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PICCHIO DAL POZZO

Canterbury Scene • Italy


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Picchio Dal Pozzo biography
PICCHIO DAL POZZO are considered to be one of the very few "Canterbury" inspired bands that emerged from Italy's fertile 1970's progressive rock musical scene. The sextet known as "Picchio dal Pozzo" surges forth via romantically melodic overtones, swiftly implemented time signatures and jazzy interplay in concert with the proverbial peaks, valleys, knotty twists and circuitous turns. "Camere Zimmer Rooms" is a must for all those enamoured of both Italian prog as well as the Canterbury music scene. Essential for their fans, as well as fans of groups like CARAVAN, HATFIELD & The NORTH, HENRY COW, SOFT MACHINE & FRANK ZAPPA.

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  • Merta Picchio Dal Pozzo , 1976

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Camere Zimmer RoomsCamere Zimmer Rooms
CUNEIFORM 2001
Audio CD$12.98
$14.77 (used)
Pic Nic ValdapozzoPic Nic Valdapozzo
Import
Imports 2004
Audio CD$10.53
$17.54 (used)
Picchio Dal PozzoPicchio Dal Pozzo
Goodfellas 2011
Audio CD$18.78
$29.80 (used)
Abbiamo Tutti I Suoi ProblemAbbiamo Tutti I Suoi Problem
Import
2008
Audio CD$19.99
Picchio Dal PozzoPicchio Dal Pozzo
Goodfellas 2012
Vinyl$30.40
$200.00 (used)
A_LiveA_Live
AltRock
Audio CD$21.99 (used)
Picchio Dal PozzoPicchio Dal Pozzo
Import
Vinyl 2000
Audio CD$345.34
$19.99 (used)
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PICCHIO DAL POZZO discography


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PICCHIO DAL POZZO top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.05 | 200 ratings
Picchio Dal Pozzo
1976
4.07 | 87 ratings
Abbiamo Tutti I Suoi Problemi
1980
4.15 | 74 ratings
Camere Zimmer Rooms
2001
3.72 | 20 ratings
Pic_nic@Valdapozzo
2004

PICCHIO DAL POZZO Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.69 | 18 ratings
A Live
2010

PICCHIO DAL POZZO Videos (DVD, Blu-ray, VHS etc)

5.00 | 1 ratings
Live
2013

PICCHIO DAL POZZO Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

PICCHIO DAL POZZO Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

PICCHIO DAL POZZO Reviews


Showing last 10 reviews only
 Live by PICCHIO DAL POZZO album cover DVD/Video, 2013
5.00 | 1 ratings

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Live
Picchio Dal Pozzo Canterbury Scene

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

— First review of this album —
5 stars Jazz-rockers Picchio dal Pozzo certainly stood out amongst other bands from their country in the vintage era of Seventies prog rock, the band favouring the Canterbury scene and Avant-garde styling of international artists such as Hatfield and the North, Henry Cow, Frank Zappa and the Soft Machine instead of the perhaps expected Italian progressive sound. Almost 40 years and four studio albums on from their beginnings, `Picchio dal Pozzo Live' offers an 83 minute performance captured at the La Claque Club in Genova on the 15th of January 2011, and is the kind of document that will not only please devoted fans of the band, but would also make for an exciting introduction to the group and their approach to complex jazz music that will only encourage new listeners to seek out their special past discography.

Comprised of a mix of original members and new additions, the band (sometimes with up to 9 members jammed onto the small stage at one time!) plays with a refreshing looseness, moving through acoustic-led movements, shimmering electronics and percussion experiments, with jazz/fusion workouts, big band moments and fully improvised passages. There's an unhurried, spiritual quality to this wonderful performance, and rarely has Canterbury-styled music sounded so ambient and truly hypnotic. The band here present a sumptuous collection of dreamy but sometimes noisy experimental jazz that is immaculately played, and the musicians display a precise execution of build and tightness, perfectly in synch with each-other to deliver a thrilling musical experience.

Borrowing heavily from their classic debut self-titled album from 1976 (but sadly omitting my personal favourite, the suffocating spacy insanity of `Seppia'!), as well as choice selections from their other studio works and even an unreleased piece, this performance is simply not a tired or stale recreation of the numbers from those albums. Instead the band plays with a nimble and deft improvisational skill that breathes new life into these fresh interpretations. `Merta' is transformed into a beautiful nine-minute outer-space drone more along the likes of Gong, with strangely effective musette (a type of bagpipe) and tenor recorder solos. The strolling and quirky jazz of `Coccomelastico' is also stretched to over eight minutes, a spiraling clarinet solo a highlight, as well as some delirious electric piano noodling and fluid bass. The breathtaking `Off' takes on a shimmering, somber Post-rock quality with it's lush atmospheres and low-key scat vocalizing.

The driving `Il Presidente' holds together through a range of wild tempo changes due to technical drumming precision, and the second half even has a kind of Steven Wilson/Porcupine Tree-like beautiful melancholy. `Adriatico' mixes relentless extreme avant-garde vocalizing with dark churning R.I.O grooving, `La Bolla' an unsettling late-night downbeat murky sax, flute, piano and percussion improvised musing. `Napier' is quirky and devilish with grand Mellotron and searing electric guitar solo in the outro, and it's not unlike a track from fellow Italian R.I.O band Yugen, unsurprising as some members of that band have appeared in previous live line-ups of Picchio dal Pozzo. The previously unreleased `Lindberg' is a sinister creeping piece full of cascading vocals, haunting piano, scratchy Mellotron and extreme percussion experimentation. The show closer `Uccellin Del Bosco' is a dirty big-band stomper that welcomes some guest and original members to the stage for a fitting finale.

The restrained editing of the DVD captures the musicians and their performance perfectly. There's lots of gentle fades, slow panning and subtle zooms, the camera rarely jumping around in a distracting way, instead taking the time to capture and follow each musician in a softly unfolding manner. The use of carefully placed stills of the band members is quite unique and adds a very reflective and thoughtful quality that suitably represents this sort of music. The disc also comes with an English subtitled 44 minute documentary on the band that is frequently good-humoured (also very surreal and a little bent!) as well as a short music video.

Along with other vintage Italian jazz-rockers such as Arti e Mestieri, Perigeo and Dedalus, the work of Picchio dal Pozzo is revered and treasured for a good reason, and this live DVD document is a welcome addition to their small but defining body of work that fans will relish. Despite their age, this is hardly a depressing case of old men churning out tired and safe bland product, this is a band challenging themselves and their audience with exciting, daring and unpredictable new music. This humble digipack collection from Black Widow Records contains sheer musical perfection for lovers of the experimental jazz end of progressive music, the Canterbury and Rock in Opposition sounds, and it comes with the highest recommendation for fans and brave newcomers.

Five stars.

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 Picchio Dal Pozzo  by PICCHIO DAL POZZO album cover Studio Album, 1976
4.05 | 200 ratings

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Picchio Dal Pozzo
Picchio Dal Pozzo Canterbury Scene

Review by Tarcisio Moura
Prog Reviewer

2 stars I bought this one fooled by its name and by several praising e-mails I read on the ProgBrasil forum, that I pehaps should have read more carefully about the groupīs style of music. I thought they would the average italian symphonic prog (and the acoustic introduction was quite misleading), but they are clearly not. Itīs definitly Canterbury sound, with all that jazzy stuff, plus some avant guard leanings and "humor" elements, which are not my cup of tea. However, being italian, they still have some nice melodic passages here and there (Sepia is a good example). The production is far from perfect, but I guess it was adequate for that time.

Obviously the musicians are skillful and inventive, but again this is not the kind of music that moves me. I still think Italy did much more better with their "proper" classical influenced progressive scene. But if you like Canterbury bands, I strongely recommend you listen to this group. After all, all that praising by so many reviewers here prove that fans of Canterbury sound may find an interesting and different gem with Picchio Dal Pozzo. But only them. For followers of italian prog in general my advice is listen before buying this one.

Final rating: 2,5 stars. Good, but for fans only.

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 Picchio Dal Pozzo  by PICCHIO DAL POZZO album cover Studio Album, 1976
4.05 | 200 ratings

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Picchio Dal Pozzo
Picchio Dal Pozzo Canterbury Scene

Review by Neu!mann
Prog Reviewer

4 stars It would take a lifetime of dedicated listening to sample and sort the vast array of music pigeonholed as Rock Progressivo Italiano, but even a casual visitor can see that this oddball ensemble was doing something unique: hence their relocation on this site to another subcategory altogether. In truth the style of music on their debut LP was more Zappa Jazz than Canterbury (despite the dedication to ROBERT WYATT), with an inventive Avant-Prog flavor not often heard in RPI circles.

This was an album that refused to sit still, blending equal measures of symphonic grandiosity, Rock in Opposition weirdness, Canterbury Fusion, RPI romanticism, and even a little interstellar Space Rock. But, unlike the efforts of too many '70s Prog Rockers with short stylistic attention spans, the album is never erratic, even at its most haphazard change in musical direction.

For example, there's the delicate acoustic guitar and multi-tracked flute interlude of "Bononchia", fighting some unlikely space-synth interference over its brief 0:51 length. Which leads directly (on compact disc, at any rate) to the demented big-top soundtrack of "Napier"...which in turn morphs into what sounds like a crazy modern ballet score...which (somehow) becomes an actual song, with a widescreen instrumental chorus of astonishing beauty and scale. All that in a single five-minute stretch of music, without a seam showing .

The album was apparently more a critical than a commercial success in 1976, hardly surprising with music so far ahead (actually, so far removed) from its time. One of the shorter numbers is actually the most distinctive: the hypnotic album opener "Merta", rolling forward on a groovy but precise (and molto Italiano) acoustic guitar melody. But hardly far enough for my tastes: it's too bad the track ends after only three minutes instead of thirty. The more polite Fusion of "Cosmelastico" is almost a letdown afterward, although the added mouthwash gargle was an inspired non-sequitur.

The last two cuts dial back the eclecticism for some blissful piano / voice experiments, completing a singular experience well worth investigating. But enough said: you get the point, and newcomers should be allowed the joy of discovery for themselves.

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 Picchio Dal Pozzo  by PICCHIO DAL POZZO album cover Studio Album, 1976
4.05 | 200 ratings

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Picchio Dal Pozzo
Picchio Dal Pozzo Canterbury Scene

Review by LinusW
Special Collaborator Italian Prog Specialist

5 stars An irreverent little bundle of fun this one.

Approaching music in much the same way as the Canterbury-style bands of Britain, Picchio dal Pozzo forges a unique fusion of relatively free-form jazz-tinged progressive music with a healthy dollop of melody and motifs from the Italian tradition and a handful of psychedelic excursions. All in all it creates a loose, breezy and inviting atmosphere full of attention to minute details and first and foremost, a sense of creative joy.

A more general defining sound is hard to single out here, but I guess that the basis is best described as jazz-based somewhere underneath all that is going on, with familiar rhythms and motifs of that genre popping up here and there to varying degrees in different songs. But they rarely stay like that for long, serving more like anchors or links in the ever-shifting soundscape here. Just as often songs descend into near-symphonic or folk territory, with melodious and delicate flute, guitar and keys that feel pleasantly Italian. Another time perhaps into a darkly cerebral space-rock passage; rhythmically disciplined and oppressive and hazy with strange electronic effects and percussion. A playful avant sound collage via Area-like free-jazz improvisation, an atmospheric passage of understated, whirling synthesizer topped with the most delicate of percussion. Breezy lounge-jazz bit for balance. A bit of the more menacing and earnest sides of RPI. Leave to simmer for forty minutes. Et voilā!

It is a fairly eclectic album, as you might have guessed, which is always interesting and rewarding for the listener, but its main strength is how these disparate influences and styles seep into each other and how organically they all come together. It is a beautiful fusion, where contrasts and surfaces of friction serve to underline each other and enhance each other's qualities. Songs are rich, to say the least, and rather busy - because even though most of them move about in a rather leisurely pace they are brim-filled with detail; spindly guitar, nimble percussion (especially some beautiful xylophone work, which adds a delicate, crisp almost frail timbre of utter loveliness and sometimes even hints of Gentle Giant), savoury brass instruments and keys used in all sorts of manners (piano like falling rain, buzzing, jagged electronic noises, warm and wholesome organ - the list goes on).

Permeating all this instrumental prowess and stylistic fusion is a warm form of zaniness, a kind of chaotic lack of respect and a will not to approach the music so seriously. An embrace of cheerful insanity if you will, or downright flippant, and perhaps that is one of the likenesses to Gong some reviewers have pointed out. Although I think it is always there, the most apparent expression is found in the vocal department, where voice is used as just another instrument. Fitting that to some of the various atmospheres on these songs make for rather interesting and humorous end results.

With the exception of the darker sounds on the track Seppia and a willingness to dive into murkier experimental waters here and there, Picchio dal Pozzo's debut is a warm, sunny and surprisingly accessible affair. Charming, even a bit quaint, one might say, but never boring or trite. Quite the opposite. It is one of the finest musical experiences out there.

5 stars.

//LinusW

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 Abbiamo Tutti I Suoi Problemi by PICCHIO DAL POZZO album cover Studio Album, 1980
4.07 | 87 ratings

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Abbiamo Tutti I Suoi Problemi
Picchio Dal Pozzo Canterbury Scene

Review by Warthur
Prog Reviewer

4 stars Given the influence of Frank Zappa on the early Canterbury scene (he even jammed with Caravan once!), it's not surprising to find Picchio dal Pozzo incorporating more of the style of proto-fusion he experimented in with the original Mothers of Invention into their music. Likewise, it's no surprise to hear them incorporating more avantish influences from Henry Cow, considering that the Cow started out with a very Canterbury-influenced sound. But what's really impressive is how the band bring all of these influences together in a cohesive sound which makes their second album an impressive, RIO-tinged follow-up to their debut.

Though their sound is still centred on the Canterbury style, they focus very much on its more avant offerings, with Zappa-ish instrumental workouts and sung-chanted portions not dissimilar to those used by Henry Cow on their first three albums. The result is an album which is somewhat less immediately accessible than their debut (or Camere Zimmer Rooms, the recordings produced between that album and this), but rewards repeated, attentive listens wonderfully. In its more accessible moments, the album reminds me a lot of the Muffins' Manna/Mirage - tough I don't know whether that's a matter of direct influence or parallel evolution.

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 Camere Zimmer Rooms  by PICCHIO DAL POZZO album cover Studio Album, 2001
4.15 | 74 ratings

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Camere Zimmer Rooms
Picchio Dal Pozzo Canterbury Scene

Review by Warthur
Prog Reviewer

4 stars A collection of previously unreleased tracks recorded between their first and second albums, the recording quality on this CD is surprisingly good - presumably these pieces were recorded in a studio but for one reason or another were not released at the time. Continuing the band's evolution as a highly capable Canterbury unit, Camere Zimmer Rooms sees dal Pozzo dabble in the sort of experimental territory occupied by the likes of National Health and Henry Cow, as well as occasionally striking out into jazzier realms. High-quality Canterbury releases were thin on the ground at the time this was recorded, so it's a shame it never saw the light of day at the time, but at least now we can enjoy this material from the best Italian performers of this particular style.

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 Picchio Dal Pozzo  by PICCHIO DAL POZZO album cover Studio Album, 1976
4.05 | 200 ratings

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Picchio Dal Pozzo
Picchio Dal Pozzo Canterbury Scene

Review by Warthur
Prog Reviewer

4 stars Plenty of Italian bands adopted symphonic prog-influenced sounds in the 1970s, others took on a major dose of jazz fusion, and some took their sound in an avant/RIO direction, but Picchio dal Pozzo might be the only one I'm aware of which launched themselves into the Canterbury sound so thoroughly - and with such obvious skill to it. With vocal performances reminiscent, in part, of a cross between Robert Wyatt and Jon Anderson, and excellent keyboard work by Aldo De Scalzi, the album more than earns a place amongst the great releases of the late 1970s Canterbury scene. I wouldn't prioritise it above National Health, who I consider the kings of the Canterbury style in this half of the decade, but it's certainly on a par with the output of Bruford and others operating in the Canterbury style around this time.

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 Picchio Dal Pozzo  by PICCHIO DAL POZZO album cover Studio Album, 1976
4.05 | 200 ratings

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Picchio Dal Pozzo
Picchio Dal Pozzo Canterbury Scene

Review by seventhsojourn
Special Collaborator RPI

4 stars The idea that 'genius' and 'insanity' are somehow interwoven has been around for a long time, at least since the time of Aristotle, and it arguably reached its zenith with Romanticism's elevation of the 'madman' to the status of hero. The subject has even been argued in the PA forum on more than one occasion, no doubt much to the chagrin of long- time members of the site, and while any evidence for a link between creativity and mental illness is at best anecdotal, and my personal belief is that there is nonesuch, I still think it's interesting to speculate on what music might reveal about the musicians who produce it. If the madcap music of Picchio dal Pozzo is any kind of representation of the group members' personalities then words like 'pot', 'head', and 'pixies' might sum them up; they were certainly influenced by the Canterbury mainstays.

Being a largely instrumental work makes this album a genuine feast for the imagination, unconstrained as it is even by the track titles that mostly seem to translate as nonsense words. Imagery-wise there's nothing too dramatic with the opener 'Merta', a track that sets the tone with acoustic guitar, saxophone and droning synthesizer. The leisurely mood continues with 'Cocomelastico', the first part of which is in keeping with Maxophone but then the sax stomps in like a bowler-hatted John Cleese from the Ministry of Funny Walks. The saxophone's echolalic side-kick, the guitar, tries in vain to keep pace and the overall effect is akin to listening to the talkative nymph who could only repeat the last words spoken by someone else. Some nonsense vocals follow - 'la-reri-bapa-mebe!' - then I think we must be in a Dutch coffeeshop listening to a Capuchin monk gargling on his namesake beverage.

If that wasn't strange enough 'Seppia' sounds like a step into another world, a lucid nightmare in which saxes proclaim a frantic signal of alarm, of the lighting of warning beacons on hilltops and the sighting of the rectangular sails of approaching Norse longships. The track gives way to incoherent cries, a thunderous riff and a golden shower of electronics and xylophone which together possess all the confusion of mortal women being fecundated by irreverent deities amid the bones of their fallen husbands - 'peek-yo dal pot-zo'. 'Napier' is a big top themed cacophony of electronics and sax that suddenly shifts into a recorder and sax duet, and from this unpredictable alluvium comes a 'song' with actual words. A song that is as eclectic as a New Zealand bar that delights in combining dwarf throwing with lesbian jelly wrestling; and there I was thinking the Imperial Romans were decadent! 'La Bolla' meanders like one of Sleep's thousand sons floating on the river of forgetfulness, with its wordless vocals rather incongruously recalling songs from 'Pet Sounds'. Later, the mood darkens with the saxophone sounding like the squawking of the Pelican of fable that revives its dead brood with its own blood.

All in all, a stunning and unique Italian take on Canterbury.

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 A Live by PICCHIO DAL POZZO album cover Live, 2010
3.69 | 18 ratings

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A Live
Picchio Dal Pozzo Canterbury Scene

Review by Sean Trane
Special Collaborator Prog Folk

4 stars Well, 70's group reunion have become rather common in the 00's, and this proghead has seen some spectacularly good concerts and resulting albums, and unfortunately a lot of rather deceiving (to stay polite) pure-exploitation or retirement-fundraising projects. OK, maybe in the latter case, the involved parties enjoyed themselves, but I'm rather sure that a big part of the audience probably did nearly as much and most tried to make the best of it. I was a bit surprised back then to hear the PDP had reformed after about twenty years of inactivity, despite the excellent posthumous album from Cuneiform, which no doubt had revived memories from the band members. Was this reunion credible, especially that it was greatly achieved with the help of a much more modern group Yugen. I guess I should've explored PdP's latest Picnic studio release, but never got around to it. Despite the latter group's excellent musical aptitudes, this looked like a revival project and I hadn't tried to really investigate it, before laying my eyes on it. Anyway, with a rather uninviting (and ugly) electronic artwork and title, it took me a while (the full length of the RIO fest of '10 in Carmeaux) to risk buying it deafly (I couldn't say blindly in this case) directly from the AltRock stand.

Given my weariness of reunion projects, my main criteria was the presence of four tracks from their marvelous debut album and one from their less-accessible Abiamo album, and one from the Camere Cuneiform release, while the rest of the track list was unknown to me. And a paying gamble it was, because the track selection is simply excellent and so is the sound. Indeed, the Meria, Cocomelastico, Bolla and Napier tracks are simply as superb as their studio version, sticking fairly well to the original as well with the Yugen member bringing some brilliant support, but it doesn't affect the gentle Canterburyan ambiances of the tracks, except for maybe Cocomelastico, which seems a little more energetic and Napier's more eclectic moments. Where Yugen's contributions are better felt are in the Abbiamo album track Uccellin or Il Presidente or their latest Adriatico track that opens on chicken shack noises before echoing away, until a slightly Soft-Crimson-esque ambiance with some wild winds and a challenging vocal passage (courtesy of Area's Stratos frontman) in its finale, they all have a RIO feel and can be classified as Avant-prog.

I can't see from which album Off comes off though, but it's sonically closer to the atmospheric debut than the complexier Abbiamo, or the Camere release. As for the Lindbergh bonus track, they pretend it's from a cassette direct-transcript and dates from the Abbiamo sessions, and it would be an excellent mastering job then in terms of tape hiss but it takes away a bit from the Abbiamo sound, which might not be a bad thing, IMHO. I've seen some live footage of three tracks of that AltRock gig since, and I must say that the magic does kind of work on video too. Actually, to be honest I'd prefer having the full 60- mins set on DVD, rather than on CD, but two tracks wouldn't be on it (outside the Lindbregh bonus), since they come from a previous festival. Maybe one day.

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 Picchio Dal Pozzo  by PICCHIO DAL POZZO album cover Studio Album, 1976
4.05 | 200 ratings

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Picchio Dal Pozzo
Picchio Dal Pozzo Canterbury Scene

Review by coasterzombie

5 stars Perhaps the only known instance of the Canterbury Scene to come out of Italy, Picchio dal Pozzo's brilliant debut sits quietly among the classics of the genre. As the Canterbury sound was primarily a term derived from the bands that came out of that region (Soft Machine, Caravan), describing PdP as such is a bit like calling all bubbly wine Champagne. But the inspiration is undeniably there, although the band does not limit itself to such constraints; there is also a definite Zappa influence, particularly of his Waka-Jawaka/Grand Wazoo era. Picchio dal Pozzo uses these characteristics merely as a frame of reference, and is able to create their own classification - whatever it's called - and create a masterpiece while they're at it.

Don't adjust your stereo..."Merta" fades in slowly, revealing an odd-meter figure in 5/4 alternating between a bar of 3/8 and 6/8. Right off the bat the band shows some pretty high-level, brainy composition, but it doesn't seem showy or overly technical. Layers of electronically processed saxes, xylophone and underwater voices are added until the bass guitar enters and transitions into "Cocomelastico." The Zappa comparisons will be drawn here, and this four-minute slice of prog perfection equals the 20th-century composer's imagination. The long "Seppia" echoes some of Zappa's more eclectic work - imagine "Apostrophe'" slowed way down and played in tritone, and you'll get the idea. The noisy middle section does become a bit much, before it ends abruptly and turns into something not unlike "Igor's Boogie" from Burnt Weeny Sandwich. Then, something distinctly Italian happens: Spoken word erupts into a symphonic synth-fest with chorused guitars and unison woodwind and vocals. The end of "Seppia" is probably the closest thing to RPI that Picchio dal Pozzo will ever get, and it works incredibly well.

"Bofonchia" gently begins, before swells of noise announce the discordant "Napier." The jazzy sound of the Canterbury Scene will set the tone, before falling apart at the three-minute mark and leaving only improvised solo piano behind. If I had to sum up the Picchio dal Pozzo sound to someone in three minutes or less, I would play the end of "Napier." This is, by far, the most magical and moving moment on the entire album. A true sound painting of human emotion and wonder, encapsulated in 180 seconds. "La Floricultura Di Tschincinnata" continues this feeling, delicately mixing jazz-rock and eclectic themes to create a fusion in the truest sense of the word - while Mahavishnu Orchestra and Weather Report were busy playing "Fusion" in 1976, Picchio dal Pozzo were making fusion.

"La Bolla" and "Off" are really two peas in a pod, and a sublime way to end the album on a light, somewhat somber note. Picchio dal Pozzo's eponymous debut is a grower; it will take some time to really appreciate, and the payoff is totally worth it. I not only recommend this album to fans of Frank Zappa and the Canterbury Scene, but all lovers of Progressive Rock music and anyone willing to try something new and different. Picchio dal Pozzo would keep this same basic formula throughout their career, but never really top what they were able to accomplish on the first album. Essential.

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