ALGEBRA

The first, pretty atmospheric track Il Molo Deserto contains wonderful flute and harder-edged guitar runs, it turns out that is performed by ' Steve Hackett, what a surprise to discover this symphonic rock guitar legend on a relatively unknown Italian progrock album!

But more surprises are underway, in the next, dreamy song Jonathan (fragile classical guitar, compelling work on the harmonica and in the end sensitive solos on electric guitar and violin) I got the idea that I hear Le Orme's singer/bass player Aldo Tagliapietra ' and indeed, to my delight he IS the singer. And what a great and very distinctive voice this man legend has, I am on the albums Felona E Sorona and Uomo Di Pezza!

Also the song Il Volo Perfetto has a surprise, now it's other Classic Italian Prog legend Osanna their singer Lino Vairetti who delivers a strong contribution to Il Volo Perfetto, wonderfully blended with pleasant organ and a strongly build-up saxophone solo.

The final surprise is the collaboration of Steve Hackett's brother John on flute in the compositions La Gogna (compelling with passionate vocals), Ritorno Allo Stormo (beautiful classical orchestrations, a swirling flute solo and fiery guitar leads) and Nel Vento Della Grande Montagna (catchy beat with delicate synthesizer sounds).

Remarkable on this CD is the huge variety: a modern sound collage in the instrumental Aria Nuova ' ... male opera vocals in Al Naufragio Del Mio Sogno ' ... percussion and xylophone in Un Battito D'Ali ' ... fretless bass and sultry saxophone in the jazzy Ciang ' ... tender piano with warm strings in the soaring Soffi Da Oriente ' ... rock guitar in the swinging Un'Infinita Idea Di Liberta ' ... and pure symphonic rock in Un'Altra Dimensione (wonderful keyboard sound and moving guitar work) and Atto Finale (compelling bombastic climate with splendid guitar).

What a wonderful album and what a contrast with their mediocre effort in 1994. Because this second effort sounds strong and varied, released almost 10 years ago. Perhaps in 2024 another surprising return .. ? My rating: 3,5 star.

Stylistically Algebra's music has not changed significantly, 15 years after their debut.The concept flows in 21 short pieces, where the band explores the elegance of smooth Symphonic Rock and the power within the acoustic textures, mostly coming as a cross between GENESIS, CELESTE, CAMEL and PREMIATA FORNERIA MARCONI.Of course the material lacks any pompous textures or strong interplays to be fully compared with the aforementioned legends and it is based more on atmosphere with soaring synthesizers, light symphonic keyboards, soft electric guitars and plenty of acoustic soundscapes.Impressively the production is a bit flat, recalling mainly the 90's than a more recent album, with a few flat keyboard sounds in the process, but in general the music is pretty good, melodic and deeply emotional.As expected by a concept work the album contains also lots of lyrical passages with nice Italian vocals and even some Pop sensibilities and Lounge Jazz ambiences in a few pieces, propably serving the needs of the unfolding story.While Algebra's album once more lacks in power and dynamics, it has a good instrumental depth with synthesizers, organ and guitars in evidence and if the production was better the album could be a great surprise among the 2009 Prog releases.

2010 sees the last appearance of Algebra on Marillion's tribute album ''Recital for a season's end''.Do not write this band off the map though, because they have showed us that they are capable of a comeback in a few years.

''JL'' is a great album if soft, polished and melodic Progressive Rock is among your prorities.Obvious references to the classic bands of the 70's will also be appreciated by fans of more vintage sounds.Warmly recommended.

The second album of this discret band comes 15 years since their debute named JL is concept album inspired by Richard Bach's "Jonathan Livingston Seagull." The music is far more superior and mature then on Storia, with more elegant and complex arrangements, like must sound a symphonic prog album. There are also some famous guests here like Steve and John Hackett, Aldo Tagliapietra of Le Orme fame and Osanna's Lino Vairett. Here Algebra sounds little less genesis derivate then on previous album , the passages are well constructed like a suite and overall is pretty decent work. The guitars, the organ the pleasent vocal lines , beautiful instrumental arrangements, make from this albuma really nice and enjoyble ride, almost totaly unknown in prog circles. One of the lesser known bands from italian school and with this album they proved to be a named to take in consideration.

The songs are split more or less fifty-fifty between Italian and English language vocals. Among the latter is a medley of Genesis tracks comprising parts of 'Afterglow', 'Firth of Fifth' and 'Musical Box'. Algebra is perhaps best known as a tribute band and this medley is actually okay, although the thin and weedy production makes it sound like a demo-track.

The 13-minute instrumental 'Russian Suite' at least ensures that the album finishes strongly with nice interplay between violin and piano, although I'm a bit vague on the connection with Russia. The small handful of other good tracks is rather cancelled out by some horribly cheesy pop music, and as previously noted in another member's review 'A Prayer' sounds as if it has been shamelessly filched from the Velvets' 'Sweet Jane'.

I don't like being too critical and although I haven't completely savaged this album I do feel it has 'for RPI collectors only' written all over.

STYLE: More than an hour of Neo/Symphonic-oriented Progressive Rock with a few Pop tunes here and there.The album sounds more than an 80's release due to the production and keyboard sounds.Compositions are split in English and Italian sung tracks.''Storia di un Iceberg'' offers a variety of melodies both on guitar- and keyboard parts,which include piano,organ and synths.Not much of energy or complexity,the work is almost totally based on pleasant melodies,romantic vocals and an harmonic aura.Note that ''The prayer'' and ''You can't'' belong to the old ALGEBRA single from 1983,while the album features also a GENESIS meddley,consisting of parts related to ''Afterglow'',''Firth of fifth'' and ''The musical box''.

INFLUENCES/SOUNDS LIKE: Influences come from both from the Italian (BANCO DEL MUTUO SOCCORSO,LE ORME) and UK Prog scene (GENESIS),of course in a more accesible package.First bands that springs into my mind are natives SITHONIA and ATON'S.

PLUS: Regardind the symphonic face of the band,it all comes around the very strong guitar melodies and the fascinating keyboard work with lots of fine moog synth solos and organ passages.Italian vocals are also quite romantic.Compositionally the band stands at a very good level.

MINUS:...but regarding the pop tunes,these are very plain,boring and forgettable.English vocals are among the worst I have listened to,bad singing and very accented.Production is also pretty amateur.Some piano parts sound very childish.

WILL APPEAL TO:...a closed community regarding the more symphonic side of prog,including Neo Prog and RPI.

CONCLUSION/RATING: The album hardly gets the 3 star rating.Most compositions are strong and very melodic,despite their simplicity and the band is very talented,but either the bad production or the amateur (English) vocals can spoil much of the enjoyment.Approach carefully.

It was morning, and the new sun sparkled gold across the ripples of a gentle see... The opener "Il molo deserto" (The deserted pier) begins softly, two flutes wake up, then an electric guitar solo (played by Steve Hackett) soars like a flight of seagulls... On the next track the vocals of Aldo Taglipietra, on a calm background, draw the imagine of a solitary gull, who doesn't care for food like the others... "His name is Jonathan and he loves flying / He flies far away / To touch lightly new horizons"...

Next comes "Il volo perfetto" (The perfect flight) where the emotional vocals of Osanna's leader Lino Vairetti describe Jonathan's practice until the notes of a sax solo lead to the light and delicate instrumental "Aria nuova" (New air). We can lift ourselves out of ignorance, we can find ourselves as creatures of excellence and intelligence and skill. We can be free! We can learn to fly!

"La gogna" (Stand to Center) describes the reaction of the flock against the strange attitude of Jonathan. "Jonathan Livingston Seagull! Stand to Center!" The Elder's words sounded in a voice of highest ceremony... "Jonathan Livingston Seagull", said the Elder, "Stand to Center for Shame in the sight of your fellow gulls!"... "For his reckless irresponsibility", the solemn voice intoned, "violating the dignity and tradition of the Gull Family"... The solemn threatening voice of the Elder and the puzzled one of Jonathan are interpreted by Rino Pastore and Mario Giammetti with passion, then a delicate flute passage leads to another beautiful instrumental "I gabbiani non volano al buio" (Seagulls never fly in the dark). Jonathan Seagull discovered that boredom and fear and anger are the reasons that a gull's life is short, and with this gone from his thought, he lived a long fine life indeed.

"Un'altra dimensione" (A new perspective) opens with a delicate organ sound, then synthesizers and an electric guitar solo introduce the voice of Goran Kuzminac who sings describing the meeting between Jonathan and two radiant gulls that show him the way for an higher knowledge, "Come with us they said to him / One school is finished, and the time has come for another to begin / And they disappeared together into the night". Well, Goran Kuzminac is one of my favourite Italian singer songwriter and it was a true pleasure for me to listen to his contribute on this album!

Next comes "Al naufragio del mio sogno" (The shipwrecked dream) that features the operatic vocals of Gianfranco Casiero soaring from a dreamy atmosphere and melts in the exotic percussive pattern of the short instrumental "Un battito d'ali" (A single flap of wings)... "I'm still alive / Into the caresses of every wind breath". So this is heaven, he thought, and he had to smile at himself. It was hardly respectful to analyze heaven in the very moment that one flies up to enter it.

On "Ciang" (Chiang) the intense voice of Italian rocker Graziano Romani describes a new leg of Jonathan's path to perfection and the meeting with the Elder Gull Chiang... "I am Chiang and I am the Elder Gull / I am here to teach you to fly / You will go to heaven / When you will reach the perfect speed". "We choose our next world through what we learn in this one. Learn nothing, and the next world is the same as this one, all the same limitations and lead weights to overcome... Heaven is not a place, and it is not a time. Heaven is being perfect!".

"Il fattore tempo" (Working in time) is a beautiful jazzy instrumental where Maria Giammetti's saxophone evolves upon a background of counter-bass and piano. Those who put aside travel for the sake of perfection go anywhere, instantly. Remember Jonathan, heaven isn't a place or a time, because place and time are so very meaningless... The following track, "Il richiamo" (The callback), is about Jonathan's need to come back to his old flock to show to other young seagulls what he has learned and to teach them how to fly... Hope and nostalgia mixed together in a delicate ballad with a beautiful finale where sax and electric guitar take the lead.

On "Fletcher" lyrics describe the meeting between Jonathan and his new student, Fletcher. New sensations and feelings, new thesis overcoming old rules while exotic notes of saxophone lead to the delicate instrumental "Soffi da Oriente" (Blows from the East)...

"Un'infinita idea di libertà" (An unlimited idea of freedom) is another excellent instrumental, joyful and relaxed in the meantime, while the following "Ritorno allo stormo" (Back to the flock) begins in a more elaborate and dramatic way... "Break the chains / They keep the thoughts in prison / Then the body will be free too".

"Presa di coscienza" (Awareness) is beautiful piece about hope... It tells about the meeting between Jonathan and a gull with a broken wing, Maynard... "If you want to fly / Open your wings / And take it easy"... And Maynard, the injured gull took off towards the sky, into the wind! "Nel vento della grande montagna" (In the Great Mountain wind) is another short instrumental that slightly reminds me of Le Orme's "Aliante" and features John Hackett on flute.

You need to keep finding yourself, a little more each day, that real, unlimited Fletcher Seagull. He's your instructor... A moment later Jonathan's body wavered in the air, shimmering, and begun to go transparent... "L'addio" (Goodbye) and the following complex instrumental final act "Atto finale" are a perfect epilogue for a very good album that could give you the chance to rediscover an amazing book...

On the whole I think that this album could be an excellent addition to every prog collection.

Those musicians were apparently best known as cover bands than really producing their own music but when I listened to the fine "Prologue" I was quite enthusiast: a little peaceful and melodic overture which is followed by a quite symphonic "Il Ladro Romantica". Vocals are fine and in Italian for most of this work.

The feel is quite good after all: nothing to do with some neo-prog clones as one might have feared. "Algebra" plays a soft and melancholic music. There are evident links with "Genesis" of course (the intro of "Verso Il Nulla" is quite similar to the second hald of "After The Ordeal"). But this is not too much bargaining, right?

This was an excellent start, which is seriously compromised by "Claudia": a short jazzy/neo- prog piece which features rather average vocals. Press next to reach "Today Images" which is not a masterpiece either. It starts alright with a fine acoustic guitar play, but these vocals in English are quite dreadful. Only a short and extremely melodic guitar solo is saving the bill.

Now, we have to face a medley of ?"Genesis" songs! It all starts with a poor rendition of "Afterglow", followed by the closing section of "Firth Of Fifth" (the band could have prevented the last few vocal lines?). As the genuine band was used while they were four, "The Musical Box" is represented by its closing section. The vocals are really terrible. Awful.

What is quite unbelievable is that the next tune ("A Prayer") is a total rip off of "Sweet Jane" from the great Lou Reed. The riff if totally stolen and this song is quite out of place on this album. What the hell did this band want to achieve??? I can just pray to reach the end of this masquerade of a track. Only some instrumental passages are OK (like the fine mellotron one). Yes: this band mixed "Sweet Jane" for a while with mellotron to end!

I can't say that the next couple of song are thrilling: why did they feel the need to sing in English? While the lead vocalist was keeping the sweet Italian to express himself, it was quite OK. It is really incomprehensible. The result is far much better with the title track, which sounds like a jewel after these dreadful moments. It is all symphony, poetry, melody. Sweet keyboards, fine acoustic guitar and pleasant sax. Their manager (if any) should have been put in jail IMO!

The band was quite effective during the few tracks sung in Italian but the English tracks (+ the cover) dragged down this album to very low levels. Unfortunately. I knew it was a risky business to be the first one to post a review with some comments.

Fortunately "Russian Suite" is not sung in ? Russian. This long instrumental holds lots of fine parts: piano, electric guitar, violin but the whole is not really interconnected and sounds more as a bunch of "solo" from each member than a true combined effort. Still, the music displayed is very pleasant.

I was quite perplexed while I read the band bio from Lise: "their work ranges in quality from 'ok' to 'so-so' to downright abysmal". She was god damned right!

Two stars thanks to the Italian songs and the instrumental piece.