TEMPI DISPARI

"Tempi Dispari" is a magical live album from 1974 by the ATOMIC SYSTEM variation of The NEW TROLLS, led by guitarist Vittorio De Scalzi after three members left to form what would end up being IBIS. De Scalzi is joined by future Nova keyboards player Renato Rosset, who influences this variation in a more jazzy oriented way than any other NEW TROLLS incarnation. The band play here two side-long suites with side 1 really exploring the Jazz theme and side 2 including a theme from "Concerto Grosso 1" of excellent and innovative music with very heavy Miles Davis-like jazz prog rock influences. This is actually an unbelievable album to be honest and a real severe departure from the traditional NEW TROLLS sound delving more into the modal aspects of early SOFT MACHINE and early Herbie Hancock... mostly I think due to the addition of sax. Although jazz rock dominated this album also contains some pretty spacey/trippy segments. Side 2 is more of I guess what you would expect from the TROLLS with heavier guitar and more of an electric prog direction sound but still the freaked out sax really bring new sound to this group... a great album which I love.

In 1974 the guys of what remained of the original NT line-up felt the golden age of symphonic rock was over (though in 1976 with the Concerto Grosso n.2 they attempted to recreate the early '70 atmospheres -without success). So they made a completely U-Turn towards jazz-fusion. I know that this word will make some of you run like hell, and infact this seems to be a totally different group from the one which was able to release such albums as CG n.1, Ut or Searching for a land. But wait a minute and you will find the listening rewarding, mostly because of the great technical ability and of some truly beautiful passages. It took courage to change so rudely the musical direction, even considering that they could lose part of their public (and it proved to be so), but "Tempi dispari" remains an excellent effort, that every adventurous listener should check out.

A very jazz rock oriented album that contains pretty spacey/trippy segments. Side 1 is very fusionesque vein with excellent bass/guitar/sax parts. Side 2 is more space guitar dominated and more of an electric prog direction sound but still the freaked out sax really bring new sound to this group... a great album underated. More recommended for jazz- rock fusion fans!

Live board released in 1974 "tempi dispari". Work by member of NT Atomic System. The content is jazz-rock that chiefly does the improvisation. Tone quality is bad. However, it is understood well that TROLLS at that time had overwhelming performance power. Fine work. Four stars.Excellent addition to any prog music collection.

The Trolls blast off for worlds unknown.

So, it's the live space-jazz experimental one. First off, this is the second release by the De Scalzi branch of the old Trolls, the ones that did Atomic Systems. Apparently they (or the public) were underwhelmed by A.S. because this album is a complete 100% departure, a live album of instrumental rock that is a combination of jazz and space-rock avenues. And it works. There are two side-long tracks that slowly and deliberately explore one idea after another with jamming electric guitar work by De Scalzi and back from Atomic Systems line up, Rosset on keys, D'Adamo on bass, Baiocco on sax and flute, and D'Episcopo on the kit. Side 1 focuses more on the saxophone. Side 2 is a bit more interesting with some really subtle guitar passages ever so delicately weaved into the keyboard work. Unlike earlier Trolls instrumental mouth-foaming, the chops here are nuanced and well conceived. This is not the greatest improvisational fusion you are going to hear, but since this album is hidden away under Italian Symph, I'll use this as a chance to recommend this to Jazz/Fusion genre lovers as a hidden gem. It's a rather unique live album and the re-issued Japanese mini features decent (though not outstanding) sound. So this, the least typical of the New Trolls albums I am reviewing turns out to be my favorite one, with 3 unqualified stars.

New Trolls has been a group that has surprised us with its upsets stylistic-musical, throughout all its existence, sensational recordings like the Concerto Grosso n°1, or the first work considered like conceptual by a group of Italian rock Sensa Orario, Senza Bandera, and later their turn towards more commercial musical forms like Aldebarán; but without a doubt this group is one of the historical ones and that contributed very many to generate progressive rock in Italy, also they was characteristic, mainly in the 70's years, that had changes of personnel, but always the duple Vittorio de Scalzi stayed and Nico di Palo, until the year of 1973, (they would return with bumps after 1975), one duple which is most creative and prolific than it has known the rock progressive, to side of Pagliuca/Tagliapietra of Le Orme for example. they created greatest discs and songs of italian progressive rock and with excellent quality; nevertheless when mentioning to the groups most characteristic of the progressive one in italy of 70's always they mention Premiata Forneria Marconi, Le Orme and Banco del Mutuo Soccorso, and one leaves of side several very good groups as Balleto di Bronzo, Osanna or New Trolls, to those who i consider from my point of view, by the amount of discs that removed and the influence that exerted in the first years of the decade of 70's, one of the fundamental groups of progressive the italian scene.

In this occasion the disc Tempi Dispari of 1974, is a recording live registered in the Alcione theater in its natal Genoa, and in this case it is the formation commanded by Vittorio de Scalzi. - guitar, who when separating of the original formation of New Trolls (and specifically of Nico di Palo), forms a group that also knew firstly like New Trolls Atomic System, and that published this work like New Trolls, (without the Atomic System), accompanying it Renato Rosset. - keyboards, Giorgo d' Adamo. - bass (of original New Trolls) and two musicians of the scene of the italian jazz Tullio d' Episcopo. - drums and Giorgio Baiocco.flute and saxophone.

Considered a work from regular to good in general, within the progressive circles i believe that this is one of best live discs than they have been recorded in Italy of those years, the group only register two long suites, excellent and with very many contrapuntist turns, architecture very searched carefully and with an obvious influence by the sounds of the jazz rock, (very cultivated at that time by groups like the Mahavishnu Orchestra and Return to Forever), there is no doubt that the interpretation of these melodies demonstrated the overwhelming one to be able that they had these musicians in those years and i can affirm that it was the group that more good it executed and it interpreted live in that year, and for sample this recording. passages extraordinary of mysterious mysticism, long improvisations that culminated in climax non apt for cardiac people, returned stylistic form unusual and until aggressive and a ferocious execution on the part of all the musicians, demonstrate so that doubt would have of to be considered a powerful force within progressive Italian not has that Vittorio always had genius of symphony as the one of drama and shows clearly in this work, when to be already under control absolute (in New Trolls has to share it with di Palo), it demonstrates that he is able to touch the guitar of all the possible and known forms, from the pure jazz to hard rock, happening through excellent and majestic scales and the freshness of their elaboration, to it enchantment, fantasy, discreet emotion are united and always a vanguards spirit to form new sonorities, without a doubt one of the geniuses of Italian music.

The disc is characterized by a capable structure where melodies reigns and where the musicians are pleased in valorizing the different sonorous planes, the games and the rings of each instrument, also is a series of versicles of decorative style and of rigorous polyphonic, I only imagine towards where they will have taken this group to have persisted in this style; there is doubt that is a disc in which they separate of the sound, net no progressive, that characterized them and they surprise to us with this work, live, that without a doubt is one of the best ones than they have become in progressive Italian and jazz rock.

But di Scalzi he was not alone in this adventure and for this the musicians who integrate this incarnation of New Trolls are from very first division class, Giorgio is one of the best bass players of Italy and the world, when demonstrating as with you send of his under capricious recreates multifacetics rates that I only have listened to in bass players of the stature of Jimmy Garrison or Ron Carter, also with a finished technique, but with indomitable skill, he maintains melody and he marks to the main rhythm of the song, occurring time to create small single of incomparable masters, and the use of the silence that is key in the jazz, elevates to levels excels here creating tension at the algid moments of melodies (and that they are many), excellent bass playing and with a feeling by fine and the emotional thing, that very few have it.

Also Renato that with its range of keyboards (moog, Hammond, Synthesizer, etc.) he demonstrates that this turned in the deep knowledge of the harmony, the tone and the ring, where a powerful temperament affirms, an intellectual who flees from the easy effects, a musician that an aesthetic one applies refined and that know to describe with music the different feelings from the human soul. Creating an incredible atmosphere along with the guitar of de Scalzi, with intense develops dialogues and superior tonalities, to summarize is everything a poet of the sounds. also it is to emphasize the work of Tullio the drummer, one of the best ones of Italy than i have listened, a handling of the combined cadences, a loudness and intelligent use of the multiple resources that include with their deep knowledge of the rhythm of jazz, where is appraised until the aim perceivable melodic lines good and all it with an extraordinary clarity and discretion. touching lyric parts with explosive vehemence.

Finally the precise and forceful execution of the saxophonist Giorgio Baiocco and that is an entertainment to listen to it, with a deep sense by the lines of saxophone touched by John Coltrane or Sonny Rollins, and with the undeniable influence of the music of Miles Davis (although this had played the trumpet), makes a discreet but vigorous balance with the force of the guitar of Vittorio and the keyboards of Rosset, certainly offers an instrumental, ecstatic and intense voice. a rare work that mainly demonstrates the overwhelming power that they had in live and that transmits a magical feeling, in second melody, where it reaches an extraordinary subliming and little times reached about any group of progressive rock.

The only thing that i make notice is that i do not believe that the concert has lasted 33 minutes, and is one hurts that is not had including the complete concert.

The album begins with 7/4 (settequarti). after the obvious applause of the presentation, they begin with a rhythm maintained by a small scale created in the bass by Giorgo, and that little by little is integrated the fragmentary drumming of Tullio with single percutives, to give shades melody, without letting lose the rhythm. De Scalzi, it is weaving a solo of guitar, very in the style of a Al di Meola, and with an unmistakable Mediterranean flavor, coverall the first 2 minutes, and while to the bottom already they are emphasizing pincelades of saxophone and keyboards, very similar to the fact by groups like Soft Machine. as of minute 2:23, they change to a very typical rhythm of the Canterbury School, with duels between the guitar of Vittorio and saxophone of Baiocco, creating an pleasant and melodious structure, of great musical invoice; for minute 3:15 de Scalzi surprises to us with a jazziest solo that remembers a little to me to Larry Coryell, with passages of dark feeling, which dynamism and excellence are touched with, later to prescribe single already more progressive with extensive chromatic scales and the distortion characteristic of the effect overdrive to us, while D'adamo maintains to the main structure of the song which has not varied, and Tullio prescribes rhythmical interludes of great jazziest contrapuntist ability and excels polyrhythms, while the Rosset's keyboards are clarifying all melodies with a reasoned balance. as of minute 6:09, variation one octave lower melody main finely executed and maintained by bass playing the pulsating one of Giorgio and gives space to the a solo keyboard, that shows their animated and colorful style here, using the effect of moog in its synthesizer with a grace and elegant beauty and solid foundations in the improvisation, so as painter in an impressionist picture.

While de Scalzi it goes on a par of the sound of bass with tight and great melodic maturity, whereas the drumming of Tullio is demonstrating what excellent drummer is , with modal notes and rhythmical turns of great knowledge and lyrical spread, in the style of Max Roach, destroying the rate and deconstructing it again of untiring way. Later around minute 8:00, are a interlude very expressive with free notes on the part of the keyboard of Rosset and the guitar of Vittorio, with arpeggiated notes begins and to give to place a solo of saxophone on the part of expressive, evocative Baiocco and with melodies firmly established in polyphonic, and indeed to begin there to touch in a tight style maintained in 7/4, with the genius of the Giorgo in the bass constructing a compass and an excellent scale that has the seal of rare virtuosity, so that Baiocco exhale note multiplicity in his saxophone, of sonata with coltraneish influences and of musical greatness that lies in the germ of free jazz.

Whereas Tullio is creating an alive rhythmical counterpoint that with its security of touch is drawing up an accurate answer saxophone, like in many great quartets of jazz, the call and response. later and as of minute 11:40 interlude comes another one, with the guitar of di Scalzi drawing up those reflecting ones, a little autumnal, that it puts in with his solo of guitar and which they demonstrate to the seal of a splendorous guitarist and accurate improvisator, and that in those mentioned single, is listened to certain zappian influence in its form to touch, whereas the rest of the group is giving an agreed musical colorist with notes distilled by Vittorio; it stops after a brief but exhaustive redoubling in its drums on the part of Tullio, offer a very effective end, very dynamic and where the virtue to construct a rate, to reduce it to its primary note and later to go reconstructing it through an exact range of melodies, harmonies, rhythmical freedom, and deep and lyrical excellence does not have progressive comparison in the Italian; the most eloquent sample is the answer of the audience that it is given completely.

Second and last melody of this excellent concert, is 13/18 (trediciottavi) and where I believe that New Trolls explores to the maximum progressive the jazziest forms at the highest musical level and is evident since here the musicians free themselves of you formulate them traditional and introduce new elements, combined with parts that remember to the disc fact like Concerto Grosso n°1, but amplified of an exorbitant way! melody begins with small solo an evocative one and a little nostalgic synthesizer in charge of Rosset very characteristic of the sound jazz rock of that time, to which in just a short time the guitar of de Scalzi is added, creating and engage in a dialog interesting and full of melodic amplitude, in where and becomes to appear famous call response.

Later they are beginning to delineate one melody that is taking form from a musical landscape and where Vittorio recreates angular notes and with a little effect overdrive in his guitar and where it demonstrates that it is a improvisator completed and masterful of inspiration, texture and matchless energy. from minute 3:00 assistant connects melody to passage known by most of the audience (note in the spontaneous applause) and that is nothing else and nothing less than an extract of the second movement of the disc Concerto Grosso n° 1 (saying), here di Scalzi makes interpretation enough touching of that piece musical where he demonstrates that dramatic quality is until able to transmit with parts that touched Di Palo in guitar and with masters and professionalism incontestable (use of effect delay), while Rosset is weaving agreed precise, full of color and calm that is listened to simply magnificent, to arrive at splendor where both they are weaving notes to the unisonous and then Vittorio closes this part with aggressive an agreed note and an effect of rare mystery in the keyboard of Renato, to report as of minute 4:40 to a sound of the bass that is weaving an agreed one lasts, obstinate and sharp on the part of Giorgio and to the drumming of Tullio that is little by little constructing a rate that indeed takes as title of the musical piece and saxophone of Baiocco where it combs sonority that seemed are entering and leaving melody main, there is no doubt that is wise always careful contrapuntist and of plan of the musical work and of sharp drama and where they affirm his masters in the instruments that they execute. as of the minute 6:00 Vittorio makes agressives chords of its guitar with effect overdrive and wah wah of great heavy modulation, to take step to an increasing acceleration of the compass and where all the musicians enter an increasing ecstasies and that always goes led by the huge guitar of di Scalzi that in this melody reaches its maximum degree of born improvisator and genius of the guitar that does not fear the harmonies and the heavy chords and in where Renato goes adorned and giving those shades shining and of great value and with the use of mysterious the effect that emanates of its synthesizer and that adds a dramatic quality and an extreme vertigo to the execution (around minute 7:00- 7:10) finally to arrive at the first apogee from minute 7:30 where saxophone of Baiocco and the guitar of Vittorio reaches levels of an extraordinary music and in where creates and engage in a dialog dramatic and strong, of great melodies and furious affirmation, while to the bottom the keyboard of Renato creates a mysterious atmosphere and cuasi space and the drumming of Tullio is contra punting the difficult rhythm that begins to do Vittorio and Baiocco.

Later and as of the minute the 8:20 group creates interlude net progressive and that finishes with a series of notes touched furiously by de Scalzi and followed of powerful ones it redoubles of the drums of Tullio that shines by the architecture that has created through all the musical piece. what follows is authentically of anthology, the group changes to a rate 13/18 indeed that is one of most difficult in all the music and that stops those that knows it, is needed to be a composer who truly dominates his instrument to be able to take it with authenticate professionalism and good aim, and the New Trolls of this work make it with a really extraordinary greatness and exemplary, as if one that listens to it go literally on shoulders of giants, under Giorgo begins with a really quick, fast bass execution of and elegant one, that go seated the new balance and that little by little are entering all the others instruments to the musical phantom there is no doubt that the emotion this in the base of its art and the sonorous expression is its supreme aim; Rosset delineates with a very good dose of complexity the keyboards, whereas Baiocco is scattering that sound so characteristic of his saxophone, where prescribes countless notes to the same height of the rate that Tullio is developing, with a surprising complexity, and Vittorio creates of the passages most shining of its musical race with formidable melodies that it develops in this part, with an effect overdrive and wah wah, is putting aggressive and furious intensity more and more, mainly the segment that goes of minute 10:50 to minute 12:00 extracting creative forces that to him their algid moments inspire, all a true epic battle to the purest style Genovese! maintaining this frenetic compass, they are creating a end which truly we must be happy for having recorded it and above confirm the these lines of which the live presentations of New Trolls in that year were of simply colossal a creative force, doing reprise intense of the orgiastic apogee which they did in minute 7:30, with that dramatic force and the musical audacity of high stylistic flights that really are equivalent to a company/signature of this great Italian group.

In order to finalize I recommend to them widely that they listen to this facet of this great group, this is a masterpiece in all the literal sense of the word, here they demonstrate to us that they are musicians who can compete with anyone of the entire world and which they are able of create a superior art and which they are equipped with a complex harmonic conscience and that, in special Vittorio de Scalzi could make a total mutual understanding with the other musicians, to create one of the best discs than they have been made live and that speak of the careful that it was always by the form, the balance and the clarity.

Oh, sorry...I have listened to the album again and again, then my evaluation of it has been higher and higher.

At first, I suggest it's just kidding. Pure live album, not partially recorded in the studio? It can be natural that I should think so. The sound is so jazzy and clear, the play is so perfect, stable and improvisational, but amazingly alive. The wave and stream born from these songs are absorbed me strongly.

Several times I have listened and found. Just because this is a live album, this can bear the ALIVE sound with stability and rigidity (of course, it's very important that the quality of this band was very high). I'm glad to meet this ALIVE live album and New Trolls Atomic System.

This is my favourite NEW TROLLS related album. Quite a change in styles from all that has gone before with this band as they wander over to the Jazz-Rock genre on this one.Two side long suites in this all-instrumental recording.

"7/4 (Settequarti)" has some impressive atmosphere early as sax, bass and drums come and go. It kicks in before 2 1/2 minutes. It settles again a minute later with intricate guitar which turns fairly aggressive 4 1/2 minutes in. Nice. Sax is prominant then piano 6 1/2 minutes in. Horns lead before 9 minutes then the tempo picks up with sax and bass leading. It settles with piano and guitar 12 minutes in then the sax and drums join in as it builds. Sax and keys dominate after 15 minutes. Excellent track.

"13/8 (Trediciottavi)" is a more intense track but not to start out as the keys and guitar echo. Bass 5 minutes in as the tempo picks up. Distorted guitar after 6 minutes and it's building. They let it rip after 7 1/2 minutes. Organ before 10 minutes in an intense section with sax and drums dominating. Guitar is back 11 minutes.

This cd will definitely go in my Jazz / Fusion section and for me it's an easy 4 stars.

Is this really New Trolls? The N.T. Atomic System album from 1973 was recorded while legal wrangling were going under way, basically who should own the New Trolls name. It seems that Vittorio De Scalzi won, as the second album with this new lineup, Tempi Dispari, bears the New Trolls name (OK, so the percussionist and female backup singers had left, but the rest remain). Don't expect a continuation of the New Trolls sound as you expect, like from the previous album, or anything else (UT, Searching for a Land, Concerto Grosso per 1). What you get here is full-on jazz rock/fusion. In fact, had this been their only album, this album would have easily fit in the "jazz rock/fusion" category of Prog Archives, but the group rightfully belongs in the RPI section, for rather obvious reasons (their other, prog-oriented albums). This was recorded live, and unlike the second disc (the last four cuts if you own the CD reissue) of Searching for a Land, there's no disputing that is an actual live recording. Searching For a Land featured a bunch of overexcited crowd cheers sounding more like a soccer game than a rock concert, and rumors that the cuts on the second disc were studio recordings and crowd cheers added on afterwards. At least with Tempi Dispari, the crowd cheering is much more normal and the album does tell you where it was recorded. So, given this is a jazz rock/fusion album, you get a more jamming feel, with saxophone and electric piano dominating. Low key synths occasionally pop up, and even some Hammond organ, but it's never the dominant instrument here. At one part you hear the theme to Concerto Grosso Per 1, and the audience rightfully became excited. I can hardly believe that just a year before the band released N.T. Atomic System, because it sounds nothing alike, just the occasional hint. I can imagine a few bewildered fans who bought Tempi Dispari and hearing fusion. On the other hand, those familiar with the fusion of the time I'm certain warmed up to it. More those expecting a more traditional Italian prog sound might stay away, but if you love fusion, this album is a must!

In 1974 another album credited to New Trolls Atomic System was released on De Scalzi's Magma label.The front cover of course never had the ''Atomic System'' moniker, but the line-up was the same with the previous work of New Trolls Atomic System.The album consists of two sidelong tracks, both recorded live at the Teatro Alcione in Genova.

The opening piece is a huge but propably negative surprise for all New Trolls fans.While in the first album some jazzy elements were already presented, the so-called ''7/4 (Settequarti)'' is actually a long Jazz-Rock improvisation with few structured parts, completely unoriginal yet totally new for these Italians, with endless sax solos by Giorgio Baiocco and constant jazzy hooks by Vittorio De Scalzi.There are little connections between the numerous solos and the tracks ends up to be a long and loose performance by the group, nicely executed but with limited to zero interesting passages.The second track, entitled ''13/8 (Trediciottavi)'', has more in common with the old New Trolls sound, although the smooth jazzy guitar solo at the beginning gives the impression of another totally improvised experience.Certainly the music has again a very loose feeling as a whole, but the approach here is multiple and more interesting with an overall richer sound.De Scalzi & co. blend jamming Hard Rock with Jazz-Rock with also references to Space Jazz and Classical Music.Lots of sax interventions, heavy organ solos, fiery electric piano and crunchy electric guitars result to a nice piece of instrumental music with quite a few great ideas, especially when the pounding rhythm section accompanies Baiocco's spacier sax parts.

The biggest suprise of all though came with the reformation of the old New Trolls after this album with Nico Di Palo demising Ibis and rejoining De Scalzi for a fresh new start.After the story of New Trolls Atomic System ended, keyboardist Renato Rosset joined Nova and drummer Tullio De Piscopo had a succesful career as a session musician, even putting up a few personal albums.

''Tempi dispari'' will find place in any serious Jazz-Rock/Prog collection, especially for the very interesting second track, but do not expect something close to the classic New Trolls sound.Recommended.

Space fusion

While not the most refined of live recordings, Tempi Dispa still remains my absolute favourite release from The New Trolls. Well-renowned for their Grosso Concerto, which most people into the RPI scene seem to find their best, I personally think they made a far better album with Tempi Dispari.

Shimmying effortlessly from grand romantic symph prog, the New Trolls Atomic System dives into the deep end and starts playing spacey jazz rock. Slow, pensive, larval - jiving back and forth to a secret trance, the rhythm section here works so incredible well. Like a gentle heartbeat it propels this venture forth with cool calm and collected drive, that makes me think of the ol jazz masters of yesteryear.

Summoning up the fiery bits, the butterflies - the real juice of the album - you have dreamy passionate piano sprees, gentle evocative sections of guitar and reeds, that then again both come off distinctively more snarling and aggressive, when the moods change from the blue chill out of the old jazz club to swinging bebop fuelled fusion. Hell, there are even times on this record, where I feel completely certain that I'm listening to an early Canterbury release.

Imagine an early version of Colosseum run through a filter of Caravan and their German name brothers XHOL Caravan, and you're nearly there. Pour in 4 litres of Soft Machine and Gong, wait until the morning, caress the batter, put in stove on 700* and wait for the album to emerge from its shell.

Apart from all that, you too sense a meaty, well oiled engine running things - a dirty pulsing entity breathing heavily from within the music. It's a musical quality you normally only hear when old beat down blues men come together and speak about the world and beyond through the secret handshake of the guitar. On here there's a similar meeting happening. It feels like something which has been long under way, hiding from beneath old pillow casings and dirty mattresses of the road. It's a connection with these guys that you just don't get from their other releases. It genuinely feels like music that couldn't be held back - it wanted out!

If you enjoy fusion shadings to your space trips - the kinds that make your fingers naturally snap to the beat, the kinds that ebb softly out in utter gracefully played melodies that seem to lie on the edge of your subconsciousness, then go take a chance with this thing. It's an astonishingly good album for looking out windows nurturing hope for a red night with candles and wild entertaining people that dance furiously and talk like the wind. 3.5 stars.