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Arti E Mestieri - Giro Di Valzer Per Domani CD (album) cover


Arti E Mestieri

Jazz Rock/Fusion

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5 stars A conclusion for TILT, far better & complex than their previous effort. This is the highest peak for the band, with weird but efficient vocals, an exceptional drummer (for all COBHAM fans), & good violin & guitar passages.
Report this review (#1104)
Posted Tuesday, January 27, 2004 | Review Permalink
Sean Trane
Prog Folk
3 stars "A tour of waltz for tomorrow" is the title of A&M's second album, which fails to sport a strong artwork like its predecessor did. Indeed the dancing artwork with the innerfold illustration of a dance manual is anything but exciting or enticing. Strangely enough, given its title, musically-speaking the album is a tad jazzier than Tilt, even though the Mahavishnu influences are not as obvious here (but still enough), except for main composer Venegoni's guitar, sounding like McL at times. An unchanged line-up despite the addition of specific singer Gaza, the album Giro is also more energetic and dynamic, but I find that the musical propos is less enthralling and more academic than its predecessor, despite being sensibly similar to its older sibling.

In terms of musical contents, Giro is a bit of a confusing affair, sporting 17 tracks, mostly under or around three minutes, except for three of them topping 5-mins early on the album's opening side. Despite (and unlike Tilt) better track separations, one gets quickly lost in the evolution and whereabouts in the track progression, partly (or mostly) because most of those numbers are a bit samey. This remark is to taken with a grain of salt, because repeated listenings will indeed unveil some differences if you have the patience to keep up.

Generally, the (Gaza's) vocals are less gentle than in Tilt (less PFM and more BMS), but I'm not sure this is an improvement, because the music's mostly instrumental nature (despite a specific singer) makes that whatever few vocal interventions seem a bit intrusive and needless. One of the aspects where Giro does top Tilt is concerning Furio Chirico's drumming, which is simply excellent and unavoidable. For the other musicians, they are sensibly in the same excellent shape and mood than in their debut effort, but Crovella's ttrons are not nearly as present. After Giro, the group would observe a few years of vinyl silence, coming back in 79 with the same line-up with a yet-jazzier effort before continuing in the next decade under various forms, releasing a few music slices of decreasing interest as time went on. Not nearly as essential as Tilt (which was not either), GdVpD still has many qualities, but it will never find a spot in my shelves, because so much more works are more important to these ears.

Report this review (#1106)
Posted Wednesday, April 14, 2004 | Review Permalink
4 stars This one usually gets short-shrift from proggers since it is more firmly in the fusion camp than Tilt! But IMO it is better than Tilt! Furio Chirico's drumming is even more intense, he just riffs throughout the entire album. The guitar is searing, and the whole album is fantastic. Definitely a must-have for fusion and progressive fans alike!
Report this review (#1107)
Posted Tuesday, July 13, 2004 | Review Permalink
4 stars I think you'll have gotten the idea by now... the drummer is quite superb, embellishing each track with copious amounts of intricate patterns and fills. He really is the driving force in the band, although the rest of them are technically wonderful. I wish the guitarist stretched out a bit more because he's fabulous. Imagine Frank Zappa's Uncle Meat melodies played by Brand X, and you'll have some idea what this group sounds like. Great production, very good compositions, and tight ensemble work. The gorgeous title track is a gem.
Report this review (#1109)
Posted Tuesday, May 24, 2005 | Review Permalink
4 stars I just found this pretty rare disc after not hearing it for over 20 years. I'd had a very positive memory of it, and it doesn't disappoint. After recently acquiring "Tilt" as well, it's hard not to compare the two. While the former seems more cohesive and perfect as an album, this one has more interesting music on it, as well as more flaws. Especially unique to "Giro di Valser..." is the instrumentation. The harpsichords, clavinets and Vibraphones give it a very clear, almost classical texture. This is a very tight, melodic band, the melodies often remind one of film themes, especially by their compatriot Morricine, or some early Mothers tunes. There's also a more pronounced Mahavishnu bent on this album, especially in "Mescal", which could be McLaughlin, or Goodman and Hammer. Furio's drumming is, as always, so fast and precise that it's almnost hilarious. The man is simply inhuman, and at times too much, but his playing is so accomplished and distinctive, one decides to enjoy it despite the overkill.

Some of the compositions on this one are more elaborate than on "Tilt", what it shares are very good guitar and saxaphone soloing. But some of the vocals are suboptimal, especially on "Rinuncia", some people are using a mike without a liscense. This cut could easily be left off an otherwise outstanding album. The next tune, "Marilyn" is so luscious and refined, I almost melted on hearing again its lush clavinet chords, the soaring drums and drifting sax somewhere behind it in another space...easily one of the most touching "fusion" tracks I've ever heard. While "Tilt" suffers the fate of being too short, and leaving you wanting more, this CD release suffers the opposite fate; namely in the 2 terrible bonus tracks included. If their inane disco beat and cheesy pseudo-Weather Report melodies indicate the direction A&M went after this brilliant classic, then I'm glad I've never heard any of it. Because the first two albums by this unique outfit stand as peaks of the 2nd wave Italian progressive, and remain unsurpassed. It's positive, uplifting music that hits you like an injection of adrenalin.

Report this review (#59331)
Posted Tuesday, December 6, 2005 | Review Permalink
5 stars This amazing fusion album is frequently neglected in reference to the amazing debut 'Tilt', however, not only is this a logical development from the debut, but in many respects it is a superior album. Led by the astounding, stupendous, almost inhumanly creative and dexterous percusion of Furio Chirico, who is dominate in the album mixing, the greatest attribute, however, is actually probably the hook laden instrumental choruses and progressive themes evoking a joyous mediteranian sense of melody and color. Their is actually a wide variety of changes and instrumental diversity including predominantly violin and guitar but enhanced with multiple keys, bass, and saxophone. I would even argue that this is much more a progressive album than fusion considering the complexity of the arrangements; each instrument performing a complicated and individual function giving the composition a full and well rounded dexterity. This is truly a well rehearsed, tight, and accomplished band that performes with the highest degree of excellence throughout.
Report this review (#60098)
Posted Sunday, December 11, 2005 | Review Permalink
5 stars The second work released in 1975 "Giro Di Valzer Per Domani". It has changed into the performance style to emphasize solo or more. The overall jazzy, tight image has become strong. There is only expert's group and the insistence on each musical instrument is terrific though it is a melodious, glossy sound with the drum at the top. The main stream fusion color also has become strong. Album that packed various works. The height of the tension of an individual tune and the amount of the sound are considerable. Especially, the short number where it runs fast by the high technology is strong. A peculiar tension arises though it is a sound in which freshness is made to be felt. It is a perfection not inferior to the first work. It is still a masterpiece.
Report this review (#72388)
Posted Monday, March 20, 2006 | Review Permalink
5 stars (The Grandest Drumming You Could Ever Hear!) When I first discovered this Italian Fusion import on Amazon in 2005. (Which I hear was never originally released in the U.S. ever.) Someone claimed that the drummer Furio Chirico gave Billy Cobham a run for his money. So I looked into it and paid about 35 dollars for this recently reissued (in Italy) import on Arkarma. I think it might be greatest thing that a lot of a American fusion fans haven't heard. Furio Chirico is the most passionate and technical drummer I've ever heard (sorry Zach Hill) especially in terms of fusion. This album wasn't as internationally avaliable as the first record "Tilt" and isn't as rock oriented (much more jazzy). This is the reason why this sophmore album isn't as well known. The music itself is very melodic and pretty throughout the album , mixing Jazz, a bit of rock and traditional Italian music with a couple nice vocals. But the focal point is Furio Chirico's drumming which doesn't exactly go beyond Tilt in terms of speed but it does in terms of technique and passion that shines through the drums like nothing I've ever heard. An interesting image for his drumming is acrobatic drum gymnastics. Tight,Fast,Energetic,Melodic,Spastic,and Complex. He took drumming beyond the level of Cobham and Vander. Which doesn't even seem right in terms of whats usually claimed by old fogie fusion fans in the jazz, who claim Miles Davis and Zappa made the best fusion and Cobham was the best drummer. Theres so much more out there to really analyze and look at with fresh eyes and ears. No exageration Furio Chirico is the real deal a top drummer who most likely under the influence of other good Italian drummers or pioneers like Cobham and Hiseman, He looked even farther outside of the box and wanted to develop a style all his own. He did and it's the most beautiful drumming I ever did hear, A five star record overall, amazing the first time you hear it, amazing the last time. Top Spagetti Fusion Classic that all fans of progressive music should get a chance to hear.
Report this review (#84885)
Posted Thursday, July 27, 2006 | Review Permalink
Honorary Collaborator
3 stars A showcase for one of the greatest drummers alive.

"Giro" is a very solid album that should please anyone remotely interested in the genre. While I don't own "Tilt" and thus can't compare the two, from what I remember this album is every bit as formidable, perhaps less acclaimed simply because it followed an album much beloved. The album may actually be a bit richer in terms of production and band interplay. The highlight here as noted by many is the simply jaw-dropping percussion performance by the legendary Furio Chirico and I can only add that anyone who is a drummer or appreciates spectacular percussion needs to hear Furio in action. To steal a line from an old movie that I can't recall Furio plays "like two jackrabbits fu*%ing." I am also a fan of Beppe Crovella since hearing his work on the later Tower album "Tales from a Book of Yestermorrow." The tracks are intricate and flawlessly executed jams with great guitar work and enough sax and violin to really add great color. also plays up Chirico's importance in the band: "Personally I would compare him with Billy Cobham, although an octopus also comes into mind. This virtuoso is able to fill the space with such an incredible sound, layer upon layer of polyphonic rhythms, it's quite spectacular. Behind him, an ensemble of bass/guitar/keys/violin/sax/voice are creating track after track of pure enjoyment." []

For me personally the music is at times too busy and this is why I give a higher rating to something like Esagono, who may not have quite the chops of this band but arguably provide more emotionally satisfying music. "Giro" can be a simply exhausting listen that rarely gives the listener a chance for a breather-of course I realize this is a plus for many of you. For me this album is good but not essential although I have the utmost respect for their ability. For jazz fans really into intense, technically savvy jamming I can see why others would give this 4 or even 5 stars. I'll have to go about 3-3 ˝.

Report this review (#161665)
Posted Tuesday, February 12, 2008 | Review Permalink
Cesar Inca
Honorary Collaborator
4 stars "Giro de Valzer per Domani" is the sophomore release by Arti + Mestieri. It is a transitional album since it has a couple of sung tracks (with Gianfranco Gaza filling the lead singer's role) that frontally announce the band's growing decision to pursue a musical direction a bit closer to mainstream-related jazz-rock, while still bearing a high predominance of complex jazz-prog. The fact is that this album is not intended to match or reiterate the valiant energy of their debut masterpiece "Tilt", but it is certainly more focused on enhancing the band's melodic terrain, augmenting the Mediterranean feel in a very noticeable way. The jazz core now strays a bit away from the Mahavishnu influence in favor of a stronger relatedness to the compatriot ensemble Perigeo. Drummer Chirico, as usual, steals the show with his magnetic pyrotechnics, while the interactions and alternations between the guitar, violin and sax (or clarinet) lead the way for the development of the instrumental sections' melodic bases. 'Valzer per Domani' kicks off the album with a warm colorfulness provided by the paired violin and clarinet, while Chirico goes on rolling until the very last second. Its hook is brilliant enough as to remain constant in the listener's mind despite the fact that it only lasts a bit more than 2 minutes. 'Mirafiori' follows, stating that sort of energy and consistence that have made it a true A+M live staple. The elegantly elaborated jams around a basic motif are expanded enough as to reveal the band's essential versatility, but still there is some kind of constraint that keeps things from becoming overwhelming. The sequence of tracks 4 to 6 is also a great example of what this band can achieve when they are determined to create sonic excitement: a special mention goes to the most intense passages of 'De Nord a Sud'. 'Saper Sentire' is the first track with Gaza on the frontline: it is kind of funky, and Venegoni plays a bluesy guitar solo with a happy mood in the interlude. 'Mescal'/'Mescalero' reiterates the band's gusto for jazz-oriented frenzy with a strong melodic twist - this duo doesn't even hit the 3 minute mark, but it really smokes from beginning to end. Now that we are getting to the album's latter half, things remain pretty much the same - great exercises on groovy jazz-rock (tracks 9, 11-13, 16) and a lighter, catchier approach in the Gaza-sung pieces (tracks 10 & 14). There is also 'Marilyn', a diverse composition in a melancholic piano motif and its latter reprise are separated by a vibrant free-form exercise, featuring wild drum rolls, eerie soprano sax lines and Spartan clavinet chords. The warm colors of 'Terminal' serve as a refined, beautiful epilogue to the album, although I wish it had been expanded for a longer duration; anyway, it is a lovely piece that exemplifies the melodic drive that A+M have been focusing on throughout the entire album. Not as brilliant or as challenging as "Tilt", but definitely, "Giro di Valzer per Domani" is an excellent A+M item in any good prog collection.
Report this review (#184199)
Posted Tuesday, September 30, 2008 | Review Permalink
Avant/Cross/Neo/Post Teams
4 stars Although you say only 'bout Furio Chirico...that's really Furio Chirico I wanna say... :P

To tell the truth, in not only this work but also all ARTIs (defined as artists or skilled members) are always fighting against each other. Exactly, also in this album, you might think Furio's drumming and percussion session are the central heart. I wanna say his drumming is really murdering drumming. Everyone hearing his powerful play is knocked out and murdered. And, surprisingly but naturally, other Artis can support his play, and his play also can support other's plays.

Anyway, 'bout this album...this album Giro Di Valzer Per Domaniis more and more improvisatory than the previous work Tilt. There is full of free-jazzy-tasty taste. Sometimes soft and slow tunes can go and can let us relaxed. Otherwise, their aggressive play should slaughter us and themselves. :)

This work's cornerstone is, I consider, the 5th track Mescal. Furio's percussion can run actively here and there, and the brass section and the strings should surge upon us listeners. Immediately the wonderful tunetime will be gone...

Please take care. Not be slaughtered. This is not that we can laugh!

Report this review (#198236)
Posted Friday, January 9, 2009 | Review Permalink

The 2nd album of Arti + Mestieri is a sort of masterpiece of Jazz Rock. In a certain sense only for the presence of Furio Chirico, one of the best drummer that I've heard in my life, also if the music is great.

I think That 'Giro di Valzer Per Domani' isn't an Italian album. The music not have a moment of italian Prog way and, at the same time, the music is a pure rediscovery of pure Jazz, filtered by Rock. Only the musicians are Italians.

The songs are good for technical difficult, but are easy for understanding. The sound is powerful but extreme melodic, also if melodic is not correct.

These sensations 'Giro...' transmit me. And for this motive I stop here my 'Giro...' review.

Report this review (#244036)
Posted Saturday, October 10, 2009 | Review Permalink
Mellotron Storm
4 stars Man you can't go wrong with either of the first two releases that this amazing Fusion band from Italy put out in the seventies. Both are classics. I do prefer "Tilt" but what I really enjoy on this sophomore effort that "Tilt" doesn't have are the vocals of Gianfranco Gaza. Gianfranco was the incredible vocalist for the band PROCESSION, one of my favourite Italian bands. On a side note ARTI E MESTERI used to play a lot with AREA back in the day. As with the first album Furio Chirico is the main focus with his mastery on the drum kit. Peart fans would do well to check out this guys drumming, he's all over this. What a talent !

"Valzer Per Domani" opens with piano and drums but soon both the clarinet and violin are helping out. "Mirafiore" is all about the drumming early then check out the violin 1 1/2 minutes in as he rips it up. It's the guitars turn after 2 1/2 minutes as he proceeds to light it up. A calm a minute later and sax joins in. "Saper Sentire" features Gianfranco on vocals and the sound is heavier. This is great ! Love his vocals. Some fuzz in this one too. The guitar before 4 minutes sounds really good as the drums pound. That's my favourite track. "Nove Luna Prima" is a short tune with the sax and drums standing out. "Mescal" reminds me of MAHAVISHNU ORCHESTRA especially when the violin comes in. Amazing tune.

"Mescalero" is another short tune as different sounds come and go. "Nove Lune Dopo" is the bonus track. Here we go ! The drumming is killer and I like the deep bass and organ too. "Dimensione Terra" features those ever-present drums as sax and violin helps out. "Aria Pesante" opens with vocals but the sax and drums take over quickly. Vocals are back with piano after a minute. Contrasts continue. A sax solo 2 1/2 minutes in. "Consapevolozza Parte 1" has this nice rich sound to it with drums leading the way. Guitar joins in. "Sagra" opens with a drum stampede. Piano joins in followed by sax and bass. The guitar late rips it up. "Consapevolozza Parte 2" is mostly keyboards and drums then the violin comes in. "Rinuncia" opens with drums and guitar. Vocals and some chunky bass late. "Marilyn" is piano only before drums and sax join in. "Terminal" is MAHAVISHNU ORCHESTRA-like. Just a great sounding track especially the guitar and drums.

A solid 4 stars without a doubt.

Report this review (#260552)
Posted Tuesday, January 12, 2010 | Review Permalink
Honorary Collaborator
3 stars Second album of Italian symphonic fusion band Arti & Mestieri is a mixed bag. Having on board one of the greatest drummers ever (Furio Chirico), they play fusion for symphonic prog lovers. What means their music is in fact melodic, well rounded and polished, as any Italian band plays, with very non-jazzy keyboards, but from other hands strongly influenced by great fusion drumming.

Yes, I agree they listened much for Mahavishnu Orchestra, but their version of MO sound is too polished and toothless. Violinist again is just a moment of the influence, but no way really important musician on A&M sound. Vocals are really on a good side though - strong, with specific timbres and non-operatic, as on many other Italian prog recordings. Compositions are average, but not memorable enough.

In fact their best moments are rawest jazzy compositions, when all the band just plays support to great drummer. Not a bad listening for melodic symphonic prog lovers, interested in some fusion in their music, but hardly an attractive music for serious jazz rock/fusion fans ( drummer Furio Chirico is a serious reason to listen this album though).

Report this review (#291268)
Posted Wednesday, July 21, 2010 | Review Permalink
4 stars After a good live activity, supporting bands like PFM and even Gentle Giant, in 1975 Arti & Mestieri released their second album "Giro di valzer per domani". The line up, along with founder members Furio Chirico (drums), Beppe Crovella (keyboards, piano, mellotron, Hammond), Gigi Venegoni (guitar), Giovanni Vigliar (violin, percussion, vocals), Marco Gallesi (bass) and Arturo Vitale (sax, clarinet, vibraphone), features a new member, vocalist Gianfranco Gaza, coming out from another band from Turin, Procession but despite the presence of a lead singer the weight of instrumental tracks prevails on committed lyrics and vocal parts. The music is in the same vein of the previous album, delivering an original and perfectly balanced twining of jazz, rock, classical music and folk.

The opener "Valzer per domani" (Waltz for tomorrow) is light and joyful instrumental. Furio Chirico's drumming is brilliant while the melodic lines played by the violin seem to bring some gusts of optimism.

" Mirafiori" is more complex. It begins softly with delicate melodic lines, then rhythm takes off backing a following frenzy violin solo. Changes of rhythm and frenetic solos seem to depict a very busy place... Mirafiori is the name of the Turin district where lies the most important car factory in Italy, Fiat Mirafiori, a symbol of the industrialization of the whole country.

On "Saper sentire" (Knowing how to feel) you can listen for the first time on this album to Gianfranco Gaza's voice. It's a nervous and introspective track inviting you to avoid the venomous spells of consumerism and to trust your feelings... "Why are you crying if I'm here with you? / If you'll look for me / You will find me inside you... Just a few people know what is a man by now / Bur there are many persons who can easily feel it.".

"Nove lune prima" (Nine moons before), "Mescal", "Mescalero" and "Nove lune dopo" (Nine moons after) are closely linked together and form an exciting instrumental suite featuring sudden changes of mood and rhythm. The titles could suggest a spaghetti western setting, featuring Indians and cow boys and the cavalry charging... Well the music here is very different from an Ennio Morricone's soundtrack but the band showcase great personality and musicianship, so you can imagine what you prefer while listening to this wonderful flow of notes!

"Dimensione Terra" (Dimension Earth) is a short instrumental featuring a tense drumming and catchy sax patterns that leads to the committed "Aria pesante" (Heavy air) where desire to change the world and rage shape a dreamy atmosphere turning into a nightmare... "Yesterday you were dreaming to set the city on fire and hang all the inhabitants / Today you wake up and, you know / It's sad when you realize that you have no fire and that they have put a rope around your neck...". The heavy air of the years of lead!

Three short instrumentals follow, forming an evocative and dreamy suite, the ethereal and nocturnal "Consapevolezza parte 1" (Awareness part 1), the joyful and wild "Sagra" (Feast) and "Consapevolezza parte 2" (Awareness part 2), a short reprise of part one.

The bitter-sweet "Rinuncia" (Renouncement), is piece about the generation gap that is structured as a dialog between parents and son. It features on vocals Eugenio Finardi (although not credited) who in 1975 released his debut album for Cramps Records, the same label as Arti & Mestieri and Area. "They dreams born some years ago are now like trees broken down by the weather / Time slipped out from us and by now we are not children but fathers...".

Next comes "Marilyn" an instrumental that begins with a delicate piano pattern, then sax and drums contribute to stir the flow of music. The last tack "Terminal" is another excellent short instrumental where violin and vibraphone perfectly interact with the other instruments. On the whole an excellent album...

Report this review (#293124)
Posted Monday, August 2, 2010 | Review Permalink
4 stars While many consider Arti's first album Tilt to be their best album and one of the most important fusion albums to come from Italy, I personally consider Giro di Valzer as at least an equal to their debut. Granted, it's not as innovative as Tilt but I think that this album shows more maturity in composition and less tendency to improvise and experiment (not that that's always a bad thing).

There's definitely a sense that some of the fusion elements aren't as potent as on the first album. Beppe Crovella comes to the fore more here and uses instruments that aren't typical of fusion, like mellotron and harpsichord (not mentioned in the liner notes but it appears quite prominently). But the main difference is in terms of the songwriting and the melodies. Some of the melodies definitely have a more symphonic feel to them and I would guess that this is mainly due to Crovella's contribution. Don't get me wrong, the prevailing elements are still those of jazz-rock. The electric piano is still the main keyboard instrument, as was the case with most fusion bands of the time and the saxes, violins, vibraphones and other percussive instruments still speak in the voice of fusion but every now and then the violin seems keen to play something resembling classical music rather than jazz.

The main composer is probably still Gigi Venegoni, whose sometimes blazing and sometimes passionate and emotional guitar playing is the basis for many Arti melodies. Furio Chirico is still a dynamo of a drummer. He seems to be the engine that drives this band. He seems to be a relentless source of energy. Some passages that he plays are simply beyond belief; he plays them at such a tremendous speed and with such technical proficiency.

The main problem still remains the vocals. Although they recruited a singer for this album, he doesn't really perform his duties with very much critical acclaim. The vocals on Tilt were just as good (or maybe just as bad?), so there was really no need to recruit a new singer. But fortunately not many songs have vocals on them. I will however admit to liking the vocals on Rinuncia with the contrast between the tenor and bass voices.

This is definitely an album that is at least an equal to Tilt and deserves to be acknowledged as an excellent work of art. 8.5 out of 10.

Report this review (#337078)
Posted Sunday, November 28, 2010 | Review Permalink
3 stars A decent fusion album which leans a bit more towards traditional jazz than Tilt, its predecessor, Giro di Valzer per Domani still shows a strong Mahavishnu Orchestra influence and proves to be a competent and capably played album in that particular fusion style. Whilst it is enjoyable, whenever I listen to it I keep finding my mind being drawn back to Tilt, which is significantly faster and more furious than this piece - whilst on their previous album Arti e Mestieri roared to the front of the pack, this time around they're scrambling to keep up. Three stars, but a well- earned three.
Report this review (#544337)
Posted Thursday, October 6, 2011 | Review Permalink
Andrea Cortese
Honorary Collaborator
3 stars This is a more mature work than the band's debut "Tilt" and it is certainly an album difficult to avoid. Notwithstanding I think it is not a the level of their first number which is still my personal favourite.

Music is impressive and the skills of the musician unquestionable but that peculiar sypmhonic attidute has (incomprehensibly) gone. Where are the majestic mellotron's atmospheres?

They play professionally and blend the technical perfection of MAHAVISHNU with mathematical knots of GENTLE GIANT and touches of mediterranean folk. Drumming is astonishing as always.

Sadly enough, this album never really grabbed my full attention. Excellent, but a bit too soft and a bit too unchallanging without those memorable symphonic effects of the famous precedessor.

Report this review (#645596)
Posted Sunday, March 4, 2012 | Review Permalink
4 stars The sound has not changed much in comparison to the previous album but it is slightly less raw and vocals prevent from getting much focus on instrumental prowess. Arguably there is less space for brass instrument and more vocalized sections. Drums are usually more aggressive and fast then on the debut album which might attrack additional listeners.

"Valzer per domani" is an elegant waltz with violin and plenty of drum variety. "Mifafori" reveals the devilish fusion speed behind the drums unmatched by most other fusion acts.

This part reminds of Mahavishnu Orchestra also because of aggressive guitar and violin duel. The third track "Saper sentire" is a modernized track with funky keyboards and plenty of good vocals.

"Mescal" is very close to Mahavishnu Orchestra sound especially where violin dominates. Excellent furious drumming is evident here, too. This is a high quality track with many changes in its 5 minutes. Nice organ and piano contributions are in the short "Nove lune dopo". "Dimensione terra" has a great Canterbury feeling and reveals an optimistic feeling.

The tenth with the long name finally features a typical light fusion guitar a la Larry Coryell and drums are kept less dominant.

The most expressive drumming monemt comes with "Sagra" with drums running around at wild pace are contrast to normal paced piano and keyboards. "Rinuncia" is more reminiscent of typical Italian progressive rock and less of fusion. "Marilyn" has asynchronous drums with clavinet/spinet and synth layers. "Terminal" goes again back to a reference manual by Mahavishnu Orchestra.

Report this review (#2271286)
Posted Saturday, October 19, 2019 | Review Permalink

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