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PERIGEO

Jazz Rock/Fusion • Italy


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Perigeo biography
Perigeo was a musical project born in 1971 from Giovanni Tommaso. The original lineup included five members, Tommaso himself at the bass, Bruno Biriaco on drums, Claudio Fasoli at sax, Tony Sidney at guitar and Franco D'Andrea on piano, the band released seven studio albums 'till his definitive breakup in 1981.


The band offers a sort of jazz-rock sound inspired by Miles Davis' "Bitches Brew". This early form of fusion initially meets the resistance of so-called "purists" of jazz, but soon attract the sympathy of many fans, earning invitations to major national festivals, but also a series of concerts in Europe, especially in England and France. In 1972 the group comes out with their debut album, Azimut, the jazz roots of the five musicians are already evident, even if the sound is rather static. Abbiamo tutti un blues da piangere, released the following year, proves itself far superior, both for the virtuosity of each musician and for the greater complexity and expressiveness of the tracks; this album marks the origin of italian jazz-rock and jazz-prog, which is the first true embodiment of modernity brought by Tommaso.


The 1974 is the year of Genealogia, an album more ''accessible'' than the previous and it's marked by an increased use of synthesizers, with the coming of moog, played by Tommaso himself. The release is even more rich and varied, with a brilliant mix of music genres: the rhythms and harmonies have a conformation more rock than before, even if the group is more alive than ever. Genealogia give to Perigeo an excellent feedback from critics and soon the band became one of the great classics of Italian prog-rock.


After a triumphant European tour with the Weather Report in 1975, Perigeo is back with his 4th studio album La valle dei templi it 's a revolutionary album, more vital and dynamic than previous three, especially in the rhythm section: the credit is mainly due to the intervention of Neapolitan drummer Tony Esposito. With this last release the group also achieved a commercial success, consecrating the Perigeo as one of the best reality of the Italian rock of the period.


The next year sign the end of the jazz-rock style with Non e' poi cosi' lontano, while the album still shows the technical abilities of the individual components, it's contamined by pop tunes, after this disappointing release the group members began to devote themself entirely to the career of sessionmen, a number of external collaborations and als...


The band offers a sort of jazz-rock sound inspired by Miles Davis' "Bitches Brew". This early form of fusion initially meets the resistance of so-called "purists" of jazz, but soon attract the sympathy of many fans, earning invitations to major national festivals, but also a series of concerts in Europe, especially in England and France. In 1972 the group comes out with their debut album, Azimut, the jazz roots of the five musicians are already evident, even if the sound is rather static. Abbiamo tutti un blues da piangere, released the following year, proves itself far superior, both for the virtuosity of each musician and for the greater complexity and expressiveness of the tracks; this album marks the origin of italian jazz-rock and jazz-prog, which is the first true embodiment of modernity brought by Tommaso.


The 1974 is the year of Genealogia, an album more ''accessible'' than the previous and it's marked by an increased use of synthesizers, with the coming of moog, played by Tommaso himself. The release is even more rich and varied, with a brilliant mix of music genres: the rhythms and harmonies have a conformation more rock than before, even if the group is more alive than ever. Genealogia give to Perigeo an excellent feedback from critics and soon the band became one of the great classics of Italian prog-rock.


After a triumphant European tour with the Weather Report in 1975, Perigeo is back with his 4th studio album La valle dei templi it 's a revolutionary album, more vital and dynamic than previous three, especially in the rhythm section: the credit is mainly due to the intervention of Neapolitan drummer Tony Esposito. With this last release the group also achieved a commercial success, consecrating the Perigeo as one of the best reality of the Italian rock of the period.


The next year sign the end of the jazz-rock style with Non e' poi cosi' lontano, while the album still shows the technical abilities of the individual components, it's contamined by pop tunes, after this disappointing release the group members began to devote themself entirely to the career of sessionmen, a number of external collaborations and also their solo careers.
In 1980, the five came back together under the name of 'Special Perigeo', only to achieve the double concept album Alice, inspired by the life of Lewis Carroll, author of the novel ''Alice in Wonderland'' in addition of the old repertory of jazz-rock fusion, the work turns into a sophisticated pop, with the participation of many italian artists.

Shortly after, Giovanni Tommaso gives life to the New Perigeo, the lineup consists entirely of new members: Maurizio Giammarco (sax-high-soprano, flute and choir), Carlo Pennisi (electric guitar, acoustic and vocals), Danilo Rea (piano, keyboards, marimba and vocals), Agostino Marangolo, formerly of Goblin (drums). At the end of 1980, the RCA promotes a project with a promotional tour along with New Perigeo, Rino Gaetano and Riccardo Cocciante. From concerts, they make an EP titled Q-Concert, finally in 1981 the New Perigeo release the last studio album Effetto Amore without any success.


Although the project was of short duration, Perigeo was certainly the most successful attempt at fusion of jazz and rock happened in Italy, thanks to a careful balance between improvisation and structured music.

Biography by Erik Nymas, Italy



DISCOGRAPHY:
1- Azimut - 1972
2- Abibiamo Tutti un Blues da Piangere - 1973
3- Genealogia - 1974
4- La Valle dei Templi - 1975
5- Non e'poi cosi'lontano - 1976
6- Fata Morgana - 1976
7- Attraverso il Perigeo - 1977
8- Alice - 1980
9- Effetto d'Amore - 1981
10- Live in Italy 1976 - 1990
11- Live At Montreux - 1993read more

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AzimutAzimut
Import
Sony/Bmg Italy 1989
Audio CD$7.18
$11.66 (used)
Abbiamo Tutti Un Blues Da PiangereAbbiamo Tutti Un Blues Da Piangere
Import
Sony/Bmg Italy 1998
Audio CD$5.70
$10.65 (used)
GenealogiaGenealogia
Import
Sony/Bmg Italy 1998
Audio CD$8.35
$7.95 (used)
La Valle Dei TempliLa Valle Dei Templi
Import
Sony/Bmg Italy 1998
Audio CD$5.70
$4.95 (used)
Abbiamo Tutti Un Blues Da PiAbbiamo Tutti Un Blues Da Pi
Traditions (Generic) 2010
Audio CD$16.50
$80.14 (used)
Abbiamo Tutti Un Blues Da PiangereAbbiamo Tutti Un Blues Da Piangere
Import
Imports 2008
Audio CD$24.85
$26.23 (used)
Fata Morgana - PerigeoFata Morgana - Perigeo
RCA
Vinyl$50.00 (used)
Non E' Poi Cosi' LontanoNon E' Poi Cosi' Lontano
RCA
Vinyl$75.00 (used)
AntologiaAntologia
Import
Imports 2014
Audio CD$100.77
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PERIGEO discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

PERIGEO top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.88 | 52 ratings
Azimut
1972
3.86 | 53 ratings
Abbiamo Tutti un Blues da Piangere
1973
3.93 | 54 ratings
Genealogia
1974
3.70 | 51 ratings
La Valle dei Templi
1975
2.00 | 12 ratings
Non e' poi cosi' lontano
1976
3.89 | 10 ratings
Fata Morgana
1977
3.70 | 10 ratings
Alice
1980
3.50 | 2 ratings
Effetto Amore
1981

PERIGEO Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.75 | 8 ratings
Live at Montreux
1975
3.92 | 5 ratings
Live in Italy 1976
1976
2.00 | 1 ratings
Q Concert
1981

PERIGEO Videos (DVD, Blu-ray, VHS etc)

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

0.00 | 0 ratings
Attraverso il Perigeo
1977
0.00 | 0 ratings
I grandi Del Rock
1993

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

2.00 | 1 ratings
Alice (by Perigeo Special) (Qdisc mini LP 12")
1980

PERIGEO Reviews


Showing last 10 reviews only
 Genealogia by PERIGEO album cover Studio Album, 1974
3.93 | 54 ratings

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Genealogia
Perigeo Jazz Rock/Fusion

Review by DrömmarenAdrian

4 stars My nostalgic celebration of 1974 continues and the Italian "Perigeo" became the fortuness band this time. They started their carreer 1971 and played jazz rock during the years 1972-1981 and released eight studio records. "Genealogia" is their mostly and highest ranked album which of course not necessarily means it's the best. We'll let that be unsaid. It was their third release and the cover is insipid but the content is the opposite. Bruno Biriaco is the band's drummer, Franco D'Andrea the pianist, Claudio Fasoli the saxophonist, Tony Sidney the guitarist and Giovanni Tommaso the bassist, moogist and vocalist.

The vocals of Perigeo are wordless and do only occur on a couple of tracks but then they are lovely as well as the music here as a whole. I would say Perigeo plays an inspired and innovative jazz rock with lovely musical patterns of saxophone themes. The pervading atmosphere is a bit withdrawn, I would say a perfect balance between too much and too little. Still fourty years after this album has a capacity of bringing something new and fresh to us and I would absolutely recommend it. The best tracks according to me are: "Sidney's call" with a great drum solo(10/10) and "Via beato angelico"(10/10). The starter "Genealogia" is almost as good and also the record's longest song(9/10). Almost every other song is in the category very good and only a couple just good. Over all, then, this album contains the majority of things you need to be satisfied with a record. My average rating 4.2 becomes 4 solid stars!

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 Abbiamo Tutti un Blues da Piangere by PERIGEO album cover Studio Album, 1973
3.86 | 53 ratings

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Abbiamo Tutti un Blues da Piangere
Perigeo Jazz Rock/Fusion

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

4 stars Perigeo's second album `Abbiamo Tutti un Blues da Piangere' from 1973 reminds listeners that not every progressive related band to emerge from Italy decided to work in the Rock Progressivo Italiano style, this group preferring a fascinating take on the jazz fusion genre with plenty of unique ideas of their own. What makes this album so special is that a range of psychedelic elements have been worked into the expected jazzy arrangements to create something truly unique, full of a precious and fragile beauty all perfectly captured by this talented group of musicians. Disorientating, sometimes even a little noisy, the album takes it's time to slowly weave around you.

The hallucinatory atmosphere hits you right from the start, as droning treated slurred vocals, rising shimmering crashing cymbals and spiralling piano tinkling swirls around the listener during `Non c'é Tempo da Perdere'. Liquid molten electric guitar wailing bubbles and pops over glistening electric piano, the bass snaking it's way around the background and drums erupt and retreat around and around before splintering into storm-like chaos again in the dying seconds. `Déjà Vu', with it's reaching quivering violin, cascading piano and crooning sax softly weeping away, achieves a melancholic dreaminess. The band aim to take you to undiscovered spiritual peaks throughout the opening of `Rituale' by use of meditative chimes and tambourine. Strident piano grows in power, a scorching lead electric guitar melody and sax weave seamlessly together and repeat into infinity, with twisting spasmodic Soft Machine-like breakdowns into a cacophony of intimidating noise.

There's a fragile, unhurried warmth to the acoustic guitar that opens the title track `Abbiamo Tutti un Blues da Piangere', a beautifully executed and dramatic build throughout, as well as deeply emotional overall. Acoustic guitar (almost sounding like sitar strains), lonely piano, booming crashing gongs and pleading sax over unleashed weighty drumming will remind listeners of bands like Out of Focus. `Country' is a more tightly compact shorter jazzy interlude, definitely more of an upbeat respite, the highlight being plenty of electric piano ripples. `Nadir' begins floating and ambient, very low-key and subtle, but snarling electric guitar and drifting drowsy sax quickly bring a hint of unease. The almost ten minute album closer and psychedelic explosion `Vento, Pioggia e Sole' (`Wind, Rain and Sun') is full of spacey electronics, abrupt honking sax squeals, grinding electric guitar manipulations, discordant piano, thrashing drums and nimble-fingered piano dashes. Without question the most freeform piece on the disc, the music is howling, racing and manic, full of bluster and noise, but there's plenty of tasty grooves as well.

`Abbiamo Tutti un Blues da Piangere' is the perfect disc to dig out as the weather starts getting warmer, the soundtrack to a lazy sunny day, maybe lying on a hill under the shade of a big tree! OK, so that might be pouring it on a little thick, but this mix of well played jazz/fusion with traces of psychedelic rock is pretty hard to beat, and fans of other Italian bands such as Arti e Mestieri should investigate this one as well.

Four stars.

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 Fata Morgana by PERIGEO album cover Studio Album, 1977
3.89 | 10 ratings

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Fata Morgana
Perigeo Jazz Rock/Fusion

Review by Maxophone

4 stars I am surprised this album does not seem to be better known among progheads. Unlike many RPI albums,this was not an obscure LP having been released on RCA in the U.S. and reviewed in a major newspaper.

A fantastic blend of jazz/rock/prog,for me this is easily their best album. The jazz element is more prominent than on most RPI albums,but don't let that put you off if you are not a jazz fan(I find most jazz boring). The players are first class and the music is melodic,inventive and wonderful.A solid 4 star album and one of the best RPI releases. The CD release is titled Non E Poi Cosi Lontano.

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 Genealogia by PERIGEO album cover Studio Album, 1974
3.93 | 54 ratings

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Genealogia
Perigeo Jazz Rock/Fusion

Review by BORA

4 stars I am at a bit of a loss at what more to add to previous reviews of this album. Pretty much everything has been said before, so my little piece is largely for the purpose of a reminder for those who happened to miss previous inputs.

If you appreciate Jazz-Rock, Canterbury (the British approach as opposed to Fusion in the US) then PERIGEO won't disappoint. Very much in the same league with SOFT MACHINE and NUCLEUS (non-Karl Jenkins era). A nod towards electric MILES too, although I fail to see comparisons with "Bitches Brew" in particular, more like immediately after.

As usual, thoughtful and intelligent compositions are matched by superb musicianship. Whilst I find the title track a bit sluggish, things tend to pick up soon and provide due satisfaction throughout the rest of the album. Tony Sidney on guitar deserves special mention. His fluid style is reminiscent of Terry Smith's in the bands IF and ZZEBRA. Truly unique.

A very good album altogether.

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 Genealogia by PERIGEO album cover Studio Album, 1974
3.93 | 54 ratings

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Genealogia
Perigeo Jazz Rock/Fusion

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

4 stars I came across this album totally by surprise at a recent record fair, thinking I may have snapped up a bit of a highly regarded Italian progressive classic! I was initially hugely disappointed to find that, although Perigeo are an Italian band, they don't play the usual sort of passionate and emotional prog associated with that country, rather an intoxicating and captivating form of jazz-fusion, highlighted by electrifying performances and a manic Canterbury styled touch of sophistication.

At first I found this album to be a little by-the-numbers and quite charmless. Everything sounded in the right place, competently played by a bunch of great musicians, but I just wasn't clicking with it. Then on a drive into work on my nightshift, through sheer lack of inspiration and with nothing else to listen to, I put the album in the CD player and suddenly, it all worked for me. Like `Soft Machine's black and moody `5', an album I feel is quite similar to this one, it was the colder weather and dark night ambience that made more sense with the music I was hearing. There's a frequent sad and reflective tone to the music that made perfect sense so late in the chilly night.

`Genealogia' is best taken as a complete piece, all the wonderful instrumental compositions shifting between ambient electronics, driving sax, jazz-rock fusion, varied electric piano/fuzz organ/moog, and lovely emphasis in some parts on warm acoustic and searing electric guitars solos. There's a subtle and restrained touch, with occasional noisier outbursts picking up the pace when needed. Always prominent bass player Giovanni Tomasso also performs some effective wordless vocals on three of the tracks. I also thought there was a few sections with wild violin, but from what I understand that's actually him using a bow along his bass! Highly original, and gives the album a truly unique sound all it's own.

Strange electronics (moog?) begin the 8-minute title track on side A, before piano and commanding saxophone enter. I'd swear that was a violin throughout the constantly repeated grand theme, sounding very medieval! The sax becomes more fiery, sounding like something performed by the various Canterbury bands (probably why this album reminds me so much of Soft Machine's `5'). Very repetitive track, it becomes dizzying, with a real wild abandon. Jazzy drumming, catchy sax melody and shimmering electric piano on `Polaris', with throbbing bass and harsh electronic effects swirling around. There's a real explosive urgency to this one! `Tore Del Lago' has delicate piano and mournful sax. With gentle sighed wordless vocals, it's one of the most beautiful pieces on the album. `Via Beato Angelica's sweet acoustic guitar and pulsing electronics give way to an upbeat Latin- styled Santana groove, especially with the hot electric guitar solo and effective use of the congas.

The dirty drama of side B's `(In) Vino Veritas' has maddening Canterbury electric piano, out of control wailing sax, and tearing electric guitar! Listen for the knockout bass playing and furious drum-work on this one too, the band completely loses it! The gentle comedown of `Monti Pollidi' is a relief from the previous track, alternating between an evocative sax theme and whirling electric piano/bass/percussion subtlety. `Grandi Spazi' is an ambient dark-jazz piece with a very dank bass sound and somber sax. More Soft Machine-like urgency on `Old Vienna' with a fuzzy electric guitar and piano showdown, frantic bass playing and percussion, before a slightly abrupt ending. The album finishes on the initially sedate `Sidney's Call' with eerie sighs, gentle congas and lovely acoustic guitar before turning into a sax heavy workout in the middle, complete with drum solo. It then falls away into a wordless enveloping lullaby to finish the album on.

Housed in a bare plain-white sleeve with a pleasant and simple illustration on the cover, with music performed by a talented and inventive group of musicians, `Genealogia' is wonderful late-night jazz-rock/prog with a darkly immersive ambience.

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 Abbiamo Tutti un Blues da Piangere by PERIGEO album cover Studio Album, 1973
3.86 | 53 ratings

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Abbiamo Tutti un Blues da Piangere
Perigeo Jazz Rock/Fusion

Review by dreadpirateroberts

4 stars Let me begin by saying I wrote this review after having only owned this album for a few weeks, and there may be that first flush of excitement to keep in mind as you read. On the other hand, I purchased it within a group of seventeen albums during an overseas trip, and this is the album I keep coming back to now, even months later.

Perigeo are a jazz-rock band from Rome who probably lean more toward the jazz side of things. While there is fiery electric soloing from Tony Sidney on some tracks, and some riff-work, it is more of an atmospheric rather than foot-stamping album (Although the outro to 'Rituale' cooks.) Instead, acoustic and electric piano, along with acoustic guitar, bass, sax and vocals, often create brooding soundscapes (like in opener 'Non c'é tempo da perdere') or even downright mournful moments like 'Déjà vu' - which makes highly effective use of acoustic piano.

Throughout the album 'Abbiamo tutti un blues da piangere' I hear flashes of 'Hot Rats', 'In A Silent Way' and others, but find them to be suggestive rather than derivative. Even the title track brought Van Morrison's 'Astral Weeks' to mind with the focus on band leader, singer and bassist Giovanni Tommas' soloing. Much more in line with the rock side of their sound, the rhythm instruments build 'Abbiamo...' effectively before a shrieking sax breaks in for a long solo, employing a familiar structure to rock audiences, and fusing it with the freer nature of jazz.

In general terms, parts of the album's second half are less impressive, with 'Country' and 'Nadir' coming across as a little too sparse for me. The closer, 'Vento, pioggia e sole' however, seems to fulfill the hints of 'Bitches Brew' that the album promises. Rockier than the Davis epic, it has a less shuffling and more driving rhythm beneath energetic soloing from the lead instruments, presented in a more hard bop 'trading off of solos' tradition. It's a stand out track, almost as satisfying as 'Rituale' or 'Abbiamo...' the other clear favourites.

Fans of the aforementioned albums should get definitely something out of this great record by Perigeo, which is a confident and emotive set of (mostly) instrumentals delivered with equal parts snap and subtlety. Well worth the investment, especially if you're looking to start exploring Jazz Rock.

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 Azimut by PERIGEO album cover Studio Album, 1972
3.88 | 52 ratings

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Azimut
Perigeo Jazz Rock/Fusion

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.

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 La Valle dei Templi by PERIGEO album cover Studio Album, 1975
3.70 | 51 ratings

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La Valle dei Templi
Perigeo Jazz Rock/Fusion

Review by Bonnek
Special Collaborator Prog Metal Team

3 stars Perigeo were never the most innovtive band around but on each of the three preceding albums they managed to craft beautiful melodic jazz-rock, with careful interplay between all members and inspired and memorable melodies. On this album I hear a band that goes through the motions rather then one experiencing the excitement of earlier albums.

That doesn't mean there aren't any good tunes here, but the material doesn't always get of the ground. Maybe Perigeo looked too much across the Atlantic, trying to capture the easy going vibe that Return To Forever had made fame wih in the 74/75 releases. And just as on the previous album they gave up on the vocals, which were one the few things that made them special. I also miss the poetic atmosphere, the subtle melodies and functional soloing. With Tamale, The Firefly Mystery and 2002 Nights there are a couple of songs that will make this a good album for fans but I wouldn't advise this Perigeo album to newcomers.

La Valle Dei Templi is the sound of a band on auto-pilot. It is nice, smooth and professional but also predictable, safe and dull. I haven't investigated any later Perigeo albums, but given how I hear the decline setting in here, I certainly don't feel the need to do so. Just a small 3 stars.

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 Genealogia by PERIGEO album cover Studio Album, 1974
3.93 | 54 ratings

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Genealogia
Perigeo Jazz Rock/Fusion

Review by Bonnek
Special Collaborator Prog Metal Team

3 stars Even if not my personal Perigeo favorite, Genealogia is a very fine album with Perigeo's typical delicate melodies and lightly sad atmosphere. The main source of inspiration is still Weather Report with an occasional flash of Mahavishnu frenzy, and everything is played with a tender flair that can only be Italian.

As usual on Perigeo's albums, the compositions are well played and memorable but unfortunately, the vocals, which were one of the main elements I enjoyed on their first two albums, are not here anymore. Giovanni Tommaso is still credited for vocal duties and indeed Torre Del Lago and the last few seconds of Sydney's Call have a few bars of oohs and ahs, but that's no sufficient use of such a unique characteristic of their sound. It makes the music loose some of its edge and personality.

I also find the album to be a bit safe, it performs some of their earlier ideas quite well but doesn't offer many new insights. Not a show stopper of course but still, it's always appreciated if an artist keeps developing new ideas along the way.

Genealogia has 9 graceful songs that are all performed very tastefully, with excellent interplay between the members and with a lot of diversity in-between the songs. A bit too safe maybe. A big 3.5 but somewhat below the first two albums.

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 Abbiamo Tutti un Blues da Piangere by PERIGEO album cover Studio Album, 1973
3.86 | 53 ratings

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Abbiamo Tutti un Blues da Piangere
Perigeo Jazz Rock/Fusion

Review by Bonnek
Special Collaborator Prog Metal Team

4 stars The second Perigeo album continues where the debut left off, combining early Weather Report's mystic atmosphere with the occasional Mahavishnu shredding and a delicate Italian touch. The album confirms the potential of the debut but fails to surprise or to surpass the previous material.

The opening Non Tempo da Perdere is spot on though, a superb melodic fusion song with breakable dreamy vocals. Just as with the other Italian fusion supergroup Area I find the vocals to be one of the most attractive elements. Even if Giovanni Tommaso's sad-romantic vocals are entirely different from the crazed obsession of Area's Demetrio Stratos, they really add a special flavor to the band's sound.

The album offers a varied set of jazz pieces of which the lightly dissonant Deja Vu, the groovy Rituale and the dramatic title song are the best. Also the electric guitar and piano interplay of Nadir works out right, even if it is a bit derivative of Mahavishnu Orchestra. The closing Vento, Pioggia e Sole is a fairly standard fusion jam, lacking some of the melodious mastery of the other compositions but still inspired.

If you're on a mission to find new Italian fusion masters, Perigeo won't be your next Area but they are certainly a band with a personal sound, soulful playing and excellent song writing. At least their first two albums are a great addition to any fusion collection.

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