SCONCERTO

1. "Sconcerto" (4:58) using a sound and instrumental palette that definitely comes from the more electronically- enhanced Third Wave of Jazz-Rock Fusion, the band jumps right into a smoother RETURN TO FOREVER-like groove grounded in some nice funky bass and clavinet with solid near-Disco fusion drumming. The Fender Rhodes solo in the third is quite good, reminding me a bit of the work of both DONALD FAGEN and JOE SAMPLE. I love the use of harpsichord in the latter half but the highlight for me is definitely the bass. (9/10) 2. "Lido Bianco" (10:04) the longest song on the album, it starts out with some pastoral/faerie synth sounds and wind chime like percussion before synth and harpsichord-like synth bring in chords and melody. Piano and a whole host of other keyboard sounds take over in the third minute. At the three-minute mark the drums and bass slowly, almost trepidatiously enter, slowly establishing a somewhat Billy Preston-like synthetic funk over which a Casiotone-sounding synth solos. This goes on for a couple minutes before the band eschews this motif for a more pregnant military one over which fluid piano and more deliberate synth solo in different channels at the same time (the piano more in the background). At the very end of the sixth minute the rhythm section and guitarist show signs of wanting to break into something more power-oriented. A minute later, they kind of convince the rest to do so but then it is sidetracked by an insistence to chaos and cacophony--which sets the band up for a reset. The new motif is more pensive and deliberate with cinematic melody and undertones. Overall, the song is nothing to really write home about--and made less so by the almost-cheesy synth and keyboard sounds employed (not to mention the poor sound rendering of such). (17.25/20)

3. "Meridioni E Paralleli" (6:15) pregnant jazzy-prog with some CAMEL-, SPYRO GYRA-, and PASSPORT-like instrument sounds and melody-making. It's nice but it's definitely more Smooth Jazz than Jazz Fusion. (8.875/10)

4. "Afka" (6:11) funky clavinet opens this with drummer and percussionist trying to make something of the odd syncopation being elicited from the keyboard lead. Eventually it all begins to make sense, everybody gets in line, to provide a rather fascinating and fun percussive event. Fender Rhodes adds its chords and flourishes to the fore and we have a nicely-filled song over which solos can occur. The first one is a lyricon (Tom Scott)-sounding synth. The song really grows on you despite the fact that it feels like it should be the theme song to some 1970s television show. Plus, the sound engineering on this is wonderfully done. (9/10)

5. "Pietre Di Luna" (4:29) rich and warm keyboard play from both Boccuzzi brothers at the some time. (It sounds MIDI- ed but I don't think MIDI was a thing back then). The song forms and twists and turns--especially dynamically--giving it a kind of BOB JAMES feel: at times melodic and pretty, at others jazz-like. I like the way this band uses (and is fond of) syncopation. (8.75/10)

6. "Della Venis" (4:16) another gentle, melodic, and smooth electric piano intro (recorded in a very dated sounding mute effect) is soon joined by second keyboard playing a smooth-horn-like synth, interweaving with the increasingly active Stevie Wonder/Joe Vannelli-like keyboard play of the other brother. Some cymbal play from drummer Piero Mangini is the only other contribution to this rather pretty, almost gut-wrenching song. The future of some New Age music makers? (8.875/10)

7. "Comunque... (Todo Modo)" (5:27) bass and clavinet team up with Fender Rhodes and drums to debut a more rockin' funk piece--one that goes the way of quirk and pop-sentiments the further the song travels. More impressive and whimsical keyboard play from the piano player while the other brother sticks to his Smooth Jazz Fender Rhodes. Bassist Tonio Napolitano gets some well-deserved time in the spotlight in the fourth and fifth minutes before settling into a heavy funk-disco pattern for the final motif. Interesting but a little too loose and uncentered to be believed. (8.75/10)

Total Time: 41:40

One of the Boccuzzi brothers (Francesco) is listed as the guitar player, but this song is really dominated by the two acting as keyboard players--something they do very well, very beautifully.

B/four stars; a very nice addition of Fourth Wave Jazz-Rock Fusion to the prog lover's music collection. If you're not a fan of Smooth Jazz, you may not be inclined to like this one more than as elevator music.

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