MAXOPHONE

Another example of the musical richness that characterizes Italian progressive rock, this 1976 self-titled affair is a wonderfully-diverse collection featuring a uniquely original style moulded around the band's obvious love of Genesis, Yes and King Crimson. Though 'Maxophone' has been described in some quarters as a symphonic album, it is in actual fact extremely difficult to classify, such is the breadth of sounds and styles on offer, with a multitude of instruments contributing to an opulent sonic cornucopia that counts lush keyboard passages, electric guitar-shredding and all kinds of woodwind, percussion and brass effects amongst it's battery of tricks. Opening track 'Ce Un Paese Al Mondo' reflects this semi-theatrical approach perfectly, flitting between jocular, music-hall style neo-classical harmonies and dense, multi-layered symphonic prog with reckless abandon before settling down into a beautifully-orchestrated synth-and-keyboard finale that brings to mind the ethereal beauty of fellow Italian proggers PFM. Then, as if to hammer home their point, Maxophone leap head first into the electric, Led Zep-style jazz-scaled rock of the seven-minute long opus 'Fase', which showcases guitarist Roberto Giuliani's dextrous, quicksilver finger-picking. Both these songs illustrate just what an outstanding album 'Maxophone' is, which makes the fact that it would be their one and only studio album incredibly difficult to fathom. Whatever the reason, Maxophone have at least left behind this rewarding slice of Italian prog, which must surely rank alongside the likes of PFM's 'Per Un Amico' and Le Orme's 'Felona E Sorona' as one of the key progressive texts from mid- seventies Italy. Fans of the Yes, Gentle Giant, King Crimson, Led Zeppelin and Genesis should revel in this classic album. STEFAN TURNER, LONDON, 2010