VOCI

With the patience and craftsmanship of a jeweller had il grande maestro, Luciano Basso, managed to create and then polish this peerless diamond that is his debut album. Cleverly entitled Voci, the record generates esoterical soundscape networks that connect the classical influences with early Italian progressive musical ranges along with Basso's imaginative input and thus creating an oeuvre worthy of the masterpiece status.

The album is divided into two main parts. The first one has a concerto-like structure with Preludio debuting with piano strains shortly accompanied by the violin with noticeable Vivaldi-esque embellishments at times, and developing a main theme, a custom that will spring in all the following album tracks. The musical extent evokes a lamenting sensation, in spite of the guitar which makes its presence felt, as it immediately mingles into the melody's establishment. However with the masterfully executed rhythm section, bass and drums, and the occasional inflictions of the composition, the living sounds that Basso tried to transpose into voices seem to timidly suggest that there still is hope. The proof of this does not linger, as Promenade I bursts into a very alert organ driven catchy tune supported by the bass and drums in the background. Highlighting the track on the other hand, is the entrancing play between the harpsichord and clavinet chasing each other to the point that one gets ahead until the main theme is resumed making way for Promenade II. Having a rather symmetrical composition, this third track graces our ears with a very fluid piano sound backed up by the ever so clean bass guitar and with what is now the obligatory catchy theme, all wrapped up in a barely perceptible jazzy attire.

The title track which marks the beginning of the second part embarks on a splendid display of virtuosity on the grand piano, which lures the listener into a dreamy setting for little over ten minutes, where tension and ease are conjured up alternately with guitar, piano and drums which occur in the foreground. Echo, possibly the most ambitious and elegant song on the album, teleports the listener form the Voci dimension to a preternatural level where a heavenly female choir is taken over by a dramatically building piano score which erupts into the guitar induced echo chorus. This alternates twice throughout the composition with an interesting jazzy segment, the two appearing to be connected musically, but not thematically. Last but not least, the bonus track and the odd one out, but only because of its very poor recording - Mignon - resumes the alert theme from Promenade I giving the album more cohesion.

In conclusion, although Voci is an album which does not explore the outskirts of its much standardised structure, this is exactly what makes it stand out and also a worthy candidate to challenge Il Tempo Della Gioia's crown as the ultimate RPI masterpiece.