...DI TERRA

One of the best combinations of rock band and orchestra you will ever hear. Very symphonic in its development of themes and beautifully recorded. Not really typical of Banco because there are no vocals so I wouldn't recommend starting with this album, but once you've tried some of the others make sure you don't miss this masterpiece.

This is the most underrated album by BANCO DEL MUTUO SOCCORSO, it is an instrumental album all along its duration. Nevertheless there is such a great array of themes and harmonic solutions as well, making this album well worth checking out!! Gianni Nocenzi at the piano is fantastic, both during his jazz progressive excursions and by performing unforgettable symphonic pieces in the vein of such 20th century classical music. It is a sort of meeting between the stunning performances by Keith EMERSON and the creativity regarding the style of Frank ZAPPA within the progressive jazz field, but with a touch of their own, typical of the present Italian progressive ensemble. Anyway at last nothing sounds derivative; in fact- unlike some other bands such as ACQUA FRAGILE or LOCANDA DELLE FATE- which made splendid albums and totally inspired by the Italian masters of progressive music,B.M.S gave a personal imprinting... well it means a great reference, because they are considered as the most original among these masters!! Highly recommended!!

BANCO's modern instruments meld well with the classical orchestra on this modern classical (!) work. Picture yourself in a concert hall listening to 42 minutes of often laid-back orchestral pieces fused with synthesizer, organ, piano, electric piano, electric guitar, bass, saxaphone and trumpet. But don't get me wrong, some snippets display the usual frenetic BANCO style of music.

At times the music feels very classical, at others jazzy and other times pure electronic. Several of the pieces have stretches of repetitive note sequences and are a bit unimaginative in my opinion, but overall the music is good and, at times, very good (I particularly like 'Non Senza Dolore'). Some snippets remind me of an actual classical work or works but I can't put my finger on it - maybe it's Rimsky-Korsakov's Sheherazade. There is, though, still a recognisable BANCO style to the music, even if Francesco Di Giacomo isn't belting out his vocals on this instrumental album.

If you like classical orchestral music, jazz and symphonic rock then you should enjoy this album very much (preferably sitting in a comfortable armchair with a glass of Shiraz!).

This is the only album that I have listened from BANCO, and I agree with previous reviewers: this is one of the best combinations of Rock with Jazz and Classical music styles. This album is one of those albums which sound to me like "musical journeys". I prefer the "side two" of the L.P. (tracks 5, 6 and 7 in the C.D.). Track 7 ("Né più di un Albero non meno di una Stella") is a musical piece where the jazz rock influences are more clear. Track 6 (" Nei Suoni e Nei Silenzi ") is played mainly by the orchestra, and track 7 ("Di Terra") has a very good, very "Classical music" arrangement, with an excellent piano. From start to finish, this album is very enjoyable. But I was surprised when I saw in one T.V. broadcast (I think that it was one of the San Remo song festivals, in 1985) Banco playing and singing a very pop song as guests of the festival. As other prog bands of the 70s, this band also had their "pop years". But this "Di Terra" album is very good.

4.25 stars This is a masterpeice of classical/rock/prog fusion and shouldn't be missed. The many mood swings and changes of pace will keep any music fan interested throughout the 42 minutes. The album feels like one long track and is completely instrumental so its easy to get into, no filler here! I would totally recommend this cd and consider it to be a 70s gem. Pick it up, trust me!

I aquired three Banco albums together:this,Darwin! and Garofanno Rosso. Having been a tad disappointed with the other two,I came to this late.Big mistake-this album is a wonderful,mixture of Prog,Jazz, Classical and Electronica. Totally instrumental it is a joyous exaltation of 70's Prog Rock pomposity.There are hints of Miles Davis,Gershwin,Beethoven and Rachmaninov with "Di Terra" the final track being the strongest example of what I am alluding to. Standout tracks:Nel Cielo e Nelle Altre cose Mute (builds up beautifully-faint hint of Bolero lurking in the background?),Di Terra and Né più di un Albero non meno di una Stella ,a terrific jazz-rock workout.Highly recommended for those who like something a little different but without being too avante-garde.3 1/2 stars.

Every now and then BANCO would give us an all-instrumental album. They did that back in 1976 with Garofano Rosso, which is said to be a film soundtrack. Once again, they did that for "...Di Terra", except this isn't a film soundtrack. 1978 is often thought of as the year of punk and new wave, but it seemed that BANCO was still impervious to the changes of the time. Since they always had a strong classical feel to their music, it'll be only a matter of time before they did a rock band with orchestra concept like the MOODY BLUES' "Days of Future Passed", DEEP PURPLE's Concerto for Group and Orchestra, PROCOL HARUM's Live with the Edmunton Symphony Orchestra, and of course several Italian prog albums, amongst them NEW TROLLS's" Concerto Grosso Per 1", OSANNA's "Milano Calibro 9" and RDM's "Contaminazione". It's only natural they upped the classical influences. Vocalist Francesco di Giacomo obviously sat this one out, and if you never been too fond of his singing (he certainly is an acquired taste), you won't have to deal with that here, as "...Di Terra" is a purely instrumental album. The duo keyboards of the Nocenzi brothers (Vittorio and Gianni) are still quite recognizable. The music is often accompanied by an orchestra which can give it a dramatic feel. Some of the music tended to be on the experimental side, while others flirt with jazz. What's most interesting is some of the passages bear more than a striking resemblance to Mike OLDFIELD, especially the fuzz lead guitar that's obviously in the OLDFIELD style, this isn't what you generally hear on a BANCO album. It's a nice album to have, unfortunately, from my understanding, their following albums followed a more mainstream and commercial direction (too typical of prog bands at the end of the '70s and though the '80s).

Another great album by Banco del Mutuo Soccorso. The italian style of progressive is all in this work, also the style that has characterized Banco's job until today (1978). The result is beautiful a album, completely of instrumental parts that go from the prog to the classic one to the jazz music. For me that I am a musician, the rating is 4,5 stars, because is really an addition that ani prog evaluator must be. Highly recommended.

Jarring, to say the least. Banco without the VOICE, is like a banana split without the banana. A brass dominated, orchestrated album that has hints of the magic of Banco sprinkled here and there. In fact, if you played this without knowing who it was I would bet you would never guess it was Banco. I'll give them credit for trying something different, and there are some nice guitar and keyboeard work by the band, but the brass/orchestra overwhelms them. There is, however, a very nice melody theme that starts out the album, comes back again briefly on track 5, "Ne' Piu' Di Un Albero Non Meno Di Una Stella" which is the one song that gives you any hints that its Banco playing, and the theme again shows up on the final track, "Di Terra" rather beautifully on guitar and then piano. Overall, it's a good album and I miss Francesco's voice, but I would stick with the early albums and leave this one for last, if need be. 3 solid stars for trying!

This album is part of the Banco unexplored territory. I have been at Banco concerts for many years, let me say, more than 10 times, and I have always wondered what was that fantastic atmosphere given by the introduction music. I simply didn't know that was this album. Soft, melodic, great keyboard work from Gianni and Vittorio Nocenzi, and the news represented by the symphonic orchestra. In any case, all Banco operas deserve the maximum. A bit missing Francesco Di Giacomo voice... coming soon...

This one goes with no vocals - without best vocalist in progressive music - without great Francesco Di Giacomo. So one would expect somethig less impressive, less beautiful. But NO, - even without vocals Banco managed to produce another masterpiece. "...di Terra" is closer to classical music and slightly reminds me from time to time The Enid, but is better than Enid. Music is rich, complex and beautiful, arrangements are superb - definitely a masterpiece. Indispensable!!!

Album released in 1978 "Di Terra". Instrumental album that co-stars with orchestra. It is a performance with the tension feeling. The band that has the strongest vocalist is a different work. However, peculiar music and the performance have been enhanced. It is a masterpiece. I recommends it for the fan of AFTER CRYING.

Warning: No vocals on this album. Is it a problem? NO! This album has some of the most beautiful music I have heard in ages! It also has an orchestral accompaniement which makes it kinf of... classical, but in a good way. 1. Nel cielo... after the intro we first hear the "main theme" of the album with the cellos providing the background and the trumpets humming the theme. Then the theme is repeated, gradually adding more and more instruments including timpanis and horns; until a trumpet section interrumpts this beautiful cycle, by shouting a melody à la Planets by Holst to calm everything down. This is beatiful music treated with the post romantic classical style reminiscent of Holst and Ravel. After hearing this album maybe 4 or 5 times I kept humming the main theme all the time, when I go to sleep; when I wake up, all day long etc... 5/5 2. Terramadre. This starts with a frenzied piano sequence and drum beat that reminds me of Keith Emerson . The theme is jazzy and is played by a trumpet. After a quiet interlude played by the piano and the trumpet, the frenzy starts again but this time with additional piano soloing with the trumpet. 5/5 3. Non senza dolore. A calmer number, with cellos providing the background in 7/4 and the saxophone playing the main theme. This is interrumpted by an "oriental" section with ethnic drums and chinese instruments, adding an exotic taste to the whole experience and this section leads straight into the following number.... 5/5 4. Io Vivo. This is definitely inspired by Stravinsky's Rite Of Spring . It starts with a chaotic cello/timpani/trumpet fight then proceeds into a calmer sequence with the piano providing a nervous background and some rock instruments playing shyly at a distance, then the rock instruments and the orchestra play together or intermittently agressive then calmer sections until a distant piano sequence warns of the return of the main "fight", which is layered under a ...guitar solo! followed by the orchestra. Beautiful arrangements and a perfect marriage of rock instruments and orchestra. 5/5 5. Ne piu di un albero... starts with brilliant piano work à la Emerson circa first ELP album, then.... the main album theme of the first number is played by a shy synth, as if asking for a permission to the nervous piano, then some more daring instruments come into the picture, all trying to tease the piano sequence, by playing different themes, then going back to the main album theme. It is a beatiful variation on the main theme of the first song, tackeled in a different way. Then the whole thing is interrupted by a rock pattern providing a rhythm for a jazzy flute. This becomes more like Zappa's orchestral themes from "Orchestral favourites".5/5 6. Nei suoni e nei silenzi. Some beatiful synth solos layered over a heart-beat provided by drums, with the orchestra providing accompaniement. 5/5 7. Di Terra. Last song. Starts with a frenzied celli playing the background for other instruments. This reminds me of King Crimson's "Lark's Tongues Part 1" for some reason. Then the rock drums enter and we are treated to a full blown theme played à la Waka/Jawaka by Zappa. And then...... Everything is stopped by the cello re-playing the background of the main album theme, and yes, here it comes again, the main theme, played by an electric guitar!. Yes, it's another variation on the main theme but this time played with confidence, then all instruments die to give way to lonely piano putting the final (beautiful" touches on this superb album. And by doing so it plays also the main theme, but this time as if to say... goodnight. Then it's over 5/5 Sorry it was so long but I think this album is a masterpiece of very cleverly crafted music, beautiful melodies, a sharp sense of drama, contrast in moods, change in time signatures, and perfect marriage between orchestra and rock band that no other band had succeeded in doing before. It has rock, it has classical, it has Zappa, Emerson, Holst, Ravel, Stravinsky. PERFECT PROG ALBUM. If I can give it 6 stars I wouldn't hesitate.

"Di Terra" is one of the best rock band/orchestra collaborations I've heard so far - although not because it's really good but because most of it's competition is quite bad. The album was conceived towards the end of BMS' career as a prog act, by which time bandleader and main composer Vittorio Nocenzi had nearly exhausted his supply of excellent compositions of the type found on Banco's early albums. Nevertheless, Di Terra is an experiment worth hearing and a welcome addition to Banco's varied discography.

The orchestra dominates most of the album, thus bringing it considerably closer to the classical genre than rock. The most prominently featured Banco member here is Gianni Nocenzi, whose skillful piano contributions range from quirky dissonance to sweet romanticism. Percussion also figures prominently, providing tight, rhythmic work and dynamics. The other members are less active still, although they all chip in occasionally (except Francesco Di Giacomo, who does not participate in this all-instrumental affair). The compositions are generally quite accessible, and most of the album has a relaxed, laid-back vibe - although it's best moments come from the more intense tracks, most notably "Io Vivo" and the title cut. The former appears to be influenced considerably by the 20th century stuff - the bombastic string section brings to mind parts from "The Rite of Spring", while Gianni Nocenzi even serves up a cool atonal interlude; and the latter offers a whole lot of memorable moments, from the glorious build-up in the intro to the Chopin-esque piano that concludes the album.

Unfortunately, the rest of the material is mostly quite dull, and some of the tracks can be dismissed as filler. The album also suffers from unnecessary repetition of many unremarkable themes: it can get quite annoying when the same motif pops up several times throughout the record.

Still, "Di Terra" leaves a generally positive impression, especially since one frequently has to fear the worst from this sort of experiments. Do not expect a masterpiece, but be sure to check it out if you feel inclined to do so.

Overal impression- This is my first run in with this band. The album is a great instrumental mix of jazz, symphonic classical orchestra (the dominant element), with ambient prog elements. If you are into instrumental prog of this description this is right up your ally. I really enjoy this album for the dynamic tracks which shift from moody frantic paces to ambient/atmospheric music. This is definitely heavilly classical and vocalless so be warned.

Track 1: Nel Cielo...: Very classical track, not much rock going here but a very nice relaxed overture sounding type piece.

Track 2: Starts off souding jazzy with nice piano runs and horns. The horn style reminds me of bitches brew miles davis. Overall a very nice, dynamic jazz track.

Non Senza Dolore- Some nice floating (mellotron?) with saxophones playing starts this track. It has a very moody feel with a tense violen along with some synth runs. Saxophone really shines on this track. The more ambient sections in this song are very well constructed.

4- Powerful syphonic piece with touches of jazz again. Another very moody song with piano arpreggios reminiscent of track 2 (I think they are the same ones actually).The electric guitar makes its first appearance on this track with some nice clean soloing. Overall classically dominated piece.

5- Beautiful piano intro, begins with a very classical feel then shifts into a pretty cool jazz rock song.

6- Boring at times but again the dynamics interest in particular the shift to the synth part at the end.

7-This song sounds almost like a rip of Lark Tounges in Aspic pt 1 in the beginning but takes its own characeter pretty quickly. Blazing drum lines, up front brass playing, some quick piano lines... very nice track.

For me "...Di Terra" is doubtfully the best album of Banco ever (the second position has seemingly Garofano Rosso)! Fortunately this one is instrumental (without vocals) and in addition to this fact collaboration with orchestra. Personally I have heard very few so good records where band performs with orchestra. This record has some conceptually continuing main themes but has no problem in listening therefore. The conductor of the orchestra is band's keyboard player Vittorio Nocenzi himself. I think I haven't my favourite theme on this record because its wholeness. Beautiful experience!

Why this one is not more often mentioned when it comes to the perfect prog/classical mix? I discovered Di Terra on vinyl twenty-five years ago, then had my cd version around the turn of the century, and yet it kept the same appeal. Symphonic for sure, jazzy at time with the piano licks of the Nocenzi's and a trumpet for good measure, always melodic and elegant even in the few dissonant passages, this all instrumental album allows each piece to take its flight, from quiet to energetic, bridging most of them altogether. Main classical influences go from Ravel to the russian composers of tne twentieth century but, as rock idiom is concerned, totally original. Far less derivative than Renaissance magnum opus "Scheherazade..." and less pretentious than any Emerson Lake and Palmer, this remains for me the ultimate one in that domain. For that, nothing less than the high five!

A quite nice, fine album from Banco del Mutuo Soccorso. The style is very symphonic with orchestration, sometimes jazzy and there are no vocals at all. The first track "Nel Cielo e Nelle Altre Cose Mute" is very peaceful, almost classical music. "Terramadre" is very jazzy in style of jazz fusion.

The fourth track "Io vivo" rocks most. Things calm down with "Ne' Piu' di un Albero non Meno di Una Stella", this track has some very nice flute playing, reminding a bit of Jethro Tull. "Di Terra" closes the album with a very majestical manner with similar themes as in the start of the album.

Overall this is an excellent album. There is not very much headbanging rock here, so it's not for your hard rock party. Instead it is for a nice evening with candle light.

"Banco" already released a full instrumental album. "Garofano Ross". But it was a soundtrack and could hardly be compared with this effort. I am really a fan of Francesco fantastic vocals and I have major problems to listen to a full instrumental "Banco".

If this was not enough, an orchestra is playing with the band during most of the tracks. I have NEVER been a fan of this mix of genre. My adventure with such effort started in 1972 when I was offered the orchestra "work" from Purple. I have not been able to enter into it. Later on BJH, Tull, Yes etc. will also share an "experience" with an orchestra. For me, it will always be the same boring feeling. Third and not least, this is album is also rather jazzy-oriented.

These are a mix of three ingredients that I can hardly stand. I just hope that "Banco" did enjoy their experience, because I couldn't. The exercise of trying to get into album was extremely painful. Very little good stuff available. What happened to "Banco". I could have been compliant with "Garofano" but with "...Di Tierra", there is absolutely no reason to do so.

There are extremely few good moments in here. Some aerial seconds during the second part of "Non Senza Dolore", maybe. But when you listen to "Io Vivo", this is just classical music. It does not really belong here (nor to "Banco" repertoire). Poor and hard to digest : this song goes nowhere (only some nice flute breaks saves this song from total disaster). Help !!!

"Ne Piu Di Un Albero Non Meno Di Una Stella" is the best that one will get. Nice piano intro combined with good and light guitar work. The whole of this song is very much piano oriented. Eight minutes of good music. that's not an awfull lot, right ? To be honest, the closing number is very melodic and beautiful.

"Banco" has never been a real fave of mine, but this album holds so little of their characteristics that I can unfortunately only use the one star rating for this "effort".

Banco with a symphonic orchestra and without singing.

Why not? Nocenzi brothers are two great keybordists and, in theory, it could be interesting.

The main problem is : a very poor writing ... Second problem : orchestra sounds fat...

Banco released mainy great LPs during the seventies. Di Terra is an terrible mistake in their very honorable career.

OK, I know this album generates controversy. I agree (Is it Prog ?). Well .. it is music. Music that you won't find to often since it is an almost classical composition. Like the Moody Blues, Procol Harum and some more, BANCO has also made a true Orchestra Album. And for me it is the best ever made. I have just ordered the CD since my VINYL record is starting to crack. After almost 30 years my LP has become more of a collectors item. The striking thing about their music is that it wil never get bored.

So, I am proud to reward di Terra with my first 5-star ranking, since this is my second review after joining ProgArchives.

I would really like to give 5 starts to this album but, by reading some negative reviews here, I understood that this record is not for everyone: personally, I dound myself listening at this magnificent rock symphony in a sort of hypnotical state each time.

Once I've heard Francesco di Giacomo saying that this is their best effort; I know he was sort of self-ironical about it since he is the singer and the disc is instrumental, but I believe he was at least a bit serious about it; after all, Francesco's touch is still present in the album because the names of the movements are actually beautiful verses of a poem of his.

I highly recommend this to people looking for an almost perfect fusion between contemporary orchestral music and progressive rock at his best: the cosmic atmosphere you can breathe during the listening is in my opinion simply splendid, and really puts you into the center of a cosmic piece of art.

If you're not a fan of Banco's vocalist Francesco Mr. Chubbs DiGiacomo, then this is the album for you. Banco's DI TERRA is entirely instrumental. I can't really comment on individual tracks since the whole thing flows together and is best taken in one sitting. DI TERRA, to my ears is one of the finest examples of fusing orchestral music with rock and jazz(the others being Jade Warrior's WAY OF THE SUN and Caravan's CARAVAN AND THE NEW SYMPHONIA). To my ears, this is what Ottorino Respighi might sound like if he'd formed a rock band. Again, DI TERRA must be listened to in one sitting to fully appreciate its sublime beauty. Definitely a desert island disc and nothing short of a prog.rock masterpiece. If you're a fan of Banco's vocalist Francesco Mr. Chubbs DiGiacomo, you'll be disappointed(he doesn't appear here at all). Perhaps this is why the album is under the band name of _BANCO_ instead of the full BANCO DEL MUTUO SOCCORSO.

This is an album I have put off buying for a couple of reasons. First of all Fransesco one of my favourite vocalists isn't even singing on it, and second of all there is a full blown orchestra on board. I'm not totally against orchestral music but i've been disappointed so many times with the combination of Progressive Rock and orchestral that I didn't even want to bother. Big mistake ! "...Di Terra" has completely captivated me with the dual keyboard work of the Nocenzi brothers and the tasteful orchestral music. We get Jazz, Chamber rock and Symphonic, reminding me at times of UNIVERS ZERO, Miles Davis and many others. I'm so impressed with this album ! As others have said this really is one long piece of music.

"Nel Cielo E Nelle Altre Cose Mute" opens with some atmosphere before strings and horns come in tastefully. It starts to build to a great sound 3 1/2 minutes in before settling back down to the end. "Terramadre" is where the piano play comes to the fore as trumpet plays over top. Fantastic sound ! It settles before 2 minutes but then kicks back in. I can't help but think of Miles. It blends into "Non Senza Dolore" where it starts off in a haunting way with choir-like sounds as horns and organ play along. It then turns very atmospheric as a melody builds. This has to be heard to be appreciated. A change 3 1/2 minutes in as timpani and flutes take over as well as other sounds. "Io Vivo" is very orchestral with the strings and wind instruments to start. A change before 2 minutes as piano starts to lead the way. A calm 3 1/2 minutes in and I love the atmosphere here, it sounds like chamber music. Kicks back in at 5 1/2 minutes with guitar. Nice. Another calm 7 minutes in to the end.

"Ne Piu Di Un Albero Non Meno Di Una Stella" opens with some gorgeous piano melodies until we get a change before 4 minutes as drums and flute take over. Sax before 6 1/2 minutes and horns lead the way after 7 minutes to the end. "Nei Suoni E Nei Siunzi" is pretty restrained early but then it starts to build as the sound gets fuller. It becomes eerie sounding 4 1/2 minutes in, very UNIVERS ZERO-like with the dark piano melodies. Some dissonance late to end it. "Di Terra" builds to an incredible sound 1 1/2 minutes in. Then horns come blasting in. So much going on a minute later. It settles 3 1/2 minutes in with lots of piano.

This is a unique album in BANCO's catologue and one I treasure. It's one of those albums that gives me joy just listening to the collage of sounds and the way they all work perfectly with each other.

This album is quite the surprise. Just like most other fans I believe the vocals to be Banco's main asset, so I was obviously skeptic towards an instrumental album, an orchestral instrumental album to be precise, which alerted me even more as there are so few rock albums that integrate a symphonic orchestra successfully. On top, it is an album from 1978, a year better avoided when it comes to prog.

But Banco took the occasion to step outside of their comfort zone and created an album that would be a perfect fit in your RIO collection, right next to Art Zoyd and Univers Zero. There are even some touches of free jazz, Stravinsky rhythms, and on Io Vivo a hint of Mussorgsky. Apart from the occasional ELP-dash over the pianos there isn't much symphonic about this album. But the inspiration and creativity you expect from Banco is there, right along with dynamic and passionate performances.

Italy seems to have quite a few bands that managed to marry rock and symphonic orchestras. I already knew about Il Paese Dei Ballochi and Quella Vecchia Locanta, but now I can sure add Banco to that list of bands. Banco gracefully avoid the kitsch factor and the orchestral bombast that this sort of experiment so often leads to. So if you are in the mood for a top-quality RIO album that puts emotion and memorable compositions before experimentation then you should sure check this one out. 3.5 stars

With seven studio albums on their back (two of them in English),Banco del Mutuo Soccorso were ready to push their skills a bit further.For the second time Francesco Di Giacomo and his splendid voice get out of the picture and the band collaborates with the Orchestra dell'Unione Musiciti di Roma for their next effort ''...di terra'',released in 1978 on Ricordi,the first album since ''Io sono nato libero'' again on this label.

With the help also of Alan King on saxes and flute,this whole instrumental journey is a true obscure experiment for the entire Italian Prog/Rock scene.While ''Nel cielo e nelle altre cose mute'' sets the listener in the mood for pieces of Classical Music,''Terramadre'' and ''Non senza dolore'' finds the band battling through complex KING CRIMSON-esque jazzy patterns with the orchestra,later to add experimental synth work in the mix.''Non senza dolore'' contains also strong elements from Eastern-Music.The long ''Io vivo'' is an alternating piece between Symphonic Music and rock experimentation with complicated piano and dissonant rock structures.Another long track ''Né più di un albero non meno di una Stella'' starts off as a romantic symphonic piece to end up as a groovy number with fusion-esque elements on both keyboards and guitars.''Nei suoni e nei silenzi'' will much soften things down,a weird combination of electronics and symphonic music with a soft jazzy mood.The closing self-titled track is again somekind of grandiose soundtrack music with stand-out work on guitars by Rodolfo Maltese and complex keys by Vittorio Nocenzi.

Believe me,this is one of the most challenging and complex works of Italian prog and Banco del Mutuo Soccorso already left traces of this work in the past for all the experienced futurologists of art/prog music.The feeling are a bit mixed up,parts of the album show the greatness and talent of these musicians,while others are too excessive to be followed by the average listener.The album yet deserves a recommendation not only for the good quality,but also for the band's nerve to release such an ambitious work around the time of commercial music's growing heydays.

I've always been rather suspicious of albums where prog bands try to play alongside orchestras, mainly because I think very, very few bands are able to tastefully incorporate the orchestra into their sound without diluting the impact of either band or orchestra - and that in worst-case scenarios the orchestra ends up overshadowing the band entirely.

To my ears, that's the case on ...di Terra, the second all-instrumental album from Banco del Mutuo Soccorso after Garofano Rosso, which I consider to be rather more successful. Rather than providing additional texture to the band's compositions, the orchestra all too often carry the tune entirely - and the tunes in question are markedly inferior to Banco's earlier work. Whilst Garofano Rosso was composed as a TV soundtrack, ...di Terra sounds like one - and a markedly inferior one at that. Simplistic, lifeless, and shallow, mistaking orchestral pomp for artistic merit, this album is on of Banco's most inessential works of the 1970s.

More like musical broccoli than tomato, good for you, not so tasty

By 1978 the legendary RPI kings Banco were flaming out like many of the classic era bands. It wasn't quite over yet but certainly the wild and the grandiose prog rock of a few years prior was gone. Orme were likewise coasting on fumes in that regard though they had one in the tank called 'Florian' of similar experimental ambition. 'di terra' is not a horrible album and in fact it is quite interesting and of the quality one would expect from this band. It is, however, quite different. Gone are the fabulous vocals and the sound of Darwin. In its place is an album that feels like a soundtrack, an experimental merging of jazz and classical instrumentals, and an album that to me feels like they were influenced by Area but wanted to run it through the prism of orchestral sound. One gentleman compared it to Univers Zero, but even better. Of course the performances are completely exquisite, with wonderful strings and great piano sections, with a bit of soft atmosphere in one corner and some restrained but solid rhythm in the other. Certain sections are very effective in being quite lovely and thought provoking, but it is a very dry experience for me. The truth of the matter is that after a ton of plays I have no attachment whatsoever to 'di terra.' I never long to play it. It's Banco and I respect these guys a lot but this is a cerebral album that brings me very little joy. And I'm getting a bit long in the tooth for purely cerebral musical experiences. If it isn't fun or moving to me in some way, I'd rather be listening to something else. Paese dei Balocchi is an example of a similar kind of music does seem more palatable. That said, if you enjoy very challenging music a bit on the dry side, this may be a masterpiece for you.

I understand that Banco Del Mutuo Soccorso was involved with some movies soundtrack. And I understand that soundtracks very often are just background for the images. But for Banco Del Mutuo Soccorso? No, it doesn't work.

But wait, I'm not saying that this album is bad, on the contrary, is brilliant! But this Italian band is known by the great Symphonic music and the great and impacting vocals of Francesco DiGiacomo.

And where's Francesco vocals? In fact, where's he at all? It's really hard to understand. If the vocals were in it would be a 5, easy.

Very, very weird cover by the way.

Banco del Mutuo Soccorso are a defining Italian progressive band from the early Seventies, with their first three albums (at least) being absolute classics of the R.P.I field, as well as hugely daring and adventurous works. They were a combination of very talented musicians and the grand bellowing near-operatic croon of Francesco Di Giacomo, however, from time to time, the band would deliver a purely instrumental album (the previous one being the soundtrack work `Garofano Rosso'), and this resulted in 1978's `...Di Terra'. A real one-off that sounds like no-other album they ever delivered, the group were joined by an orchestra here, and despite Italian bands working with orchestration not being an especially new idea (the New Troll's `Concerto Grosso' series instantly comes to mind), here the two forces gelled together and complimented each-other successfully with frequently very experimental and exciting results, with plenty of welcome darker and edgier moments as well.

Banco make an impossibly grand statement of intent right from the start with the purely orchestral overture `Nil Cielo...'. Faraway piano and eerie orchestration quickly turns reflective, then gradually grows in triumph as if sound-tracking the sun rising and announcing a new day. `Terramdare' brings relentless maddening drumming, clanging metallic percussion and maniacal piano that sounds like a cross between `Ummagumma'- era Rick Wright from Pink Floyd and the schizophrenic sci-fi jazz of Vangelis' `Hypothesis' which spirals in circles around droning bombastic horns, chasing bass and disorientating synth effects. Despite opening with more whiplash percussion and moments of chest beating Moog fanfares that sound like a call-to-arms, `Non Senza Dolore' offers groaning vocal drones that stretch into infinity and almost ambient stirring respites. The violin slices, grumbling bass and repulsive malevolent piano of `Io Vivo' bring spastic eruptions of violence, insane hostility and stalking tension, strangely in a similar fashion that bands like Present and Dün would deliver!

Gorgeous solo piano dazzles away throughout `Né Più' to open the second side alongside wavering pretty synths full of positivity and life, before the piece movies into slinking cool jazz/fusion grooves with electric piano, flute and saxophone, mostly leaving any orchestral pomp for the final minute. Chamber rock and Univers Zero-styled darkness consumes the gothic `Nei Suoni...'. Drifting electronics, a heartbeat pulse, tiny little Hammond organ ripples then gorgeous melodic bass bursts through over eerie violins and intimidating cinematic strings, with a very ice-cold chilling piano finale that descends into clawing tension. The closing title track lets a little light back in. Frantic and urgent for the first half, a very up-tempo beat drives chugging bass and strident acoustic guitar strums over thunderous orchestration before a powerful and uplifting final electric guitar solo...but those final piano notes tease a hint that more melancholy is never too far away...

Without question, `...Di Terra' is a hugely divisive album from this Italian band. Purists who cannot imagine the Banco band without the charismatic powerful voice of Francesco may be likely to dismiss it altogether, others may be put off by the knowledge of the band using an orchestra. But this is not some straight-forward rock band with syrupy cliched strings slapped over the top of their music, or lazy interpratation of a traditional classical piece. This is experimental rock music with avant-garde daring that offers plenty of edge, mystery and exciting darker flourishes, and is as far from the easy-listening dreck that rock and orchestra combinations usually present. It's a lively, thrilling, even occasionally uneasy atmospheric work, and it defiantly stands on it's own in the fascinating discography of Banco del Mutuo Soccorso.

Four and a half stars, rounded up to five.

It's with great pleasure that I declare ... di Terra one of the best albums I have ever had.

Normally, I am not a huge fan of RPI; I used to have half a dozen to a dozen albums by PRM, Banco, and a number of albums and/or bands whose names had a word 'Locanda' in them. Some were good, others were not so good. All in all, I thought I'd moved on.

And then came ... di Terra, which I somehow had been escaping my attention for a few decade. So praise me to the PA brethren who pointed in the .. di Terra direction.

There is absolutely nothing on this album that I do not like. I classify this kind of musical as contemporary classical, which can sound like nu jazz in one place, like fusion or jazz-rock in another, and even like a Debussy composition elsewhere on the album.

In the same category, I list Viljans Öga and the latest live album by Jaga Jazzist (with Britten Sinfonia), but .. di Terra, I think, is even better.

The musicianship is flawless, as expected. The compositions are tasteful, mature and complex, but without being too convoluted or lengthy to enjoy.

Special bonus for refraining from singing, although some folks will disagree with this postulate. An extra special bonus for the length of the album that is neither too short, nor too long.

Also importantly, the .. di Terra has passed the rigorous "car test" with flying colors, which means it sounds pretty good even in mildly "audiophob" circumstances of a moving budget compact :)

I can't say I quite get the album art, but this "offence" will not cost ... di Terra half a star :)

Recommended to all those who like the late 20 century's take on romantic classical and symphonic music.

It is clear that Banco Del Mutuo Soccorso made their masterpiece works with operatic front man, Francesco Di Giacomo. It was also clear that Garafano Rosso, the movie soundtrack that was the band's first instrumental work, was a tier below the rest of their 1970's discography. But the band's 1978 album, ...di Terra, easily holds its own among Banco's classics.

This instrumental does not just feature the band playing sans lyrics, it also includes the Orchestra del'Unione Musicisti di Roma. Quickly one can hear a vast departure from their early sound and style. It is not readily comprehensible what the band might sound like playing this composition without the orchestra. The fusing of the rock band and orchestrations is tight, a complete melding, creating a cohesiveness between the instruments that is so often missing in these type of projects, even with regard to the most highly acclaimed of these rock/orchestra collaborations. For instance, on Days of Future Past, the orchestra is used more as a transitional element. As seamless and natural as those transitions were, the combination was rarely simultaneous. With ...di Terra, that fusion is the rule, rather than the exception.

While the compositions are not overtly complex, they are deeply explorative. From the legato Nel Cielo E Nelle Altre Cose Mute; to the frantic, disharmonic staccato of Terramadre; to the grooving jazzy overtones of Nè Piú Di Un Albero Non Meno Di Una Stella; this album is not one that is void of challenge to the listener, yet never seems to waver in its themetic goal. While I am not aware of the exact circumstances, the theme of the project is actually centered around a poetic work of singer Francesco Di Giacomo. Perhaps I am reading to much into it, but it often appears that his presence is not missing. Is it that the band is making a conscious effort to convey this work in the essence of Di Giacomo's approach to music without his actual presence on the recording? To me, that is exactly what happens, right down to the closing resolution. And the only way that could happen was to approach the entire piece from a purely orchestral direction. The result is a compostion that is poetically nuanced, each movement carrying an almost conversational pace and tone. When translating the titles: "In Heaven And In Other Quiet Places", "Mother Earth", "Neither More Of A Tree, Nor Less Of A Star", while a large aspect of subjectivity certainly applies, the names are emblematic of the movements.

...di Terra is an outstanding work at a time that most classic prog acts were floundering. But still, it endures an amazing amount of criticism. And surely its understandable with 1978 being the year of Tormato and Love Beach. The competition was fierce! But all kidding aside, ...di Terra is an extremely beautiful album, ranking 3rd behind Io Sono Nato Libero and Darwin! as my favorite BMS albums. It was easily one of the best of a particularly weak year. 4 stars

A highly experimental and unexpected instrumental album coming out of nowhere at the end of the 70's when nobody expected it.

The mix between symphonic and rock instruments may sound tricky especially when some jazz-rock and avantgarde elements should be thrown in the pot. The first challenge is to keep dynamism between more static classical instruments and rocking instruments. Music ideas have to be compromised for both music directions. There are more modern synth instruments in the band's repertoire.

Some may find this release to pompous or risky; less focus on songwriting with melodies; instead putting ambition into fusing rock music with classical.

I give it 4 stars because although the execution is not always flawless, it was a bold idea and the album sounds inspired.

The album starts with "Nel Cielo E Nelle Altre Cose Mute" and from the beginning it can be inferred from the sound that this album will be influenced by "The Geese and the Ghost", an album that had been released the year before "...Di Terra". The trumpets and orchestra give a warm welcome. Typical orchestral intro piece and without any explosion, with some nice and entertaining riffs.

In "Terramadre" everything gets a bit more intense here. Electric piano and grand piano lead a dramatic song with unexpected hits from the wind instruments. Everything calms down a bit in the middle thanks to percussion and a Davisian trumpet, but the song ends dramatically anyway to introduce the third.

Then comes "Non Senza Dolore" Here the album starts to take colour! Very interesting orchestral start to the song. BMS captures incredible fusions together with them, and despite not reaching a great sound, manages to create an atmospheric space that catches with its multi-instrumentation. The style of the album keeps going the same way.

"Io Vivo" is the longest song on the album. The bass and the arrangements that sound in the background (mainly the first minutes) are the main responsible for the macabre and tense atmosphere that builds up as the orchestra plays its role neatly. This song demonstrates the versatility of the band and that despite the absence of Francesco Di Giacomo's beautiful new voice, the group has plenty of creativity and virtuosity to bring to the surface.

"Né Più Di Un Albero Non Meno Di Una Stella" has a piano-only opener that brings back memories of Renaissance and their early albums with Annie Haslam. A rather interesting transition is achieved for what the album aspires to. Halfway through the song the piano takes a back seat and the flute seizes its moment and glides sweetly through the humble instrumentation that accompanies it. The saxophone also has its little lapses of sensuality.

"Nei Suoni E Nei Silenzi" is practically more of the same with some flashes that give the song a little fun. Quite tedious. This is the moment where the album falls down.

And then we achieve "Di Terra", the closer. The orchestra again has a bit of fun to close the album in a way that doesn't upset the listener. Moments of breezy energy and Rodolfo Maltese's electric guitar and his brief plucking. Violins, pianos and other instruments come together to create a beautiful and thrilling ending (and at odds with how badly it was all ending). The most beautiful moment of the album is the final 2 minutes!

I expected more from this album, but here you can start to glimpse the downfall of BMS and their move to a more commercial and popular sound and less genuine and progressive.

Review #190

Progressive Rock and Orchestral Music get along really well most of the time; "...di terra" was the second fully instrumental record by Banco del Mutuo Soccorso. Unlike in "Garofano Rosso", Francesco Di Giacomo's absence wasn't a weak aspect, his absolutely majestic voice is not missed because no human voice is needed at all with these beautiful arrangements. The mixture of rhythms on this record is highly varied, it wasn't just a rock-orchestra ensemble: Vittorio and Gianni Nocenzi's keyboards offered an extensive collection of jumpy and, sometimes futuristic and fuzzy ornaments that get in the exact moments they should. Rodolfo Maltese (guitar), Renato D'Angelo (bass), and Pier Luigi Calderoni (drums) gave their best in a very subtle manner that is not at all overwhelming rock, but a very exquisite accompaniment to the excellent clarinets, horns, and violins that created the melodies.

There is no doubt that the albums of Banco del Mutuo Soccorso with Francesco Di Giacomo are highly better than this, but here we can remember that he was not the only talented member of the band, in fact, each member of BMS was extremely talented in his own instrument and this album works as a remembering of that, sometimes such great singers overshadow the greatness of their coworkers. So, to sum up, my recommendation would be to listen to "...di terra" expecting to listen to something absolutely different to "Banco del Mutuo Soccorso", "Darwin!", "Io sono nato libero" or "Come in un'ultima cena", get ready for the instrumental orchestral Banco, this album is unique.