The Italian Prog Appreciation den

A "sconcert" that's full of vitamins, juicy stuff, drifting talent and consistent music - and of progressive rock, kudos to the mixture of 70s rock and original jazz creating a warm combination of colors and liquid fireworks; this is how Baricentro's first album (far from calling it a simple debut, it's too strong) sounds like, down the more or less usual path of jazz-rock, fusion heat, electric melodism and rock composer. Its field isn't powerful enough to bring a swell impression, its pleasure, instead, is half the great quality that's installed in this album.

Despite that almost all the members have come from playing in a band (Festa Mobile and its rock nucleus), plus from an early field of rock and vanilla-jazz, Il Baricentro's moment sounds fresh, far-dropped and confines an artistic intensity and pattern from, mostly, a world of technique and shining expressions (and, more importantly, from a wisdom of emotion dominating the fuse and the rhythms, and gallantry dominating over too simple or straight improvisations). Sconcerto, most especially, shines as something natural, even pastured, still fired and fusion-flickered most of the times. Both the traditional and the nonconformist, the somber and the fun, the hypnotic and the light, the radical and the alternative musical tastes are merged in a mellow point, where good music also means a lot of sensual slide, and the jazz/fusion technique is one small step close to a spiritual and healthy art. The key to Sconcerto's good mood is how intense, instead of remarkable, and imaginative, even if not original, the scores abounds. The rest is either good or tranquill, either fascinating or too plain, either creative or vicious.

It seems interesting how each of the four artists play a percussion role; nevertheless, the Bocuzzi brothers create out of the keyboards a state of the art - and the strongest link to fusion and electric jazz, too. The great idea of fusion can sound different to each and every one who listens to Sconcerto, meaning that there's a bit of freedom and good taste in the jam, unrelated to anything particular or too shabby - but references could make you think of Weather Report and their key/fusion/funk-tap, of Return To Forever and their bit of prolific "feathery" jazz, of Mahavishnu and some sticky accents, of PFM and symphonic rock bands that play an airy taste of attractive art. The link with Keith Emerson (mentioned in many places) comes to a true sense when Baricentro's jam is aggressive and plastic (my best example being to think of "Blues Variation" from ELP's Pictures..., where Emerson sweats on a same vibrating and high-pitch Mellotron). In short and conclusive words about Sconcerto's style, its jazz/fusion is more different and moderately rocking, while it's natural high-marks of (Italian) symphonic are spontaneous and gusting.

Few words are left to be said about each of the seven precious pieces, since they all are part of the same consistent concept and vibrating rhythm, sketching a diversity of moods and colors thanks to the set of melodic, emotions and elastic improvisations. The fusion of Baricentro drops heavy, but not immense, in every minute, the great undulations being when the music is atmospheric or has an obscure crust (Della Venis), dominating and insatiable rhythm (Afka) or when a drop of pop makes the music sensibly light (Meridioni e Paralleli).

Sconcerto can't be called an easy winner, but something from its pleasant and juicy art makes it all worth.

Arti & Mestieri are one of the best known Italian prog bands and have been active since 1973. They come from Turin and were formed on the initiative of Furio Chirico (former drummer of The Trip) who met with keyboardist Beppe Crovella (former member of a band called The Mystics) and four musicians coming out from a jazz rock band called Il Sogno di Archimede, Gigi Venegoni (guitar), Giovanni Vigliar (violin, vocals), Marco Gallesi (bass) and Arturo Vitale (sax, vibraphone). In 1974 they released their debut album for the independent label Cramps, "Tilt ? Immagini per un orecchio" (Tilt ? Imagines for an ear), a brilliant mix of rock, jazz, classical, Mediterranean influences and melodic passages. The art cover by Gianni Sassi, featuring a flying funnel in a blue sky among white clouds, in some way describes the overall sound of this work where many influences floating in the air are caught and channelled through this conical utensil having a narrow tube at the apex to be blended and conveyed on the tracks of the album.

The title of instrumental opener "Gravità 9,81" (Gravity 9,81) is inspired by the law of gravity formula. Ignoring air resistance, an object falling freely near the Earth's surface increases its velocity with 9.81 m/s (32.2 ft/s or 22 mph) for each second of its descent. As gravitation causes dispersed matter to coalesce, on this track the creativity of the band perfectly blends the Mediterranean touches of colour evoked by the violin with a pulsing rhythm section and a jazzy sax solo. This piece is an authentic trademark of the band by now.

Next comes "Strips", where the dreamy and romantic mood of the music contrasts with the bitter disenchantment of lyrics condemning a reality of empty conventions, of absurdities filling your head, of languid songs and artists whispering useless words, of faded stories about planets, wizards and gods...

"Corrosione" (Corrosion) is a kind of short bridge leading to the beautiful instrumental "Positivo / Negativo" (Positive/Negative) where a first solar and dreamy part, featuring acoustic guitar and violin, gives way to a second part full of energy, featuring a great rhythm section and a good electric guitar work.

"In cammino" (On walk) is another excellent instrumental that opens with a melancholic sax introduction, then rhythm takes off and melancholy melts in joyful passages where the members of the band showcase their musicianship. On the original LP it was the last track of side A.

Next comes the short instrumental "Farenheit", where the rhythm goes slowly up like the temperature of a thermometer introducing "le plat de resistance" of the album, the long and complex suite "Articolazione" (Articulation), a piece about the necessity to live the present facing the reality. There's no time you can waste waiting dreaming for better days while the Death is leading into the grave all her dear lovers... "It's not because you think to have understood / That your future is going to change / In the mirror you must see / What is harder seeing...".

The experimental "Tilt", almost an example of concrete music, concludes an excellent album where music flows away without weak moments. A must for every Italianprog lover!