BEYOND THE LIFE

Robert Genco was a drummer out of Italy who released his lone album back in 1977. We don't know much about Robert but he's brought in some experienced Jazz musicians as we get a six piece with a bass/cello player, sax/flute, trumpet/flugelhorn, electric piano/organ, sax/flute and a guitarist. Genco adds English vocals and vibes to his excellent drum work. This was love at first listen and we have some players here. Really enjoyed spinning this one all last week. I have to mention the surprise GONG references both vocally and instrumentally. It's just surprising to me because this leans in the Jazz Rock/Fusion direction all the way. The sax and trumpet can be dissonant and passionate and the flute is really well done. Often it's the horns, flute, guitar or electric piano soloing over a killer rhythm section.

Favourite track is that over 10 minute opener called "Angosia". You just have to hear the repetitive bass line on this one. So infectious with the drums while the horn and guitar solo. Some vocals too in this one. "All Recomposes" is different early on as we get some rare cello as the organ stews. It all changes when the flute, guitar and drums arrive around a minute in. Fragile vocals too. "Nature And Transmigration" is the 18 1/2 minute bomb. We get some GONG-like vocals early as well as later on before 15 1/2 minutes along with being instrumentally similar to GONG. Man this track allows the musicians to show their stuff including a drum solo from Robert to end it. The closer is another highlight opening with Genco's best drum work on here before the guitar kicks in sounding really good, love the tone. It turns jazzy with that bass and drum work. Like a nod to the greats. A catchy, feel good section with vocals before 2 minutes. This is simply a very consistent and well played album that will satisfy the appetite of Jazz/Rock lovers out there.

A very obscure Italian artist who only recorded this one album in 1977 but didn't get it released in CD form until 2011 (and later in digital streaming formats on Bandcamp).

1. "Angosia" (10:15) funky bass and drum line runs through the whole five-part jazz-rock suite. Excellent drumming and composition but the bass line gets rather old. The lead instruments over the top (flute, trumpet, electric guitar, electric piano, and reverbed voice)) do a pretty good job of distracting as do the accent horns in the third motif. (17.75/10)

2. "Beyond The life" (5:11) excellent emotional song sung very powerfully by Robert. Impressive guitar play from Giorgio Cocilovo but excellent sound and play from Tuccio Garofalo on electric piano, bassist Silvio Condemi, and Robert on drums. Beautiful Smooth Jazz. (9.75/10)

3. "All Recomposes" (5:24) a more symphonic approach to jazz pop. Sounds like a cross between Donovan and Greg Lake-led PROCOL HARUM. Robert really does have an excellent, very emotive singing voice. The song builds beautifully after Robert finishes singing the first verse, eventually climaxing in a kind of "Space Oddity" finish. (9.5/10)

4. "Nature And Transmigration" (18:32) this seven-movement suite starts out very atmospheric/pastoral for the first two movements--like a classically-formulated song, but then it gets funky with the arrival of the fifth minute. Flute solos over the first minute of this movement before Robert starts to sing, then electric guitar gets a turn to solo. The fourth "chapter" or movement starts at 6:57 and flattens out into more-Mahavishnu-like speed sprint with Hammond organ dominating the first minute but then turning over the reigns to electric piano while electric guitar shreds and bass and drums drive the song forward. At 11:18 we subtly shift into yet another motif--this one more rock-driven with the Fender taking the first solo over the hypnotic bass and hard-driving drums. When the trumpet takes over in the lead position the bass drops down an octave or two while Robert's drums get a little more adventurous. Some stop-and-go staccato play in the final portions of this allow Robert a little more show-time before settling into a slightly different pattern to support more electric guitar lead play. The sixth "chapter" finds the band settling into an-almost Canterburian rhythm for some silliness, but then, after a little Mont Campbell-like singing, everybody shifts gears to into some more jagged, angular jazz musicianship. The seventh and final "chapter" finds us listening to a flange- effected drum solo. Nothing here is quite as compelling or quite as beautiful as the other songs on the album. That third "chapter" is the best one here. (34.75/40)

5. "Passagio" (5:15) opens with a flange-effected drum solo (a continuation, obviously, of the previous song)--one that starts out impressively but then gets too simplistic. Eventually, the rest of the band joins in and establishes a kind of poppy STEELY DAN-like motif over which Griogio solos on electric guitar before and between Robert's charged singing. The guitar solo eventually sounds just like The Eagle's at the end of "I Can't Tell You Why" (sung by Timothy B. Schmit). Another beautiful song! (9/10)

Total Time 44:37

An incredibly-well recorded and produced album--especially considering its self-recorded and self-published history-- and a surprising one for its infectious melodies and skilled musicians.

B/four stars; an excellent little gem plucked out of obscurity for any prog lover historian.