FIORI, FRUTTI, FARFALLE

The music from Flori, Frutti, Farfalle (link to Italian promotional video) is an unusual musical ride in that its pop-folk- flavored music is acoustic guitar based. But, when confronted with the story of the origins of these songs (all penned by one of MAXOPHONE's original lyricists, Paolo Farina, in 1972-3 and all, until now, previously unreleased), one can understand.

1. "Fiori, frutti, farfalle" (20:00) begins with a beautiful, HARMONIUM-like first few minutes. The gorgeous tapestry of picked acoustic guitar, violin, harpsichord, flute, and hand percussives weave their magic for the first 2:25. Then Paolo's vocal introduces a new section--which is soon backed by a more traditional rock band (including full drum kit and electric bass, guitars, and synths.) At 4:35 things slow back down into a dreamy, wordless vocal passage in which Paolo sings in his upper registers while a violin plays below him an octave. At 6:05 a section of full-out rock ensues (think "Sweet Home, Alabama"). The vocal, however, continues to anchor the music firmly in 1970s RPI. Then a very surprising turn occurs at 7:21 in which a new section begins with strumming acoustic guitars backing a bird-like call and mokingbird-like echo response by flute. Gorgeous. The final 30 seconds of this 'duel' is an all-out war of screaming, jamming instruments. Awesome. At 9:07 begins the most majestic section of the song. First Paolo's beautiful vocal backed with electric piano & organ, then at 10:08, we are introduced to one of the most beautiful melody lines to have ever graced these music- loving ears. This melody from Heaven is at first introduced by a quiet flute, and then taken over by a gorgeous violin backed by an organ-lead rock combo. Even as Paolo and the band return to some previously exposed vocal melodies and band structures, the 'divine melody' continues to maintain its distractive presence. Even at 13:44, when the songs tempo is doubled, the violin-carried melody continues to run away as Paolo and his band seem to give chase. At 14:44 a JAN AKKERMAN-like lead electric guitar takes over with an incredible two-part solo (think of the "Tommy" section of Moving Wave's "Eruption"--the second of which maestros JEFF BECK or CORRADO RUSTICI would be proud). Gut-wrenchingly emotional! At 16:44, a kind of laid back whole group recapitulation of some of the song's high points ensues. There is a great call and response section happening here between Paolo and his background chorus. At 17:49 things wind down with a slower, minor-keyed return to the song's opening acoustic guitar arpeggio, some gorgeous floating flute work, and this time with the addition of a bluesy lead acoustic guitar jamming along. SERGIO LATTUADA (MAXOPHONE)'s harpsichord play joins in to take the song to its "Cinema Show"-like conclusion. This is the best prog epic I've heard from a 2014 release. (40/40)

2. "Bianco, Rosso, Verde" (3:51) rhythmically strummed acoustic guitar, hand drums, and spacey synths over which singer-songwriter Paolo Farina and his background vocalists sing a light, bouncy pop melody. (7/10)

3. "Cerce in Te" (3:27) opens with a tanpura and santoor giving it a Middle eastern sound. But when an AMERICA-like acoustic guitar riff joins in--and hand drums and flute--the song takes off in another direction. (7/10)

4. "Mamma Pubblicita" (3:50) acoustic guitar and hand percussives accompany Paolo on this pleasant jaunt into Kindergarten. Later male b box, jazzy flute, and second guitar join in on the storytelling. (7/10)

5. "Nel prato più verde" (4:47) is a favorite in spite of the almost exact lifting of AMERICA's chords and strumming from their song "Three Roses" (from their 1972 eponymously titled debut album). Luckily, Paolo has chosen to use his own vocal melody (and, hopefully, lyrical content). Hand percussives, airy flute, and acoustic lead guitar help out on this one. (8/10)

6. "Ti chiedo scusa" (2:25) Both the acoustic guitar work and vocal on this one are a little grittier in the A Section-- which I really like. The chorus, however, finds Paolo returning to an upbeat and very catchy melody (begging his pardon?) Paolo is helped out here by tambourine, violin and second guitar. (9/10)

7. "La ballata degli amici perduti" (5:00) begins with a lovely, slow folk delivery of guitar picking/arpeggiating with the accompaniment of a string quartet and hand percussives. The wonderfully delicious intro is followed by an equally wonderful vocal in Paolo's most plaintive tones. This song reminds me strongly of some of the best work of the legendary Jacques Brel. (9/10)

B/four stars; a wonderful prog folk addition to Prog World.

Overall this album is really a very pleasant if sometimes innocuous listen. The highlights being, of course, the prog epic that opens the album, and its two final songs. The near perfection of the album's epic title song alone cause me to rate this album at least a four star value. The good but not-all-great pop-folk songs that make up the remainder of the album make it impossible for me in good conscience to rate Fiori, Frutti, Farfalle full five star masterpiece. But I want to! This is an album well worth hearing!