DEDALUS

Very good obscure italian band offering an original instrumental jazz rock with slight experimental influences. Good technical mastery, moreover the music is surprisingly accomplished for such a "minor" band. It may evoke Soft machine at times for the pure jazz side but no plagiarism at all. Among the very best progressive albums from Italy. Excellent.

One of those 70's psychedelic treasures catching the essence of jazz rock with heavy grooves and hypno/experimental effects. The first track is a quick, electric jazz trip with abundant but linear guitar solos. Some nice keyboards parts accompany the jam. "Leda" is a floating jazzy tune with hyperactive psychedelic tones thanks to the use of amazing, atmospheric organ parts. The second part of the composition features a rather dreamy, spacey, evanescent soundscape punctuated by acid-psych bass grooves. "Conn" consists of improvisations with jammin' sax parts and really bizarre sound collages from a wide variety of instruments. "C.T.6" contains an elegant technical solo guitar sequence closed to Mc Laughlin's style. Not easy to approach for neophytes but highly recommended for convinced fans of jazz rock weirdo like Embryo and classic fusion jams from Miles Davis.

I discovered this self-titled DEDALUS gem around 1996 when Vinyl Magic sent me some promo CDs for my radio programme in Windsor, Ontario, Canada. To yours truly, this is 5 star prog.rock at its finest, but only if you like fusion progressive. This isn't your average jazz rock fusion record a la Mahavishnu Orchestra or Return To Forever. This will fall somewhere in between the Canterbury and R.I.O. schools. Highly experimental, but not unlisteneable. Certainly, traces of the aforementioned are evident. This would appeal to fans of "Islands-era King Crimson and Soft Machine "5"-era. One exception, DEDALUS is entirely instrumental. In fact, imagine the best instrumental sections from King Crimson's "Islands" fusing with Soft Machine "5"...and you've got yourself DEDALUS. To boot is an electric violinist sounding not unlike Jean-Luc Ponty and the more experimental aspects of a Didier Lockwood(re: Magma, Zao). The final track "Brilla" would've been an excellent track to follow up "A Sailor's Tale" on KC's "Islands". That's how great DEDALUS can sound. Other points of reference might be the Weather Report "I Sing The Body Electric"-era. This is a flawless piece of work. Masterpiece...no doubt about it.

A lot of bands that influenc it from Canterbury Scene in the band of Prog rock all over the world exist. It is guessed that this band "Dedalus" announced in 1973 is one in that. It might be able to be caught that it is similar to the sound of Soft Machine. However, they have succeeded in taking originality in their countries well and the creation of music. The performance on which they worked very takes the element of Jazz and to the last minute, keeps a progressive sensibility. It is likely to recall it only Miles and Alti E Mestieri a little more to taking electronic musical instruments. The sound in which space is felt is consistently cool. They did White Noize a little and did another approach in the upcoming album. Debut CD gives the listener their directionality consistently. Feelings kept secret in the mind of this Dedalus in the band influenced by Canterbury Scene and the involved power might be the performances that only they can do. It is very cool and and goods of ..Spacey..

When one thinks of Italy in the seventies, one is more naturally reminded of progressive rock, than the sub-genre jazz-rock fusion, specifically. Judging by the evidence in this excellent debut recording by Dedalus, there must have been a sophisticated jazz rock scene, and this album at the top of it.

The music is completely instrumental, and is experimental in just the right way, mixing jazz with rock and almost African percussion in parts. When i first heard this music in 1989, years after it's first release in 1973, i knew i had a real winner, right from the start. Especially impressive is the drummer Enrico Grosso, whose technique is flawless, and bass player Furio di Castri, the same. Also, there is some tasty guitar, flute,sax and keys playing that is really impressive, too.

Dedalus are so good, that they rival more established fusion groups like Soft Machine, or Nucleus, even Passport, and believe me, that is saying something!

There is intelligence and complexity in this album's music, and one gets the feeling, as in Il Baricentro's Sconcerto record, that everything is done just a bit better than other groups of the time. I never tire of the Dedalus debut, and it definitely has stood the test of time. I would even say that it is a bench mark of what could be done in early seventies fusion, even though it was not as well known as some-if you want to hear fusion as best as it could get in Europe in the seventies, you need not look further! Five deserving stars, no less.

These Italians really hit a home run with this their debut from 1973. A SOFT MACHINE flavour is prominant, although there's lots of cello and percussion here. I like how experimental and spacey these guys get as well.

"Santiago" is uptempo Jazz to start out and when the distorted organ comes in we get a Canterbury vibe. It calms right down before 1 1/2 minutes then picks back up with sax and electric piano. It settles again after 4 minutes and turns experimental with cello. This is an avant- garde section that continues until it kicks back in late to end it. "Leda" is spacey to open before it kicks in with a great sounding passage with bass, sax, electric piano and drums leading the way. It settles before 2 1/2 minutes like the intro only sounds echo here. It kicks back in but without sax this time. "Conn" opens with all these intricate sounds. A melody settles in before a minute as sax and percussion come in with electric piano and bass standing out. It's experimental after 2 1/2 minutes as the cello comes in.

"C.T.6." is the 14 minute epic. An electronic intro with other sounds until it settles into a Jazz mode. Guitar before 1 1/2 minutes. Sax a minute later as it settles. A change before 3 1/2 minutes as sax, electric piano, bass and drums take over. Piano takes the lead 5 minutes in. Some distorted guitar before 7 minutes. Cello after 8 minutes. Drums and bass continue when the cello stops. A change before 12 minutes as piano takes over and the rhythm stops briefly. It's back with sax after 13 minutes to end it. "Brilla" has this laid back melody with sax and piano as the bass and drums support. The tempo picks up with cello coming in too. Great sound. Guitar after 3 minutes. It's angular at first and then he proceeds to rip it up. The song then settles with sax as it ends just like it began.

There's so much here to like if your into that Jazz / Fusion style with an experimental twist. Incredible album !

An impressive debut from Italian avant-jazz rock band Dedalus. Released in 1973, this eponymous release perfectly captures their experimental jazz rock, not unlike Soft Machine around 1973 ish which sometimes drifts into avant sections.

There's excellent musicianship on display with a strong presence from electric piano, sax and electric guitar, complimented by a versatile rhythm section equally at home holding down a solid groove or more swinging jazz patterns. Being a consistently solid album highlights are hard to pick but I've a preference for the more conventional jazz rock over the avant sections which feature far more on the excellent BTF re-release as bonus material. Attention will no doubt be drawn to the 14 minute C.T.6 which takes up a large chunk of the, by today's standards at least, relatively short album. Moving from a fluent up-tempo electric guitar dominated opening it eventually locks into a repetitive mid paced groove with stabbing electric piano and the band taking turns to solo over the top. The more experimental close of Santiago features a cello not entirely dissimilar to the less bombastic parts of Jimmy Page's violin bow on electric guitar routine he used on Dazed and Confused. There the comparison ends. Conn is perhaps the most experimental track overall with an insistent and repetitive rimshot snare drum pattern laying the foundation for random ambient textures overlaid on top.

Some of the bonus more avant sections on the re-release are a little tedious but judging the album on the format of the original, Dedalus is worthy of a strong 4 stars.

What a pleasant surprise! Debut album of Italian band sounds very ... "non-Italian"! Differently from very melodic, well arranged, polished and symphonic music so characteristic for Italian bands, this album sounds as slightly psychedelic Canterbury release (influenced by Hancock 's Mwandishi spacey fusion). Excellent electric piano, plenty of almost free form sax soloing, well balanced, but experimental sound...

During last few days I listen it again and again. Can't believe - such a nice music! I never heard this name before, and now I just enjoy this rare release, coming from early 70-s. Great electric violin sound - experimental, not predictable as you heard from JL Ponty or Michal Urbaniak. Ascetic guitar - but always in place, excellent jazzy drumming. In many moments their music reminds early Weather Report works (but with electric guitar added).

Almost masterpiece - very recommended for 70-s experimental fusion lovers!

My rating is 4+!

Presdoug is right: This is an album that deserves much more attention and recognition than it has (thus far) received. The other reviewers aptly cover the comparable bands though some of the uses of electronics reminds me of a less-avant DEODATO, too. Everyone seems to want to give Soft Machine or Weather Report credit for the style and sound of this band, but I think this group has far superior planning and less jamming, plus the instrumentation sounds are often quite different (the keys' sounds are much more diverse than Ratledge, more strings-oriented than Zawinal & Co.) Also, the guitarist sounds much more "straightforward" jazz, not at all like John McLaughlin (to me). I love the combination of the Coltrane, Freddy Hubbard/Cjick Corea and Eumir Deodato feel of "C.T. 6" and the beautiful "Leda" and "Brilla." Side 2 definitely feels more jazz-oriented than Canterbury or Avant/RIO to me.

For now I'll give it four stars--especially as I'm not sure how "proggy" this is--despite the avant use of space, electrified strings, and diverse keyboard sounds. Maybe further familiarity will cause it to climb to masterpiece status. I will add that it has incredible engineering/production for its time!

What led me to try this album is the cover. It coulda been Michael Buble but because of the cover I'd have given it a shot. When my ears heard subdued fusion of the classic '70's variety I was hooked. Sax and keys seem to drive the music, however there is a lot of guitar and cello.

This record sounds like it exists in a universe a half octave out of tune with our own. It has aged like premium cheddar and sounds nothing like its contemporaries. The sound transcends jazzrock, fusion, and progressive fusion labels, establishing an undiscovered sonic template that remains largely unexplored.

The only other experience I've had like this is when I listened to Shuggie Otis' "Inspiration Information" the first 25 or so times. It's a record that is of it's time, but doesn't belong to it. It's groundbreaking without really breaking any new ground.

4.5 stars a real find for adventurous fusion fanatics - even house and fans of party music will find something to like. It's a fun album saddled with unfun labels.

Italy's Dedalus featured on their debut album an energetic, fast style of jazz fusion which (particularly in the rhythm section and the synthesiser work by Fiorenzo Bonansone) seems to draw a lot on the jazzier end of the Canterbury scene - like a perkier, more manic version of Soft Machine's Third at points. Marco Di Castri takes his tenor sax and electric guitar and wrings some absolutely dynamite solos out of them, making him a particular standout player, and the group's broad command of fusion styles makes the one of the more impressively diverse units from the era. Definitely worth listening to if you like your fusion twitchy and hyperactive.

Just who are those four dudes hiding behind the clocks on the album cover? Must be DEDALUS! This band emerged from the Turin, Italy scene in the early 70s and delivers some of the most varied and interesting jazz-fusion from the era on their eponymous debut album. The name DEDALUS apparently comes from Daedalus who was the inventor of the labyrinth in Greek mythology. Like their namesake, this band delivers a labyrinth of extremely well-crafted jazz- fusion that holds up well after many decades. This was another good find for the short-lived Trident Records which also hosted some other greats like Semiramis and Biglietto per l'Inferno. There was another folk rock band with the same name from Italy just to confuse everyone!

This album is really a brilliant concoction of steaming jazz-fusion laced with healthy doses of space rock. In fact at times they drop the jazz-rock all together and venture into Krautrock territory. This is an all instrumental album that finds Fiorenzo Michele Bonansone (keyboards, cello, vocals), Marco Di Castri (guitar, sax), Furio Di Castri (bass) and Enrico Grosso (drums) synergizing their energetic and eclectic talents to create a nice mix of styles that takes a little from the jazziest sounds of the Soft Machine and mixes in some highly eclectic avant-garde jazz, psychedelic freak outs and energetic solos. The sound despite the tempo is always warm and inviting and can range from frantic Mahavishnu Orchestra type workouts to subdued Weather Report passages.

This one has really been a grower. Although i liked it a lot upon first listen, it has managed to burrow deep into my psyche. It just incorporates enough diversity and technical prowess to keep me thoroughly entertained upon repeated listens. If dreamy syncopated rhythms with tasty solos and tight group interaction is what you're craving in your jazz-fusion experience then you should look no further than this debut album by DEDALUS. This delivers for both jazz lovers and progressive rock lovers alike. Unfortunately they would never release another album like this again and moved into even more experimental musique concrète for their second release. If you have one of the newer remastered versions of this you will find the second album tacked onto the end. In my case it's not even listed as being on the album. It's just a surprise! 4.5 rounded up!

Ever imagine a universe where Icarus didn't fly too close to the sun? Well, obviously he would have gone on to form a wonderful little jazz band named after his beloved father, Daedalus. Somewhere along the way he forgot the 'a' in his name, most likely due to the one too many ouzos he'd downed the night before in the name of celebration.

Anyhow, this little obscure gem of a group comes from the wonderful country of Italy. They released their first album in 1973, and was the only one to feature their complete original quartet, as their bassist Furio Di Castri departed after this was released. The album, self-titled Dedalus, is a cool combination of the free-jazz style of Chick Corea and the slightly avant- garde nature of Mahavishnu Orchestra, if I were to put juxtapose it with it's bedfellows. Much of the album is surprisingly spacey, but in the kind of way that cool jazz can just be so....'out there' at times. The best of examples of this being the two epics 'C.T. 6' and 'Santiago' (the latter being the superior in my opinion).

A glaring problem that becomes rather annoying after a few listens through is the incessant noodling that goes on (generally) towards the latter half of the song. It's not the worst avant-garde elements they could have mixed in but it does tend to ruin the atmosphere they so easily crafted. If I were to compare it to something I would say pre-Kraftwerk Organisation's Tone Float from 1969, which I shiver when thinking of associating it with anything particularly tasteful. This is the main reason why 'Leda' is my favorite track; it's devoid of any of the aforementioned. Yet, it also has a tranquility provided mainly in part by that classic floaty synthesizer (the guitar and drums are some of the best as well). That is not enough for me to hate the album though in any case, because the music still remains extremely pleasant for the majority of it's duration.

Criminally unknown and underrated, I want to the best of my ability to spread the world of this little-known album. Hell, it's got me hooked for the remaining material of the band, so why don't you get in on it as well? 4.5/5 rounded to 5/5.

Dedalus' stellar self-titled debut is a prime example of 70's jazz rock experimentation at its finest. All members are excellent musicians, displaying a knack for mixing jazz, funk, rock, and a touch of avant-garde, laced with psychedelia. I won't go into the deatils of very track, but I'll go over a couple high points. The opening number, "Santiago," displays the band's versatility by injecting a psychedelic space-out section that reminds me of Jimmy Page using the bow on his guitar for Led Zeppelin's "Dazed and Confused", although I believe Dedalus is using an electrified cello in this section. The track "CT 6" has one of the coolest jazz rock grooves I have ever heard, and I wouldn't be surprised if some hip hop artist has sampled it already. The album must really be heard by anyone interested in experimental jazz rock from the 70's. The band would go off the deep end for their follow up, "Materiale Per Tre Esecutori E Nastro Magnetico," which is also included on my CD copy, and I won't go into that here. Anyway, Dedalus' debut is essential listening for jazz rock aficionados. 5 stars!

This is an album for the adventurous prog fans out there who aren't afraid of jazz in their rock. More UK sounding than Italian sounding (there are really no familiar RPI flourishes contained here), Dedalus' debut album is loose, freewheeling jazz rock with some spacey detours. Strong echoes of Soft Machine with some Hatfield and the North, Matching Mole and early Return to Forever fuse with some spacey breakdowns straight from the space rock playbook to create a uniquely enjoyable take on jazz rock.

Opener Santiago is a mostly straightforward rip on later Soft Machine and second tier UK jazz rock bands of the 1973 era. However, it soon veers into echo laden acid violin (cello actually) meltdown world straight from the middle section of Whole Lotta Love filtered through some of the electronic musique-concrete improvs on Hawkwind's Space Ritual to let you know- "hey this isn't just a jazz rock band folks". Soon we return to familiar ground as a groove brings us home, but the song for some reason just ends abruptly. Second song Leda again starts with sax from Marco Di Castri with a strong underpinning from keyboardist Bonansone on echoed Fender Rhodes electric piano that sounds like Chick Corea's early work in RTF. Some of Miles Davis' groundbreaking electric work like In a Silent Way is also a reference point, in particular the 3rd song Conn, which brings side one to an end.

Side two opens with CT 6, a guitar led Hatfield styled approach before Di Castri switches from guitar to sax. (keyboardist Bonsansone likewise doubles on piano and electric cello) A second section of the song begins abruptly and a synth solo straight from Zawinul gives this section a more rock version of Weather Report with Di Castri showing off some prodigious Canterbury guitar skills in counterpoint. Bassist Furio Di Castri gets to stretch his wings a little bit in a duet with drummer Enrico Grosso in one of the more traditional jazz sections on the album. Transitions can be a little jarring in this song as disparate pieces weave together-the side closes out with an acoustic piano piece that has touches of John Cage plucking inside the piano while playing. This shifts into a standard jazz rock workout for under sixty seconds to finish off a song that goes to a lot of places. The album finishes with Brilla, a sax led piece that begins as a low key Weather Report jaunt before the tempo suddenly increases and heads into territory vaguely close to some of PFM's jazzy Jet Lag, perhaps their only flickering of Italian roots, albeit barely visible.

The album cover is a direct nod towards the Dada art movement of the 1917-1919 era that freaked out folks and had strong bases in the US, Russia and Italy. It gives the listener a coded hint as to what might be contained inside (though their second album is a better example of Dada influenced jazz rock)

This one might not grab you at first, but repeated listenings will bring you rewards with one of the more original albums in the fusion canon of prog. Though they created this album in the midst of the hurricane of RPI coming out, they don't really sound Italian. Great guitar, sax, bass and drums on display. The only flaw I'd point out is that their ability to weave disparate sections together can be fragmented, as things seem to just come out of nowhere and leave without any successful bridging. A tiny complaint really, as their composition and improvisation technique is on par with the best of their contemporaries in the UK. Highly recommended for jazz rock fans.

4 stars

Review #152!

Aren't afraid of a fly in your soup? jazz in your prog? Check out Dedalus! Funnily enough, I wouldn't categorize these guys in Fusion, more in Eclectic Prog. This isn't just Jazz, it's also RIO, electro, and hard-rockish! The first rack, Santiago', proves just that. It begins with a Miles Davis-esque jazz jam, then descends into an extended instrumental synth section that concludes the song darkly, but not before returning to a bit of jazz. 'Leda' is avant-jazz and electro-prog all at once. Truly wild, but fun all the same. The Rhodes sure is prominent here, and I LOVE it! 'Conn', the shortest song on the album, is something straight out of a horror movie (an artsy one, that is!). Avant-garde, groovy, and eerie all at once. This is followed by the longest song on the album: the suite 'CT 6'. Again, the Rhodes is very prominent here. There is some African influence here. The music proves very art-rockish. I wouldn't be surprised if the great Billy Cobham was hitting the kit here. This track feels like a collection of solos, if a collection of anything. Fun, high-octane all the way through, and very, very Dedalus. Calls back to Soft Machine's 'Third' at times. 'Brilla', the epic closer, is just pure beautiful sax. Not concerned about getting dirty and gritty, this track just flows, like a pebble-less river, or a cloudless sky. It gets fast, it gets slow; I don't care. To me, all it is is amazing. As a person born into jazz music, this album is a gift from God: prog and jazz shaking hands, a rare occasion. Prog on.