GAROFANO ROSSO

Well in the seventies BMS represented an important reference for me as a musician,always looking for the romantic and symphonic aspects of progressive music and considering their strong impact too... Skillful and clever musicians They are today -like in the past- but of course some works like this "Garofano Rosso", representing the simple side of their music, let me appreciate another kind of ensemble, without the excellent vocalism by Di Giacomo and lacking the incredible touch concerning some other more complex instrumental albums...I think of the symphonic work "Di Terra" and the immortal "Darwin" and their music seems to be disappointing in this simple mood, transmitted by "G.R.";instead today their approach is still communicating a sense of neverending research -within their simple popular and ethnic music format too- which is well fitted into the present days and quite appreciated also during the issue of this controversial work more suitable for that time!

I have nothing else to say... the present album is not essential but well arranged and to me that's enough!!

This album by Banco is rather unusual. Can you imagine Genesis with Peter Gabriel making an all-instrumental album or Supertramp with no vocals ? No ? Well, Banco did just that ! And did they succeed too ! In fact, this is a soundtrack for a film of the same name directed by Luigi Faccini. The music is fantastic, never boring. The use of a variety of instruments makes it really interesting. If all soundtrack music were like this... Get Banco's classic albums first then get this one. You won't regret it. If you don't like Francesco Di Giacomo's voice, then get it all the same ! This is typical Banco at its best.

I am not usually found of sountracks (even being Floyd ones). So, to listen to "Banco" and not hearing the great Francesco on the vocals is a bit a weird experience for me.

Some jazzy songs like the opening number "Zobeida" (weak), a melting pot one "Funerale" mixing jazz & classical stuff with some prog and spacey elements. It combines too many sources to be coherent even if the second part is rather successful.

Like some other soundtracks, it might be better when you actually see the movie (but I can't say if it applies here). Next song is purely experimental and poor ("10 Giugno 1924").

Medieval mood for the short "Quasi Saltarello". We are definitely in weak territories with this album so far but we'll finally get a pleasant track "Esterno Notte". Sweet intro and beautiful acoustic guitar. This is the first symphonic song so far. The piano work is also very nice. Not great but when you compare it to the other tracks it is much better.

The title track is also a correct number, a bit difficult to start but after two minutes the rhythm catches up and keyboards lift off to generate a good song at last. Nothing fundamental, still. "Suggestioni" is also one of the few good songs but again what is lacking is a bit more enthusiasm, passion. The fact is that the absence of Giacomo's great vocals are a great loss. And the music proposed on this album is little inspired. From time to time a nice part during a song like here but this is a bit short to make a good album.

"Passeggiata In Bicicletta..." is on the jazzy side as well for half of it. Gets beter and almost Crimsonesque for the finale. Half a good song...The pastoral and beautiful "Siracusa..." is finally a great "Banco" song. At least till we come to a grotesque, baroque secong part. Why couldn' t they write a full good song ??? Well, it is actually the case for the closing number. "Banco" as it ought to be : symphonic, very much in the ELP style; But very short song, unfortunately.

This release is not very interesting. This is a poor experimentation and IMO is a complete waste of time. Very little to remember here; maybe some good, but halves songs whcih doesn't leave much of a great experience if you sum them up. Between one and stars, really. Let's upgrade this to two stars.

This is the first album by Banco Del Mutuo Soccorso that I have heard. Ironically, it is also the first Italian Symphonic Prog album I have listened to.

So what do I think of it? Well, it's quite remarkable, frankly. It's dark and gritty at times while also being uplifting and powerful. It is very classical at times, but very electronic at others. The odd yet beautiful artwork compliments the music well. This album has so many different moods housed within that it is a completely different experience every time. If all Italian Symphonic Prog is like this, then I am sorry for putting it off for so long!

My favorite tracks on the album are: 10 Giugno 1924, Quasi Saltarello, Esterno Notte (Casa di Giovanna), Suggestioni Di Un Ritorno In Campagna, and Tema di Giovanna. Each song has its own theme or mood, while sometimes carryingf that over into new territory, while other, shorter songs seem to stay where they are the entire time. Neither song style is bad, and both work very well, here. I assumde since this was written for a film that the band must have been making the length of each song pertain specifically to certain situations already recorded on film. So the sometimes stagnate state of some of the shorter songs doesn't bother me much. They recorded only what was needed to create a certain mood for any givens scene, and sometimes that took longer than others. I hear some recopitulation as well here and there, reminding the listener and/or viewer that this is pne big piece of something. The album on the whole is very visual, and that is how any good soundtrack should be.

All of the tracks on the record just seem to speak to me emotionally in ways that I haven't been spoken to since Tool's ''La te ra lus'' back in '01. Yes, some of the tracks may get a little funky here and there, but that's what makes this album so cool! One minute it sounds like your listening to Bach, the next moment you could be listening to Ozric Tentacles (this form of genre-meshing can be heard very clearly on the album's title track). The combination of classical music and psychedelic influences really works somehow for these guys, and I for one am very impressed.

So there aren't any lyrics, I frankly don't care. The music itself is so pleasent that any voice overtop of the compositions would most likely kill the effect the music itself has on its own. Trumpets, guitars, keyboards and violins all converge on this effort, and somehow, this odd combination works! What impresses me the most with this is that the band never seems to fall short anywhere. Never does it sound like the musicians are missing their marks or not quite saying what they want; on the contrary, every note, every song, every mood change or sudden switch of pace all seem to be part of te plan, and the emotions come out of the music seemingly effortlessly. Now THAT is true talent there, folks.

The technical prowess found here is exceptional, as well, and while I don't always think that is what makes for good music, it can work to the music's strengths and make it better as long as the person playing the instrument has talent to begin with, which I feel this band certainly does.

Granted, I am not sure how the band's other albums compare, and I do realize that this is technically a soundtrack and not a free form studio album, but hey, if the bands albums proper are anything even remotely as good as this (or even better, perhaps?), then I will be more than happy that I discovered Banco Del Mutuo Soccorso.

So, there you have it. My first venture into uncharted waters in Banco Del Mutuo Soccorso's instrumental album Garofano Rosso was a success. I loved every minute of it, and I will come back to Italian Symphonic Prog and more specifically BMS again very soon for a second helping. Truly remarkable stuff. I am quite pleased. I only retract the one star on the rating scale because I still don't know how this album compares to the band's other work, otherwise this would have gotten a perfect five. Four stars isn't bad, however.

Happy listening.

''Garofano rosso'' is the fourth official Banco album for the Italian market and with this album the downfall for the band continues.After the symphonic excellency of the first two albums,''Io sono nato libero'' showed a much darker and jazzier side of the band and with ''''Garofano rosso'' this mutation is completed.

It must be pointed out that this album is totally instrumental,heading as a soundtrack for the eponymous film,and of course this work is not highlighted by the voice of Francesco Di Giacomo,maybe the best singer of the whole Italian Prog scene.Many pieces in this album have a jazzy edge,partly even close to Lounge Jazz,centered around souless keyboards and a smooth rhythm section or have a slight keyboard-driven artistic flavor,but without the familiar Banco power and freshness.It is not a surprise that the few symphonic pieces of the album are definitely its brighter moments,though they sound lighter and less intensive that on the previous Banco works.A couple of tracks also deliver the qualitive musicianship of ''Io sono nato libero'',that means they offer some bombastic interplays of the highest calibre.On the other hand,this album was created in order to cover musically a film,so it cant be equally compared with the rest of the bands discography.With all these styles met throughout,the best comparison would be propably be PANGEA's ''Invasori'' album.

''Garofano rosso'' is not a bad album at all and if you just forget about what to expect from a classic Banco release,you will propably enjoy it a bit more...but it lacks a lot of the majestic moments of the group's early years,not to recall the total absence of Di Giacomo's sensational vocals.Fortunately its members would find themselves soon on the rise again.

An intriguing little oddity in Banco's discography, Garofano Rosso is in fact an all-instrumental soundtrack to an Italian TV miniseries. The lack of the operatic vocals usually associated with the band will no doubt put off many of their fans, as will the lack of epic tracks - the group concentrating on shorter pieces - but at the same time it's an interesting chance to see another aspect of the band's sound. Classic jazz influences a few of the tracks, and the brothers Nocenzi embrace the opportunity to incorporate more modern synth noises into Banco's sound. I wouldn't put it up there with Banco's classic albums, but fans of the band will not want to be without this unique piece.

Stunning performance

Banco del Mutuo Soccorso once again climb different height in their way to immortality. This time the purpose is a movie soundtrack. Fiery vocalist Francesco Di Giacomo remains unemployed without leaving the band, but that's actually the plan for this profound instrumental album called Garofano Rosso. Once again Banco del Mutuo Soccorso proved itself as a leading band of the whole genre of progressive music.

The album is characterized of distinctive sharp keyboards, hyper-innovative songwriting and stunning musicianship and execution of the main idea's planning. Time signature and structure workings of the band are of high quality. Garofano Rosso is typical soundtrack piece of art with lots of emotional peaks and rediscovered themes all over the album.

The dimension of italian neorealism is fully described and revealed with masterful abilities here in this magnificent release. The natural sound and enormously completed playing the instruments construct Garofano Rosso as supersonic blend of symphonic/psychedelic/italian neorealism/art rock/jazz fusion/profound instrumental wonder of art. All the non-musical parts help to strengthened impression,because of their accuracy.

Another superb response to the question - which one's the most consistent prog band of the 70s. That's arguably Banco del Mutuo Soccorso. Another 5 stars record.

It's pretty obvious that Garofano Rosso is not your typical Banco album, simply because of the astonishing non-presence of lead singer Francesco di Giacomo, so why even bother making this a cause celebre, criticizing for no more reason than it not fitting the comfort zone?

I love this album and always have, a soundtrack that showcases the incredible instrumental talents of the players especially the upfront bass meanderings of Renato D'Angelo and the work of drummer Pier Luigi Calderoni, who does some admirable percussive work throughout but also the incredibly varied orchestral arrangements that add a completely non-prog element to the music. Here the French horn, trumpets (clarino and tromba ), vibraphone and timpani take up a large musical storefront , even though the Nocenzi brothers still lather on the keyboards with sizzling gusto.

All the pieces save the intro "Zobeida", which is the weakest track here, are astounding slices of Italian-flavored prog-rock, with liberal doses of expressive intent, veering into jazz, experimental, symphonic and orchestral with unabashed ease.

From "Funerale" on, the music starts evoking some heavenly realms, dreamy passages that suggest cinematographic images (pealing church bells), trumpets leading the fanfare with swirly organ as the piano leads the merry escapade. Romanticized and elegant, the melodies are purely dazzling.

"10 Giugno 1924" begins with a furious cavalcade, all guns blazing intensely, Calderoni's drums beating a marshalling drive. Sounds like some escape scene from a wild Italian film, slightly dissonant and hyperactive, with Maltese's electric guitar the only supplier of melody.

Veering into the quasi-medieval and the all too brief "Quasi Saltarello", a little ditty that shows a myriad of baroque essences and aromas that point playfully towards the core trio of essential pieces: "Esterno Notte", the title track and "Suggestioni di un Ritorno in Campagna", the vivid music surely serves cinematographic necessities that can also be selfishly enjoyed by closing one's eyes and imagining another gripping silver screen scene. Starting off with a surreal synth medley involving splendid acoustic guitar, a nascent melody that is serenely elegant and tasteful as the piano takes over. Brooding stuff! The title track relies on a more typical Banco premise, piano, guitar and synths carving out a multi-phased assault on the senses, held together by that solid rhythm section. The Nocenzi brothers understand ivory interplay (presumably learnt in the womb), complementing each other impeccably. This is something ELP fans wold gulp up in a jiffy! On the final piece of the triad, the majestic piano interplay with Maltese's lead guitar is an album highlight, another Banco speciality at its finest, this piece recalls "Metamorphosis" for its bouncy and nervous piano tones but in a perhaps more subtle style, jazzier, cooler and less bombastic. Simply stated, this is RPI of the highest order, complex interactions between the gifted musicians, common melodic vision and this album's icing on the cake.

The disc ends with 5 easy little pieces, each between 2 and 3 minutes and all fascinating mosaics of sound: "Passagieta in Biccicleta" is slightly more playful and childlike, trumpets galore pushing along a basic rhythmic pulse, this piece sounds like an Italian version of UK jazz-rock legends Nucleus, erupting drum attacks propulsed by a demonic bass, synth adornments and lots of atmospherics! "Tema di Giovanna" is piano central, the grandiose keys interweaving with synthesized flutters and D'Angelo carving a solid bass furrow. Very pretty! "Siracusa" is carousel time, you can imagine the Fellini clowns eating their sopressata sandwiches as their buffoons prance around them playing their leisurely instruments in a hot piazza somewhere in the boot! "Notturno Breve" is spooky melody featuring mostly synths and organs, in a dapper baroque style, evoking times gone by and keeping the mood solid and entertaining. Finally, "Lasciando la Casa" puts this puppy to bed, another splurging symphonic rendition with just the right amount of fanfare, bombast and bravado. The electric guitar sizzles among the phased arrangements and settles this into the night sky.

Perhaps not the finest Banco recording ever but Garofano Rosso is one of the best instrumental packages from the 70s progressive rock scene and should be seen as the latter and not the former. As such and especially because of its unique qualities, this is a prog collector's dream album. While some may lament Di Giacomo not presenting his dramatic voice, the music simply stands all the tests and proves once and for all, the mammoth talents of the musicians involved.

4 Red Carnations