginning to end remains on a truly remarkable level, and the songs as a whole make more than the individual pieces. It's hard to find criticism: the main one is the fragmentary nature of the pieces; the sound material is so varied, sublime and of great impact that it would have benefited if it had been developed in a more extensive and compact way, for example by linking the pieces together and making greater use of Tommaso's vocals.

In any case, this is a great masterpiece. Rating 9.5. Five stars.

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