MAXOPHONE

Ok...one should never start a review with the words "ok" or "so", but I do it anyway. Okay then...this is a tough one. Maxophone is one of those one-hit wonders of rock progressivo Italiano that nominally could be categorized with PFM, Banco or LeOrme...my holy trinity of that genre. Maxophone, had they persisted should have stood shoulder to shoulder with them, as well as with symphonic prog masters such as Genesis, Yes and ELP. In fact this album has been sought for many years by fans of rock progressivo italiano and for good reason.

Most of the songs on Maxophone's debut defy description mixing jazz, rock, blues, funk and, of course, classical. History tells us that Maxophone was the joining together of three rock musicians with three classical musicians, and if true, it explains a lot, particularly the eclectic nature of the band. Despite the fact that these songs defy description, I will do my best to describe some of the songs so the reader can decide if this album is worth investigating. I also may "name-drop" other bands to give the reader a sense of what the album sounds like. This is not to imply that Maxophone is derivative or ripping these bands off, because I do not believe that this is the case. Maxophone may incorporate many different styles but have a style all their own. Describing the music in the context of familiar bands should give the reader some idea if this recording will be pleasing to them.

Setting the tone for the album is one of the album's strongest tunes "C'e un paese al mondo" which kicks off the album in grand style...beginning with hauntingly beautiful piano before electric guitar, drums, bass and organ barge in with a time signature change at less than minute, signaling the first of several different movements and time changes within this six and a half minute song. At this point the band compares very favorably to PFM, Genesis or Yes in terms of complexity and talent, with a very strong vocal performance from their lead singer.

The next song "Fase" starts like a blues-rock-prog jam, sounding something like Edgar Winter had hijacked Yes, before sliding through symphonic mode into jazz. Before long, this is abandoned in exchange for some Tony Banks-style keyboards, then to vibraphone (or xylophone?) back to blues-prog, then to a flute solo and back again. Perhaps the reader is beginning to sympathize with this writer. It is not easy to describe these songs or do them the justice that they deserve.

"Al mancato compleanno una farfalle" is one of the more gentle songs on "Maxophone" and has some nice vocal harmonies before launching into hard rock mode about four minutes in. The faster section of the song has keyboard playing reminiscent of Keith Emerson, and my previous statements not withstanding, is probably the most derivative moment on the album. However, nowhere and no-when would I ever consider sounding like Keith Emerson to be a flaw.

The fourth track "Elzeviro", sounds a little bit like the inspired chaos that characterizes Area International Popular Group with Maxophone's vocalist nearly attaining the dramatic heights attained by Area's vocalist, the late lamented Demetrio Stratos, while avoiding the excesses of that band. By turns, the song is jazzy, funky and symphonic before transforming into something resembling early Genesis.

"Mercanti di Pazzio", like "Al mancato" begins gently, except in this case maintains a gentle tempo and tone, comparing favorably to mellower Genesis fare such as "Ripples". "Antichi conclusioni negre" closes the album with some funky, spacey keyboard playing and excellent drumming. This song also boasts some fine saxophone playing, memorable guitar work and Yes-style harmonizing. It definitely closes the album in grandiose style.

The final two songs appear to be bonus tracks that are not part of the album proper, but are part of the iTunes rerelease. "Il fischio del vapore" contains a strong, melodic and confident vocal performance even if the song is relatively simple. "Cono di gelato" could almost be described as a blue-eyed soul or pop ballad. Is it progressive? No. Is it alluring, soulful, beautiful and worth a listen? Absolutely.

The overall verdict is that this is a stunning debut album that unfortunately did not evolve into a lengthy career for Maxophone. I would love to know what happened and why this promising beginning did not amount to much beyond a cult oddity, all but forgotten except by hardcore prog fans like myself. "Maxophone" is such a great recording that I still feel like I cannot do it justice with mere words. I would love to hijack a radio station and just play it over and over again (even the pop-oriented bonus tracks) until everybody has heard it. I love this album that much. However this album does contain an annoying artifact of the time in which it was recorded..the fadeout. On "Fase" especially, the fadeout was disappointing because it was fading while some interesting music was still going on. Aside from that minor gripe this is a brilliant album, a masterpiece of progressive rock. Bravo!

Maxophone - st (1975)

This Italian symphonic progressive rock record is often seen as one of the highlights of the scene. Fullblown multi-instrumental arrangements, influences from Genesis and ELP, yet still a sort of own way of doing things in an almost orchestral way. The band incorperates many influences in it's compositions and is garentued to raise a smile with a composition like 'Fase', in which they switch styles in high tempo.

I don't like hearing instruments recorded in differents pitches. Maybe it's because I'm a trained musician myself; I really really don't like it, it makes me crumble. This is the type of well intentioned record that is totally ruined by false sounding guitars and keyboards that are like a saw for my harmonic brain. During almost every moment of the record there's some pitch anomaly that bothers me quite a lot. I don't think every music-listener hears this, because almost no-one seems to even mention the fact that some of the arrangements are painfully out of pitch. I would really love to hear a remaster in which all instruments are re-pitched to the same amount of Herz. As it is now, I can only recommend this record to symphonic prog listeners who have never engaged any problem whatsoever with a record sounding out of pitch. They will find Maxophone a great treat I guess.

Two stars, I just can't listen to this.

They came, they played, they conquered, and then they scarpered.

Maxophone released one album that is a triumph of prog with some of the greatest musical virtuoso skill one is likely to hear. With such a great album you might have expected Maxophone to at least release something else or get back to recording years later in a reunion, I mean it worked for Anglagard and Comus. So this enigmatic stands like a lone beacon showing the rest of the try hards how it is done. The innovation and creativity throughout is astonishing. Opening with grand jazz explosions and a flurry of guitar prowess over layers of keyboards on 'C'è Un Paese Al Mondo' (There's a country in the world), the band stamp their authority as masters of their craft. The vocals of Alberto Ravasini are easy on the ears, and he is joined by swooping Clarinet and keyboards. The music goes beyond the norm as it is so intricately woven in the tapestry of very complex musical phrases and melodies.

The band are an incredible unit with some stunning musicians, consisting of Maurizio Bianchini on horn, trumpet, percussion, vibraphone, Roberto Giuliani on electric guitars, piano, Sergio Lattuada on keyboards, Sandro Lorenzetti on drums, Alberto Ravasini on lead vocals, bass, acoustic guitar, Leonardo Schiavone on clarinet, flute, alto & tenor saxophone, Tiziana Botticini on harp, Giovanna Correnti on cello, Paulo Rizzi on contrabass, Eleonora De Rossi on violin and Susanna Pedrazzini on violin. This album is their sole masterpiece but certainly proves that sometimes quality over quantity is the best thing. To follow up on an album like this would have been almost an impossible task, but we will never know as the band have long gone.

The Italian vocals are not a deterrent and of course there's an English version that does not detract from the brilliant musicianship which is the real drawcard. Listening to both versions of "Maxophone" is a must. The album boasts some of the best sax playing on such tracks as 'Fase', with powerful jazz embellishments. The vibraphone solo is wonderful, and the muscular guitar riff works along the spacey effects and layers of horns.

'Al Mancato Compleanno Di Una Farfalla' (I Heard a Butterfly) has lovely Italian acoustic guitar vibrations, interwoven with beautiful flute augmented by gorgeous vocal harmonies. I love the heavy organ attack, some of the boldest playing on the album followed by descending melodies. There is an exquisite reverb guitar to end it.

'Elzeviro' (Six Against One on the English version) is one of the best tracks, very jazzy with nice vocals, and merging with symphonic textures; a real work of beauty. The electric guitar splashes out with some soaring arpeggios and string bends.

'Mercanti Di Pazzie' (Merchants of Madness) has beautiful vibrations of harp and flute that creates a soundscape of tranquillity. The synthesizer chimes in and the scape becomes ambient and dreamy. This is another complex arrangement with some more wonderful vocals to augment the atmosphere.

'Live Together or Die' opens with odd time sigs and some excellent brass and emotive horns. Piano keeps a melody as a harmony of voices comes in with a lovely timbre. A glorious sax solo keeps things interesting along a swinging groove. It ends with a dirge of Italian choruses singing to a church organ.

The Italian version closes with 'Antiche Conclusioni Negre' (Ancient Negroe's Conclusions) that features some very interesting vocals and intricate musical arrangements. The bonus tracks to follow are 1977 singles, 'Il Fischio del Vapore' (Boat's Whistle) and 'Cono di Gelato' (Ice Cream Cone), that are not featured on the English version unfortunately as these would be great to hear with translated lyrics.

This album can be recommended to those who like their prog served up with complex musical arrangements and sprinkled over with those sweet Italian flavours. Maxophone will go down in history as being yet another RPI band that dished up one meal and then left the insatiable appetite of the prog world starving for more.

If you like prog and just discovered this whole world of prog from this website, Maxophone is perfect for you. A masterpiece is all that can be said about this album. The best 'one-hit-wonder' a band ever produced, in my opinion.

It's obvious once hearing the album that it's pure eclectic, and if you're a King Crimson fan, you're in for a big treat. This album combines nearly every possible prog sub-genre that you can think of. Hints of Space (for the most part in Antiche Conclusioni Negre), Electronic, Heavy (heavy guitar), Symphonic (plenty of that) and you can guess what else. Just look at the sub-genres!

Talking about each individual track would lessen the brilliance of every song, so I'll leave it at "every song sounds completely different from the next". Few albums contain this, and that's why this remains as one of my favorite albums of all time. There's multiple melodies throughout the song so you're never bored, but never lost in an array of random notes. It's complex, but not too complex to muddle the melody. There's a large set of instruments to captivate what you're listening to and transform that piece into an unheard-before beauty. The perfect balance.

I find it amazing that they could come up with such a variety of melodies, sounds, and vocals that set it apart from any other band. This here is a one of a kind; a true 'one-hit-wonder'. This is my opinion, but everyone should try this album out and judge for themselves. It took me about 20 listens to get around to this album, believe it or not. But each time I listened to the full album, I found it becoming better and better to my ears (which happens to many albums). This turned into an addiction, every week I had to listen. Once Antiche Conclusioni Negre you think 'aww, this has to be the last song?', luckily it's 9 minutes in length. But it's so entertaining, you completely forget about that thought and realize this has to be the one of the greatest end-songs of an album EVER. There's something totally unique and brilliant here, and everyone should try it. Easy 5 stars.

This album became one of my favorites from the first time I heard it. I love it and I recomend it

It opens with "C' e Un Paese al Mondo" (5.00 out of 5.00). A wonderful song which shows how eclectic the band can be. The best part of this song is when it takes a break into a more jazzy form, wich sounds funny and clownish with an almost umpredictable bass work. Then all became beautifully symphonic in a dense form with Italians choruses, I was about to cry.

"Fase" (3.50 out of 5.00) Is the instrumental song of the album. It starts very heavy, being highly influenced by Gentle Giant later. The song ends heavily again.

"Al Mancato Compleanno di Una Faffalla" (4.25 out of 5.00) This is the folk song in the album, with beautiful flutes that reminds me of Jethro Tull but in a more sophisticated form. The vocal lines are good with Italian words that fits perfectly. Then it became in a worthily progressive song. Very Good

"Elzeverio" (2.50 out of 5.00) is my least favorite, but that doesn`t mean it`s a bad song. Now is when I realize that the man who`s starts singin` reminds me of Derek Shulman (Gentle Giant).

"Mercanti di Pazzie" (4.75 out of 5.00) Sounds influenced by both: Gentle Giant and Jethro Tull. Good Song and I want to emphasize that the last couple of minutes are absolutely brilliant, in fact, is the best part of this song and one of the best moments of the whole album.

As well as the album opens with a "5.00 out of 5.00" song, it closes with a song with the same rating IMO.

"Antiche Conclusioni Negre" (5.00 out of 5.00): Starts very festive with well played saxophones, but then, surprisingly, it all goes melancholic, when that horn starts to sounds I feel my eyes almost wet. Then, After an outstanding Italian vocal lines (that fits perfectly again) it starts to madurate again, just to reach the festivity which started with. A song that makes me feel Proud, I don`t know why.

There are good bass, guitars, organ, horns, flutes and saxophones. All well played But i`m not so sure about the vocals, although I have enjoyed.

Certainly, Maxophone were influenced by Gentle Giant, Jethro Tull and other acts by the time of the recording of this album, but I feel myself satisfied sayin`that at the same time they offered their own flavor.

4.00 Stars well received

Maxophone: Maxophone [1975]

Rating: 7/10

Italian prog is known for its "one-album wonders"; throughout the 70s, many RPI bands released a single album and called it quits soon afterward. I don't know why this was such a common trend, considering that progressive-rock was quite popular in Italy during the decade. Regardless, this pattern produced many gems. Maxophone's sole album is a superb and adventurous piece of work. Like many Italian groups, Maxophone approached their music in an eclectic manner, combining jazz-rock, symph-prog, hard-rock, and folk to create a consistently interesting melting pot of ideas. This strange melding of PFM and Zappa manages to sound completely natural, making for an exciting and memorable one-off effort.

"C'e Un Paese Al Mondo" begins with some fantastic jazzy piano, transitioning into heavy symphonic rock with light vocals. The track breaks down into unorthodox swing-jazz about halfway through, creating one of the most exciting pieces on the album. "Fase" is an absolutely phenomenal instrumental that blends various styles. The ripping vibraphone solo is especially awesome. "Al Moncato Compleanno Di Una Farfalla" is a light pastoral piece ala PFM. "Elzeviro" is one of the less interesting pieces here; the vocals sound a bit off. Still, there's plenty of exciting instrumentation to be found. "Mercanti Di Pazzie" is a slow-paced piece with pretty acoustic guitar and interesting reeds. "Antiche Conclusioni Negre" is a bombastic slice of Zappaesque big-band rock. This is another standout track. The largely acoustic "Il Fischio Del Vapore" features the best vocal work on the album. The Moog solo at the end is also worth noting. "Cono Di Gelato" is a soft closing piece that ends the album with beautiful vocals and guitar.

Maxophone's sole album is an excellent piece of work that successfully amalgamates various influences and styles into a cohesive whole. However, I don't consider this a masterpiece. Some of the tracks drag on slightly, and the best ideas are not carried through throughout the album's entire duration. Regardless, this is a fantastic album with incredible diverse musicianship and memorable composition. This certainly isn't the greatest thing to come out of Italy in the 70s, but any RPI fan will find much to enjoy here.

One of the more original "one album wonder" bands from the RPI boom - that is to say, the Genesis sound from the Trespass era isn't their primary inspiration - Maxophone shift from dark King Crimson-ish realms to classical/operatic majesty to brief moments of pastoral beauty with an adeptness that is a joy to behold. Forget the two bonus tracks, which are from a rather more commercial and simplistic single the band released the year after putting this one out (I don't include such things in my ratings anyway), this album is a prog symphony from the opening notes of C'è Un Paese Al Mondo to the majestic choral outro to Antiche Conclusioni Nerge. Those who are exploring the RPI scene should mark Maxophone out as a stop on their prog tour of Italy.

Man, this is depressing. It always is whenever such a great band only manages to make one album. Maxophone's lonely self-titled debut album is RPI at its creative best. This whole disc seems to grab at influences from all around, but manages to keep its own original sound. I'm detecting hints of early Yes, some Hendrix, a dash of King Crimson, and a whole lot of Italian flair.

I'm not really sure how to start a review on such a good album, and it's been a while since I've reviewed such an eclectic album. I'll just dive in. "C'è Un Paese Al Mondo" starts with soothing piano that sounds almost in the vein of an A. Scriabin composition, but fuzzy and aggressive guitars kick in that automatically make me think of Locanda Delle Fate, followed by beautifully powerful vocals and an almost ragtimey passage, followed by an A. Copland type horn passage, ending with a passage that sounds like it could've been from Tales from Topographic Oceans. Such a mouthful, and an earful. I won't bother going into all the tracks, because they'll all be seemingly random collections of fragmented sentences. But one of the real standouts is the second track, "Fase", which I get a real Buenos-Aires-meets-Goblin kind of feel from.

Really, this whole album is super high quality RPI of a very eclectic variety. I've listened to quite a bit of the RPI bands on this site, and none of them have gripped me by the brain like this album has. There's so much going on here that anyone would be able to find something positive about it. The only reason anyone wouldn't like this album is if they have a biased grudge against anything amazing.

The self-titled album the band Maxophone (and so far, its only if you disregard the English version it released a year later) is certainly one of the greatest albums ever RPI lançados.Full of influencse,excitement and virtuosity, this is an album worth hearing.

There are influences mainly from the PFM and Banco del Soccorso Muttu, even Pink Floyd (at least I found). Maxophone however has its own sound, and they are quick to show that veio.Minha loved is the last, "Antiche Conclusioni Nergis "with great vocals and an excellent saxophone that converges to a seemingly cacophonous end, but we are presented with an anti-climax, where the voices and create a final sejuntam wonderful.

Great album, worthy of 4 stars.

Another example of the musical richness that characterizes Italian progressive rock, this 1976 self-titled affair is a wonderfully-diverse collection featuring a uniquely original style moulded around the band's obvious love of Genesis, Yes and King Crimson. Though 'Maxophone' has been described in some quarters as a symphonic album, it is in actual fact extremely difficult to classify, such is the breadth of sounds and styles on offer, with a multitude of instruments contributing to an opulent sonic cornucopia that counts lush keyboard passages, electric guitar-shredding and all kinds of woodwind, percussion and brass effects amongst it's battery of tricks. Opening track 'Ce Un Paese Al Mondo' reflects this semi-theatrical approach perfectly, flitting between jocular, music-hall style neo-classical harmonies and dense, multi-layered symphonic prog with reckless abandon before settling down into a beautifully-orchestrated synth-and-keyboard finale that brings to mind the ethereal beauty of fellow Italian proggers PFM. Then, as if to hammer home their point, Maxophone leap head first into the electric, Led Zep-style jazz-scaled rock of the seven-minute long opus 'Fase', which showcases guitarist Roberto Giuliani's dextrous, quicksilver finger-picking. Both these songs illustrate just what an outstanding album 'Maxophone' is, which makes the fact that it would be their one and only studio album incredibly difficult to fathom. Whatever the reason, Maxophone have at least left behind this rewarding slice of Italian prog, which must surely rank alongside the likes of PFM's 'Per Un Amico' and Le Orme's 'Felona E Sorona' as one of the key progressive texts from mid- seventies Italy. Fans of the Yes, Gentle Giant, King Crimson, Led Zeppelin and Genesis should revel in this classic album. STEFAN TURNER, LONDON, 2010