FABRIZIO DE ANDRE

'Crêuza de mä', and De André became Arabic.

'Creuza De Ma' is an album of De André published in 1984 written with Mauro Pagani and sung in Genoan dialect. This album represent the peak of De André/ Pagani collaboration and one of the greatest examples of World Music. Only 7 songs but 7 pieces of magic and feelings.

The music is a mix between Rock, Folk and Arabian music, extreme mediterranean and it is hot like the sun in the Mediterranean maquis. We have spent listening to a De Andrè so hot. But never have we heard a De André so natural. Certainly Mauro Pagani have great merit in this situation with his Arabic influences (not only in writing process). So 'Creuza De Ma' is a great example of Arabic Folk, sung in Genoan dialect.

Certainly 'Creuza De Ma' is not a difficult album, sure song for song it is a great example of description but for me the final result is the summary of all the songs and for this fact I will not describe 'Creuza De Ma' song for song.

In this case you forget Mauro Pagani's '2004 Creuza De Ma' (that have also other songs) but you think 'Creuza De Ma' as pure Faber album. Hmm... 'Creuza De Ma' is a pure De André album because it is Folk and present the typical De André musical experience but with Pagani's Arabic touch. I can not commit itself about the lyrics, since I do not know Genoan dialect but if Area had had a thorough useless technical preparation they have created 'Creuza De Ma'!

More of the songs in 'Creuza De Ma' have Dark atmospheres because written in reflective manner (helped by arabic melodies) and only 'A Dumenga' is a pure De André song (because without arabic elements). 'Creuza De Ma' is not, however, a dark and closed album (in this direction describe the version of Pagani). The guitar and the voice dominate this album that have only percussions as other instruments in first plan because keyboards are good only for a sound support.

Sure 'Creuza De Ma' is more close to a pure example of World Music that close to RPI. But if you love Italy and its Prog 'Creuza De Ma' is a pure experience with this magical music.

— First review of this album —

Interesting compilation also because all the pre 1970 composition are in the version of 1970 with the addition of other instruments and with new arrangenents. Four songs are live with PFM. So this compilation is extreme good and becomes a real album. Here I will only say that if we leave aside 'Quello Che Non Ho' (eng: 'That I Not Will') we are facing a 100% Prog album and this is important because 'Faber' has inspired dozens of Italian prog bands! 'Creuza De Ma' is sung in Genoan dialect, the other song are sung in Italian.

'Fabrizio De André is a great compilation, also if unnecessary today. In my opinion is great because present four song with PFM and four 1970 version, different from the single version that are present inother compilations.

— First review of this album —

There are many artists who use music to sing the inconveniences of the different persons. One of these is Fabrizio De André, single artist, author and cursed poet. His poems (or those that are written for him) become orchestrations of life, moments of reflection and incontrovertible truth. That is not easy to come close to this poet of Italian music.

This compilation is really interesting, although largely incomplete. There are sad songs and merry songs. However, he sings not easy issues: the discomfort is one of the recurring themes, an unjust war or the clashes of the 'French May' another themes. Convictions that he emits are without appeal, as if he wants to deputize a popular judge... Most wanted (very modest) be God! Today many of his songs sound like warnings to each should reflect: The struggles serve? it is right to fight these battles on this way? So De André often leads us to reflect. Using music and a voice so cheerful (even with the use of a chorus of white voices) as in 'Girotondo' (eng: 'Ring-A-Ring O' Roses') (apparently a song for children) to speak of the war hurts the conscience much more than one thousand proclamations! Musically the songs of De André start with one or two instruments, then enriched with all the other instruments. Where this is not possible, he plays with the arrangement to color the songs and raise the level of emotions. Interesting in this sense 'Canzone Per L'Estate' (eng.: 'Song For Summer') or 'Don Raffae' (eng: 'Mr. Raffae') (this last with the music of Mauro Pagani, Massimo Budola and De André) but also interesting is 'La Ballata Del Miche' (eng: 'Michael's Ballad') or the orchestral 'Ottocento' (eng: 'Eight hundred'). Good is also the Italian version of 'Suzanne' (original by Leonhard Cohen) and 'Anime Salve' (with Ivano Fossati) that is too poor De André.

'Fabrizio De André Da Genova' (eng: 'Fabrizio De Andrè From Genoa') is a good (great for me) compilation. With all De André magic and poetry. Almost better than an album.

— First review of this album —

Great compilation by Faber. The songs are good, logically. I must say that I will not dwell much on this CD, because I just want to say that is a great CD with great songs. But I explain something.

First of all: The song themes.

Faber generally speaks of common people, of those people who populate his Genoa or updated themes of history as in 'Carlo Martello (Ritorna Dalla Battaglia Di poitiers)'('Carlo Martello (Back From of Poitiers' Battle)'). When he speaks of his Genoa he speaks of the prostitutes of Old Town, of the sailors,of the poor people and of desperate peoples. The lyrics are often direct, pungent, deliberately at the edge of censorship, so as to reach the minds of the people, without which we can create misunderstandings. He often (too often) is forced to sing even where it should recite, to avoid problems with censorship.

Second point: The music.

Faber plays the classical (or acoustic) guitar. Yet often we find accordion, string instruments, various kinds of brass... All with rhythms of waltz, tango, cha cha cha etc... He uses reflective rhythmic, often sad, resulting in a Folk a la Leonhard Cohen... That is never banal. In this compilation is lacks the Rock, but is present in some songs a kind of swing Rock or Be Bop Rock that of the two musical genres are only the construction of the music but not the rest. The song are simply and direct (as in all moment of his career). the sound is essential because in some moments plays only an instrument (I think at the accordion).

Third point: Evergreen of Italian Music.

Because this compilation is good? Simply because all these songs are evergreen of Italian music. And that says much about their goodness. I will not add anything to what has already been said.

Conclusions:

A perfect compilation of 60's Faber production. But, at the same time, a perfect Faber testament!

— First review of this album —

Perfect harmony of poetry and music

Parts of these records from 1998 Fabrizio De André tour were released as CD + VHS set ''De André in concerto'' in 1999 and later, in 2001, on CD ''In concerto volume II''. And only in 2004 the entire set saw the light of day on DVD.

1998 ''Anime salve'' tour (unfortunately the last tour in De André's life) was prepared beautifully: 8 extra class musicians playing countless, often exotic, instruments and 3 female singers, big and well- thought set list, lots of light and sound equipment. Many of these musicians worked with De André before, in different periods of his career (from 1981 to 1996). The band included this time Fabrizio's talented kids, Cristiano and Luvi.

In my opinion ''In concerto'' DVD is De André's best live record. Sound, picture and montage are perfect.

But there are some even more important things.

1. Fabrizio's charisma and his deep, emotional, sfumato voice. The voice rules here. This man only sits, sings, plays guitar (and other instruments), tells stories, but the feeling that he knows something what other people don't know never leaves me.

2. Poetry. I'm sure there is a big difference between poetry and what we call texts. Real poetry has its own rhythm and melody, it sounds unlike some, even rhymed, set of words. Even if you don't know the language, you can feel: this is poetry. If you are fluent in Italian and its dialects you are lucky, you can fully appreciate Fabrizio's songs. If you (like me) not so lucky I believe in this case you can enjoy the songs too.

3. Music and arrangements. This Fabrizio's band consists of excellent musicians, any singer can dream of such a band. They can play everything and most of them play many instruments. Music is stylistically varied and has elements of Italian folk, rock, world music, French chanson, 60's pop, classical music and jazz. Arrangements extremely well done, all details of rich musical palette are perfectly heard, instruments never suppress each other. Playing is always inspired and arrangements always serve to the main idea of the song.

Now to the concert.

First part of the show starts with 3 songs from 1984 album ''Creuza de mä'' completely written in lingua genovese, dialect of Fabrizio's home town. Music of this innovative album, warmly received by critics and listeners, is a mix of different Mediterranean cultures (Italian, Greek, Arabian, Turkish).

Then the album ''Anime salve'' is played in its entirety and in original running order. All songs for this concept album were written by Fabrizio De André and well known Italian singer-songwriter Ivano Fossati (ex-DELIRIUM). Solitude is the main theme of this work - Faber's personal feelings and solitude of different people, seen through the eyes of a poet. Music, sometimes powerful, sometimes almost etherial underlines Fabrizio's deep sensual baritone. Cristiano De André also shines here - he sings Fossati's vocal parts, plays violin, guitar, keyboards, bouzouki and lots of exotic string instruments. (Listening to Cristiano's solo albums I can only guess why he does not use most of his numerous musical talents in his own songs, but that's another story.)

Interesting episode: before the song ''Smisurata preghiera'' Fabrizio introduces to audience Mr. Luis Enriquez Bakalov, Argentine composer, in many ways responsible for the success of such important RPI albums like NEW TROLLS ''Concerto Grosso 1 and 2'', OSANNA ''Milano Calibro 9'' and IL ROVESCIA DELLA MEDAGLIA ''Contaminazione''. Luis Bakalov helped Fabrizio to work over Latin-American versions of his songs.

Second part starts with two songs of Cristiano De André. No band here, only Cristiano's voice and acoustic guitar. Emotional and far from being fillers.

Then Fabrizio explains the concept of his 1970 album ''La buona novella'' based on Gospels, but telling the story of Virgin Mary and Christ as a story of human beings with their human feelings and pain. After his announcement big part of the album (''L'infanzia di Maria'', ''Il ritorno di Giuseppe'', ''Il sogno di Maria'', ''Tre Madri'' and ''Il testamento di Tito'') is played in new, and in my opinion, better arrangements.

Last 40 minutes of the concert are given to ''greatest hits''. There are humorous ''La città vecchia'' and ''Bocca di rosa'', little epic ''Amico fragile'' with wonderful guitar and violin solos, rocking ''Fiume Sand Creek'', beautiful ballad ''Via del campo''. One of my favourite songs is ''Geordie'', English ballad interpreted, in Italian language, by Faber. First time it was recorded in 1966, female vocals were sung by Maureen Rix, Fabrizio's English language teacher. Now, 32 years later, he sang this song with his own daughter Luvi - what a beautiful voice and what a nice lady (not a photo model at all, but what a good open face, can't help falling in love :), really)!. Joyful ''Volta la carta'' closes one of the best concerts I ever seen.

The show is full of positive energy, musicians and audience are happy, but after watching this concert I often have sad thoughts: how good the year 1998 started for De Andrés - successful tour, warm reaction of listeners, father and kids on the same stage, real family idyll. And how bad was the end of the year, when it was clear - no chances left for great Italian bard. And on January 11, 1999 the world became an emptier place without suonatore Faber - ever smoking, often drinking poet.

One of my favourite records. Essential for De André fans and very good, perhaps the best, starting point for newcomers. Highly recommended if you are interested in Italian music of the last half of the 20th century (no less!).

Woooow… Faber made it to PA! Honestly, I can hardly believe it… It’s like a Christmas gift for me. Anyways… He’s one of my all-time favorite artists, so forgive me if I can’t judge very objectively, but here it goes…

Tutti Morimmo A Stento – We All Died In Pain… Guess what kind of music it is in this album… What year it is written in? Thrash Metal, 1986? No, no, NO! It is a groundbreaking album from 1968!

This is the concept album about drug addicts, more exactly, about their pain… Pain of addiction, pain of living, pain of dying. And this all was written during worldwide LSD boom, unbelievable… This album has not many formal relations to rock, but strangely it carries some kind of rebellious spirit. You can find lot of stylistically diverse songs here, from Moody Blues-inspired title track, through folk to purely Classical chorales well worth Bach. Let’s go song by song.

1. Cantico Dei Drogati (Song Of The Addicts) – The song starts with haunting orchestral melody, that serves as a leitmotif to whole song. Then Faber’s voice comes in… Song is full of crescendos and decrescendos and ends very bombastically. Lyrics are amazing throughout. 2. Primo Intermezzo (First Intermezzo) – As title says it’s an interlude. Interestingly, it’s the album’s most rocking moment. Then is smoothly goes to another song. 3. Leggenda Di Natale (Legend Of Christmas) – This is one of the most magical ballads I have ever heard. Amazing melody, very to-the-point arrangement, simply genial. 4. Secondo Intermezzo (Second Intermezzo) – It actually has almost same music as the first one, with Faber singing a bit changed refrain. 5. Ballata Dei Impiccati (Ballad Of The Hung) – Again genial ballad. Again genial arrangement. Everything in place, acoustic guitar, trumpet, strings… Lyrics are as amazing as ever. 6. Inverno (Winter) – Yet another ballad… Yet another genial ballad. It starts with classical orchestral melody for a few seconds, then again trumpet comes in. When drums come in I’m reminded of Procol Harum’s “Whiter Shade Of Pale” but, played in deeper, minor mood and more bombastic. 7. Girotondo (Round Dance) – Dramatic change. This is a Dylan-esque song, but lot more ironic than Dylan’s songs, in my opinion. Some children are also singing this song with Faber. It ends in very freaked-out way. 8. Terzo Intermezzo (Third Intermezzo) – Beautiful Medieval-styled intro to the next song9. Recitativo (Due Invocazioni E Uno Atto D’accusa) (Recitative [Two Prayers And An Act Of Accusation) – First part of this song continues the intro theme, in very beautiful way. Then suddenly second orchestral part comes, and Faber’s reading recitative that flows into the last song: 10. Corale (Leggenda Del Re Infelice) (Chorale [Legend Of Unhappy King) – I think, This chorale could rival best classical composers out there. There is children’s choir intermixed with Faber’s recitative. Many instruments move in, strings, trumpet, drums… it sounds simply magic.

In my humble opinion, this album deserves to be called as one of the best (if not THE BEST) albums of 60’s. The music and concept presented here is way more serious than it’s English contemporaries’. Plus, there are plenty of styles mixed in one organic entity, the thing that is impossible to most of even great artists. Faber’s lyrics are also one special topic… I purposely didn’t translate anything (except song titles) in this review, ‘cause, it would be disrespect to this genial poetry. For those who are interested in modern Italian music, I advise you to start investigation from Fabrizio’s whole discography, it will hook you in a moment…

I have seen that this album has 2 reviews only, so I might be able to add something. This is one of the first Italian concept albums, but the reason why I suggest it to proggers is in the use of gregorian-style choirs and orchestral parts that make it a prog album of a non-prog singer-songwriter. The concept is based on the apocryphal medieval gospels, from the Announcement to Chrst's death (no resurrection). When it was released, the Vatican condemned it as anti-catholic, giving this album the same fate of Jethro Tull's Aqualung: banned from Italian radio.

The start is Laudate dominem (latin: Bless God), that's contro-balanced by the final Laudate Hominem (Bless Man), that gives Christ a human nature instead of divine. Both are like gregorian choirs.

The real start is L'infanzia di Maria (Mary's childhood). This Brassens-like song, with a base of classic guitar and the strong baritonal voice of Fabrizio tells what is probably the real story, basing on hystorical knowledges of the rites in 1st century. It's highly dramatic, but it's where the problems start. If you are not Italian speaking, or you don't have a translation of the very poetic lyrics, you are missing the 75% of the album. It's the same for all the other pieces.

The story proceeds and Ave Maria (track 4) is a very religiuosly inspired song, very unusual for an atheistic and anti-catholic writer. The following track Maria nella bottega del falegname is a song about war, murder and death penalty.

The story progresses quickly to the crucifixion, and Il testamento di Tito (Titus' willings), is am invective about the hypocrisy of every church, catholic and not. Each of the Moses' commandements is criticised by a thief while he's dying on the cross. The sound is a bit country-western, but Bob Dylan has been one of the most influent artists for Fabrizio, as well as the French. This angry song finishes with an unexpected positive message.

To be noticed, all the characters tell about the story, but Christ is never speaking and barely mentioned.

From a musical point of view, the songs are very well arranged, and the influence of traditional and medieval music are what in my opinion make it a prog album. Get a translation before giving it a spin.

'La Canzone Di Marinella' is a budget compilation by Replay Music / Butterfly still in the catalog because it is considered a must by fans of 'Faber' because the songs that are contains here are all evergreens of our hero. Indeed, the success of sales of this budget compilation has expanded considerably since the death of 'Faber'. I must say that this budget compilation had the same success because all the songs of this compilation are real evergreen of Italian music.

Stylistically the songs contained here are very modern, even though 40 years have. They can be put together in English Folk or a form of autochthonous Folk with references in Leonard Cohen, Bob Dylan and similars. Stylistically songs included here are not very intrusive lyrics but deep magic can create unique and often magical. In this sense I like to emphasize 'La Canzone Di Marinella' ('The Song Of Marinella') which speaks of women in Genoa, from immemorial time, made the whores in apartments in the center, through the expulsion of either from village of the province. Interesting is also 'Carlo Martello (Ritorna Dalla Battagli Di Poitiers)' ('Carlo Martello [Back From the Poitiers' Battle]') that track a fresco of life in the time of Carlo Martello where it is narrated as too noble not play a life so different from that of the serf. In general observation can lyrics as the songs are not lyrics for songs but poetry which was sewn a melody. The melody is built on acoustic guitar with the inclusion of Mandola, strings and other musical instruments like oboe. Then, using a few musical instruments (all acoustic) 'Faber' manages to write light songs but full of tension. In this sense, the definition of 'modern minstrel' (I do not remember where I read) for me it is more than good.

I do not pretend that all of you buy this compilation. But if you love the RPI 'La Canzone Di Marinella' is a compilation that I wish you did because it is an example of the roots of this genre.

There was already an album released fom these live sessions in Bologna and Florence a year prior to this release. In the meantime, Fabrizio de André was kidnapped and ransomed in Sardinia. Some sources confirm that the ransom was paid and that André needed to raise funds to financially recover from this painful affair.

As De Andrè states in some interviews he was helped by his father in finding the money, and had to start a tour shortly after the release of the "Indiano" album to repay him. But some other sources either do not mention this payment or say that no ransom was paid. I would tend more to believe the former version, so make up your mind".

Due to these circumstances, I see nothing wrong in the release of this second offering since I fully understand how desperate one has to be after such an adventure. So, this is not the reason of my low rating (in comparison with all those four/five stars ratings).

It is just that, musically, this album has nothing to do with "PFM". What we get here is a bunch of folk songs out of Fabrizio's repertoire and played by "PFM", which is significantly different.

The worst experience is definitely "Durango". A sort of mariachi folkish song. I might enjoy this during very scarce occasions (i.e. when I go back to my second home country and paying a visit to my step family in Mexico) but not while listening to an album in which "PFM" is featured. I knew already that this album would have very little "PFM" relation but this is a bit too much.

This live album is very short (38 minutes). On top of this there is a "presentation" of the band which lasts for about four minutes. Since the band rehearsed some thirty songs out of Fabrizio's catalogue, I guess that it should have een possible to get more music out of these concerts.

Not that I am particularly keen on listening to this but Fabrizio's fans would have been interested, I guess. Unlike the previous album, there won't be any jewel of the calibre of" Amico Fragile" on this one.

Pure Italian folk music. Doesn't really belong here, I'm afraid. Musicians are not the problem of course. Only the music they play. Two stars (and I'm doing an effort).

This is better than any PFM album.

PFM playing with Fabro! Rejoice! We don't have an opportunity to witness the fusion between the artist geniuses very often. This one is an intelligent record, the songs are rearranged to fit PFM (and what lovely ideas we have here) and in general this is the mature statement of a band, but not lacking sincerity. The genius of Fabrizio de Andre is obvious, but over here he is underlined with PFM's playing. What a fusion... Take a listen, for example of rearranged "Andrea"; a three chord tune, but what song! The PFM proved their full maturity here: they were able to prove to the most stubborn headed non-prog fan their open attitude towards music. Pity the majority of artist are not thinking that way. This records contains a miryad of tiny details that need to be discovered after repeated listening of the album. In it's simplicity, it's more intelligent then 90% of my huge music collection. Bravo, PFM & Fabrizio!