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Posts Tagged ‘Davide Guidoni’

Pensiero-Nomade

TRACKLISTING:
1. Barcarola (4:25)
2. Cerchi d’acqua (4:26)
3. Danza notturna (5:14)
4. Calce e carbone (5:09)
5. La colomba e il pavone (4:17)
6. Tournesol (4:28)
7. Prima dell’estate (5:50)
8. Scirocco (5:03)
9. Imperfetta solitudine (6:19)
10. Sensitive (2:54)
11. Verso casa (4:07)

LINEUP
:
Salvo Lazzara – guitars
Luca Pietropaoli – trumpet, flugelhorn, contrabass, piano, electronics
Davide Guidoni – drums, percussion

With:
Clarissa Botsford – vocals (10)

Pensiero Nomade is a solo project by Sicilian-born guitarist/composer Salvo Lazzara – previously know to fans of Italian progressive rock as a member of Germinale, a band that released three albums for Mellow Records in the Nineties, and also participated in some of the tribute compilations released by that label. At the beginning of the new century Lazzara moved to Rome, where he realized that his musical interests were changing, and took up the study of jazz and improvisation. Pensiero Nomade was born from that experience: the project’s very name hints at the wide range of influences that inform Lazzara’s compositional approach, from jazz to world music to ambient/electronics. The project’s debut album, Per questi e altri naufragi, was released in 2007, and followed by Tempi migliori (2009), Materie e memorie (2011), and, finally, Imperfetta solitudine in the summer of 2013.

While Pensiero Nomade’s previous album saw Lazzara flanked by a group of four musicians, including a flutist and a keyboardist, the lineup on Imperfetta solitudine is a stripped-down trio that features Luca Pietropaoli on trumpet, flugelhorn, piano, contrabass and electronics, and Davide Guidoni (one-half of Daal, as well an excellent graphic artist) on drums and percussion. The result is an album that, while undoubtedly “progressive”, is quite far removed from “prog” in a conventional sense.

Indeed, unlike many contemporary prog albums, Imperfetta solitudine is neither brash or loud, though it would be a mistake to consider it mere background music. It certainly needs to be savoured at the right time and in the right surroundings, preferably after the sun has gone down, and when it is possible to lend it some attention – as is the case with albums in which subtlety and nuance are much more important than forced variety. Nothing is fast or hurried here, and the musical texture is loose and atmospheric, though not random. The sounds are organic, never jarring, but not artificially smooth either. The gentle movement of Lazzara’s acoustic guitar in opener “Barcarola” evokes flowing water, while the trumpet’s smoky, melancholy voice sounds almost human. The same pensive tone, almost an aid to meditation and reflection, can be found in the melodiously wistful “Calce e carbone”, the ethereal  “Tournesol” and solemn closing track “Verso casa”. The faintly disquieting “Sensitive” is the only number to feature the haunting vocals of guest artist Clarissa Botsford; while the uplifting “Cerchi d’acqua” exudes an almost vintage West Coast feel.

The 11 tracks are all relatively short, and only the title-track – a lovely, harmonious guitar bravura piece in which Lazzara uses the strings to create a percussion-like effect – exceeds 6 minutes. While the emphasis is firmly placed on the seamless, constantly riveting interplay between Lazzara’s guitar and Pietropaoli’s trumpet, Guidoni’s elegant, accomplished rhythmic touch adds dimension to otherwise low-key tracks such as “Scirocco” and La colomba e il pavone”; then it comes into its own in the lively “Prima dell’estate”, where it engages in a striking “dialogue” with the trumpet, and” and the stately “Danza notturna”, to which hand percussion adds a discreet touch of warmth.

Although Imperfetta solitudine is very likely to have flown under the radar of most “mainstream” prog fans, it can be warmly recommended to lovers of music that speaks to inner feelings and emotions as well as the ear, and evokes far subtler moods and atmospheres than those usually associated with the pomp and circumstance of classic progressive rock. Complemented by stylishly minimalist cover photography that reflects the nocturnal, meditative nature of the music, this album will appeal to devotees of the output of labels such as ECM or Moonjune Records, as well as those who are keen to explore the thriving diversity of the Italian music scene.

Links:
http://www.reverbnation.com/pensieronomade

http://www.myspace.com/pensieronomade

http://www.zonedimusica.com

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TRACKLISTING:
1. Prologue (7:00)
2. Part I (12:25)
3. Part II (9:09)
4. Part III (16:52)
5. Part IV (13:30)

LINEUP:
Fabio Zuffanti – bass guitar, Moog Taurus bass pedals, cymbals, tambourine
Luca Scherani – Mellotron, Minimoog, Korg Sigma, Hammond organ, grand piano, Fender Rhodes and Wurlitzer electric piano, accordion, mandolin
Maurizio Di Tollo- drums
Matteo Nahum – electric, acoustic and classical guitars
Silvia Trabucco – violin
Joanne Roan – flute
Edmondo Romano – bagpipe, soprano sax, tin whistle, bodhran

With:
Alessandro Corvaglia –  lead vocals (Parts I and IV)
Carlo Carnevali – recitation, vocals (Part I)
Davide Merletto – lead vocals (Part II)
Marco Dogliotti –  lead vocals (Part III)
Simona Angioloni – lead vocals (Part IV)

In spite of its name (an homage to Ingmar Bergman’s 1978 film, Autumn Sonata in the English translation, which marked Ingrid Bergman’s final appearance on the big screen), Höstsonaten -one of the many projects in which bassist/composer Fabio Zuffanti (known to US prog fans for his work with Finisterre and La Maschera di Cera) is involved – hails from the Italian port city of Genoa. Its self-titled recording debut came in 1996, followed in 1998 by Mirrorgames, and then by the four albums comprising the Seasoncycles (Springsong, Winterthrough, Autumsymphony and Summereve), released between 2002 and 2011. Though Höstsonaten is a solo project rather than a conventional band, every one of its albums has been conceived as a group effort with the contribution of a number of talented Italian musicians, some of them members of Zuffanti’s other projects (such as Finisterre, La Maschera di Cera and Aries).

Samuel Taylor Coleridge’s iconic 9-part poem, The Rime of the Ancient Mariner (published in 1798 as part of the ground-breaking first edition of  Lyrical Ballads), is one of those literary works that seem to have been created expressly to be put to music, especially in a progressive rock setting. A riveting tale of guilt, atonement and redemption set largely at sea, it epitomizes Romanticism with its heady blend of Christianity, pantheism and Gothic horror (masterfully captured by 19th-century illustrator Gustave Doré, one of whose etchings is reproduced at the end of the CD booklet). Most rock fans will be familiar with Iron Maiden’s stunning, 13-minute rendition that was included on their fifth album, 1984’s Powerslave. Indeed, Iron Maiden’s epic (by many considered a full-fledged example of progressive rock) was the original inspiration for Zuffanti’s own interpretation of Coleridge’s poem – which first appeared in Höstsonaten’s first two albums (as Part I and Part II). However, Zuffanti was not satisfied with the results, and decided to expand his vision and present the poem in its entirety (while the Iron Maiden song condensed Coleridge’s story, quoting the poet’s words only briefly), even if split between two albums, with Chapter Two’s release planned for 2013.

The ambitious scope of The Rime of the Ancient Mariner (as well as its respected literary source) will remind dedicated prog fans of the the numerous Colossus Project CD sets released by Musea Records in the past decade or so. Zuffanti himself has frequently collaborated with those endeavours, and graphic artist/drummer Davide Guidoni (one of Colossus Project’s mainstays) has contributed his accomplished artwork to the disc. Coleridge’s original text is interpreted by four different singers plus a reciting voice. As good as the vocal performances are, however, the music is the real strength of the album, effectively conveying the dramatic development of the story – from the joyful departure of the ship to the culmination of the tragedy caused by the Mariner’s wanton killing of the albatross, the “bird of good omen” that steers the ship through a deadly ice field.

The instrumental “Prologue” sets the scene with ominously tolling bells and the haunting sound of the waves, then builds up to a rich tapestry of keyboards (manned by Luca Scherani of La Coscienza di Zeno) laced with violin and Matteo Nahum’s stately, melodic guitar. Though the Genesis influence hovers on the whole album, Zuffanti also introduces heavier elements to bolster the work’s quintessentially dramatic nature. Part I (with vocals by La Maschera di Cera’s Alessandro Corvaglia, assisted by long-time Zuffanti collaborator Carlo Carnevali) is the most consistently symphonic episode, juxtaposing lush keyboard textures, choral mellotron and melodic guitar with the lyrical touch of the violin and the pastoral sound of the flute, and then gradually increasing the intensity quotient, leading to the mournful, melancholy mood  that accompanies the killing of the albatross.  After a deceptively subdued opening, Part II quickly builds up to a powerful climax, with roaring Hammond organ and synth slashes complementing Davide Merletto’s vocals, while some sax inserts add interest, and the eerie, rarefied sound effects at the end aptly convey the plight of the ship becalmed in the middle of an empty ocean.

Part III (at 16 minutes the longest track on the album) marks a definite change of pace, often veering into prog-metal territory and bringing to mind the melodic yet powerful style of bands such as Symphony X. Marco Dogliotto’s clear, assertive tenor (reminiscent of a less histrionic James LaBrie) navigates the shifts in the narrative with confidence and flair, while Silvia Trabucco’s violin alternately soothes and roars, sparring with guitar and organ in almost aggressive fashion. The slow, inexorable approach of the ghost ship is rendered in a chillingly understated way; then the music gains momentum once again to describe the death of the ship’s crew. Piercing bagpipes at the opening of Part IV convey the plight of the Mariner, alone on a ship with the corpses of his mates, whose staring eyes curse him. Corvaglia’s vocals blend with Simona Angioloni’s pure soprano, and the folksy suggestions are reinforced by the use of typical Celtic instruments such as the tin whistle and the bodhran, as well as the accordion, which perfectly complement the wistful, romantic note of the violin. Then, grandiose mellotron and powerful riffs, propelled by Maurizio Di Tollo’s imperious drumming, lead to the climactic moment of the Mariner’s redemption.

The Rime of the Ancient Mariner – Chapter One keeps to a restrained running time of about 58 minutes, and I have to applaud Zuffanti’s choice of splitting such an ambitious endeavor in two parts, rather than  releasing a double CD that would have probably been indicted as overly pretentious. Displaying all the symphonic splendour of the golden age of prog, with a tantalizing sprinkling of folk and jazz influences and occasional forays into metal territory, the album manages nevertheless to sound modern (though obviously not “innovative”), avoiding the unabashedly retro stance of some highly praised releases of the past couple of years. Moreover, the lasting appeal of its literary source removes that whiff of cheesiness that often accompanies such ambitious productions. Highly recommended to fans of classic symphonic prog, with particular regard to the Italian school, The Rime of the Ancient Mariner – Chapter One is a very accomplished effort, and a loving homage to one of the milestones of English-language literature.

Links:
http://www.myspace.com/hostsonaten

http://www.zuffantiprojects.com/

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