ABBIAMO TUTTI UN BLUES DA PIANGERE

1. "Non c'é Tempo da Perdere" (8:48) vocal-led up-tempo jazz-rock that starts out with a long intro of instrumental roaming as piano and cymbals feeling around beneath the ethereal male vocals. Reminds me of some of Tony Williams' compositions. I like Franco D'Andrea's Fender Rhodes style, but drummer Bruno Biriaco grabs most of my attention throughout this one. (18/20)

2. "Déjà Vu" (4:58) I know that I'm hearing an uncredited violin in the lead during the intro to this song. So who was it? Piano and guitar arpeggi provide the initial support for the sax (and continued violin). I really like the unconventional melody lines throughout this one--more jazz like than rock--like a Coltrane or Magma piece. (9.25/10)

3. "Rituale" (7:31) great jam that just sucks the listener in deeper as it builds and builds. Kind of like a classic Traffic (Stevie Winwood), Allman Brothers or Joe Cocker jam. I just love this! It's so fun--and so funky! (15/15)

4. "Abbiamo Tutti un Blues da Piangere" (6:08) acoustic guitars (two tracks) on display for the first minute before bass takes the lead over some very gently-picked steel-string guitar. Keys first make a mark at the two-minute mark (with cymbals) but only a couple chords for the first 30-seconds, then full complement of toms and Fender Rhodes join in as the full band kicks into sync. Soprano sax takes the lead from the three-minute mark over some awesome bluesy-jazz groovin'. So solid! Too bad I'm not more of a fan of the saxophone family. (8.875/10)

5. "Country" (3:03) more keyboard-centred DEODATO-and DONALD FAGEN-like music. Quite ( (9.25/10)

6. "Nadir" (3:46) gentle Fender Rhodes with equally gentle saxophone over the top. Switch in the second minute to fiery electric guitar teaming up with the sax to carry the melody forward. I really like American-born guitarist Tony Sidney's fire! (9.5/10)

7. "Vento, Pioggia e Sole" (9:40) It feels obvious to me that American-born guitarist Tony Sidney had been hearing either John McLaughlin or Cervello's Corrado Rustici because his guitar playing has progressed in directions reflecting this style of pyrotechnical flourishing. Such solid drum and bass play throughout. Great jazz piano solo in the last quarter of the song. (18/20)

I don't get why some reviewers have rated this album lower than their debut as I see no flaws or weaknesses in this album. Keyboard artist Franco D'Andrea's playing is far more supportive, serving in a mostly accompanying fashion than flashy noodling, which is fine, but, knowing that he develops into such a virtuosic solo jazz piano artist makes one wonder what was going on with him during the composition and recording of this session. Tony Sidney's guitar and Claudio Fasoli's sax seem to take far more of the lead/front stage on this album--which is fine since both are very good and have grown so much since the year before--while the rhythm section has just gotten tighter and more mature.

A-/five stars; a minor masterpiece of jazz-rock fusion--even better, in my opinion, than its predecessor--the band's highly-regarded debut, Azimut.

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