GIRO DI VALZER PER DOMANI

"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.

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. Jazz-rock.net 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." [jazz-rock.net]

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 ½.

"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.

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!

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.

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).

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...

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.

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.