VOCI

Many consider this album to be one of the finest examples of RPI, especially in terms of the relative paucity of instrumental albums (Italians love to sing!) , where more orthodox input is of the highest order, veering very close to outright classical music when piano, cello and violin decide to dominate. The opener "Preludio" does just that, the violin cattily fiddling with the main theme until the electric guitar enters halfway through, introducing the prog-rock element, followed closely by the archetypal praetorian guard of bass and drums. The theme develops nicely without too much constraint, giving fretman Michele Zorzi the platform to entwine some flighty solos into the pattern. On "Promenade Pt1" virtuoso keyboardist Luciano Basso gets to initially wander over his organ with devilish abandon, later teasingly adding some delicate harpsichord embellishments that supply a most welcome slight romantic. The second part does have some urgent Curved Air hints, especially on grand piano where Basso does a stupendous Jobson imitation, a rather enjoyable main theme adorned with rumbling bass "accompagnement" and straightforward drumming. It becomes glaringly obvious that these are talented instrumentalists that can create slow-blooming magic. The title track is an extended 10 minute affair that is the highlight here, with riveting piano dueling with the orchestrations within a serene mood setting evoking melancholic nostalgia and hopeful abandon. As the drums, bass and guitar pierce the symphonic mist, the piece dives into typical prog soundscapes closer to Dutch master trio Trace than anything else! The sheer breadth of the arrangement gives lieu to some first-rated ivory tinkling, a dreamy meander into uncharted solos, as if an improvisation on a theme. Zorzi yet again keeps pace eloquently, adding sustained tones to the keyboard frills, patiently waiting to explode into six-string frenzy. There is a sense of timeless grandeur, becoming even clearer with repeated audition, as the magnificent theme is repeated and enhanced, the harpsichord ("Clavicembalo" in Italian) making another splendid appearance. Finally, the best is served up last, the swirling choir-infested "Echo" is a slice of genius, a brooding at times sullen and erratic juxtaposition of sounds and textures, infusing baroque classicisms with psychedelic flights (Zorzi's early Floydian slide guitar) , all drenched in a cascade of female vocals that invite raging organ flurries, zigging and zagging with unabashed glee. The growling guitar solo is a supplementary indulgence and all in all, puts a sympathetic end to this brief but explosive jewel, a singularly fascinating complement to any praiseworthy prog collection. As I further mature musically, the more I deeply enjoy the piano , what an amazing instrument! 4 low voices.