All Prog From Italy Appreciation Thread

Mindflower is the brain/soulchild of Fabio Antonelli along with Fabrizio Defacqz and Alberto Callegari. Various albums have featured a host of other musicians but these three have been the core group. "The Art of Dreams in a Little Bottle" was released under the moniker of Fabio Antonelli Ensemble, but as far as the RPI team is concerned, as well as the presentation on the artist's website will acknowledge, the album can easily be included on the artist page of Mindflower. The main difference with this title is that while Mindflower was a blend of Italian rock and classical influence that was fairly even, here the emphasis shifts to the chamber-acoustic sound. There are more choirs, strings, and classical arrangements, though there is still a bit of rock drums and bass creeping into some tracks. The interesting thing is that while I enjoy all of Mindflower's unique, hard-to-classify albums, this one under the alternate moniker may be my favourite, or at least tied for favourite with the beautiful "Mindfloater" album.

The band who has incorporated symphonic, neo, folk, rock, pop, and classical into various albums here presents a more focused artistic vision. "Art of Dreams" is a truly wonderful cross between chamber music and pastoral Ant Phillips-styled light progressive, with the typically beautiful Italian touch though certainly not typical RPI fare. While Mindflower/FAE without question have RPI influences, notably Orme according to the group, they don't present with obvious RPI band characteristics beyond the beauty of the arrangement and instrument choices. The themes are similar to the other Mindflower albums and concern the search for enlightenment represented by images of fairies, paths in nature, magic, and the search for "the point" of attainment. Vocals are usually female and English language (here by Micaela Gotelli, frequent Mindflower vocalist) along with occasional female choir vocals and male vocals. Antonelli's soothing acoustic guitars and Defacqz's keyboards work masterfully together. Bassist Callegari engineered the album and directed the chorus as well. But further icing on the cake is the gorgeous, flowing strings frequently used, the violin and cello. Gentle and spacious compositions typically are built around the Ant Phillips-like acoustic guitars and Gotelli's fragile, intimate vocals. Once in a while the drums and bass will turn the corner into a "rock" sound but not often. Mostly this album remains quiet but dynamic, openly intimate and soft yet still focused. Interludes of strings or solo acoustic guitar separate more typical sections with vocals. Dreamy, lightly treading piano permeates the gorgeous title track with gently strummed guitar and light drums, the piece having really nice upbeat melody.

Almost always optimistic and hopeful in its outlook, this is an album which requires a respite in your day. It will not suffice to play in your car in traffic, you need to slow down and open a bottle of wine to truly appreciate this "Little Bottle." The album closes with a formal-feeling pipe organ and a loud thud which brings you back to your day. My only criticism of "Art of Dreams" is the same one I have of all of their projects, the misguided insistence on using more awkward English vocals/phrasings instead of the world's most beautiful language. Italian vocals would really put Mindflower over the top and they have missed every opportunity so far to do this. Of course this is a highly subjective criticism on my part. Nevertheless, nothing dilutes my enthusiasm for what may be Fabio's finest moment, an album which never fails to leave me rejuvenated by its therapeutic spells. A true healing musical tonic. They would be back to a more rocking approach with the follow-up "Mindfloater" which is another very enjoyable and unique album. My advice for starting with this band would be "Mindfloater" if you want to hear their rocking side, or "Art of Dreams" if you wish to enjoy their softer, contemplative side. If you like those two albums continue later with "Little Enchanted Void" and "Purelake."

The lyrics booklet really pulls the project together and adds to the classy aesthetic here. The tasteful cover art is just the beginning; there are gorgeous photos and painting reprints throughout. I love the life affirming qualities of the artwork and music as they perfectly compliment each other. "Art of Dreams" should appeal to fans of Karda Estra and Gatto Marte on the chamber side, and Anthony Phillips on the acoustic side.

Sitting down to give an album that first attentive listen, you never know what to expect, especially one as overlooked as this. Sometimes an album goes unnoticed for good reason, and sometimes an album is just unwelcoming or difficult to grasp, keeping the more casual listeners away. Gli occhi di un bambino is really neither of those, in fact I was hooked on first listen; blown away by the "big- time" sound, and the fluidity with which Torquati explores seemingly incompatible approaches.

Toto Torquati is a good example of a session musician who gained a backlog of experience working with established and rising artists during the artistic boom. Blind from birth, but without any noticeable effect on his skill behind many keyboard instruments; he played with many prominent acts and artists, beginning with jazz and dabbling in pop as well. Despite his experience and reputation, the first solo album, a collection of keyboard covers based around hit singles, gained little attention. He released another one (Gli occhi) a year later in 1973 which would be his last. This album received even less attention than the first despite being a large improvement. Luckily, the "Italian prog revival" in the '90s brought this gem to the light of day when Akarma reissued it on cd. Also surprising is the great sound quality and production - definitely one of the clearest records you will hear this deep in the prog trenches. As for the styles employed here.that's a tough one because we're at the artist's whim: it feels like Toto tried out everything he was familiar with or that seemed interesting, and the result surpasses this reviewer's ability to explain it. Basically, you will hear pop, jazz, orchestral/classical, symphonic, gospel, funk, soul. I would say that most adventurous listeners will find something (probably many things) interesting; it's not a difficult album to enjoy.

The first two tracks show off some creative development of themes that will be used throughout and allow Toto to get some good exercise out of the keyboard rig. It takes just over one minute to reach the first majestic orchestral flourish; an almost text-book symphonic introduction, but it transitions straight into a funky guitar riff that converses with a cool, choppy drum beat. This definitely sounds like a tight, active band. The wide range of synths and effects take the place of would-be brass instruments. When the vocals come in, they are as powerful as the music: Giampiero Scalamoglia, whom Torquati played with previously, takes lead vocal duties, and he has a thick, soulful voice which is complimented by a chorus of female voices at times. The vocals really seem tailor-made for the soul/gospel parts, which play very nicely between the contrasting jazz and pop sections. And whoever plays guitar.they do a hell of a job - there's no hesitation to challenge Toto's keyboards for the spotlight in the faster sections, creating some deadly interplay. There aren't necessarily any "standout" tracks-the orientation is more toward the album as a whole - it could easily be combined into two or three movements rather than 12 separate tracks. Side one shows the development of several substantial themes, which are revisited on the final stretch of side two after some more "new" stuff. Parts within these movements really should have made some impact by themselves on the mainstream, given the prevalent attitudes of the time. The parallel feel of different motifs gives the album a clear soundtrack vibe, which is a good thing in my mind, going back to the "big-time" sound that I mentioned. Could this be a concept album ("The eyes of a child") about childhood? I can only guess...

Recommended to anyone enthusiastic about the fusion of styles; anyone who just flat out loves music, because the music and songwriting exude so much love for the craft. You can't help but find yourself taken in for the entire 40 minutes (yep, an RPI album that reaches the 40 mark!! You better rest up for the bad boy.) *insert that fitting majestic theme that opens and closes the album to end my review*

PA Rating: 4+/5 As I said, this album should appeal to many, though it's not the very best to come out of Italy. "Gli occhi di un bambino" has risen on the big list that I call my favorites, and I would like to see it given the attention that it deserves. I can't see anyone really disliking it.

The Jimmy Row Factor: 8.5/10, B+