1992 - live concert recorded in 1973
I dream about nights like this.
Those of us who are hard core fans of Italian prog (RPI)
often think about the magic year of 1973.
While the early 70s were a difficult time socially for Italy,
musically speaking this was an absolute high point
(time and place) for progressive music.
We RPI fanatics in other parts of the world, too young
to have been there, fantasize at the thoughts of seeing the
big Italian prog festivals of the day, when bands like this
would get up on a stage for a chance to play their opus of
the ages to huge crowds of open-minded young people.
As a fan of the rough and tumble "difficult" branch of
Italian prog, I dream of the chance of hearing the most
challenging RPI bands play live in that time period.
Those shows are not exactly easy to find.
And while this show was not recorded at one of the
well-known open-air festivals, it is a fantastic live
document of a magical RPI night from 1973.
Thank God yet again for Mellow Records for
the rescue of this show.
HISTORY AND INFLUENCES:
The time was December the 26th, 1973, the place
was Arc-en-ciel, Saint Vincent, in northern Italy.
Guido Gressani (the band's drummer) tells me
the crowd was good-sized and the band was tense,
as they were there to perform their concept album
in its entirety.
The one hour long set on this CD was to be their
grand conceptual work entitled "Pika Dòn Hiroshima"
and they had interest from Number One Records
to release it.
Unfortunately the band split up in 1975 before they
were able to do so-and while it is tragic that this
material never had benefit of a studio recording,
I cherish this live show. Paradiso a Basso Prezzo
("Cheap Heaven") was influenced by the usual
suspects of Crimson, Floyd, Zappa, Genesis, and Tull,
along with fellow Italians Area, Orme, and PFM.
Among many live performances they toured with
The Trip-Guido remembered fondly how the band
was treated as "superstars" even though they were
the supporting act.
He recalled jamming with Giulio Capiozzo (Area)
and Franz Di Cioccio (PFM) at other shows while
waiting for their sets to begin.
The band formed in 1971 and the first line-up of
Maurizio Baldassarri/guitar, Dario Cardellina/bass,
Corrado Pivot/drum, Paolo Manfrin/keyboard, and
Gianni Bruna/vocals lasted until 1972.
The final line-up which is present on the album saw
Sergio Cardellina assume the bass, Guido Gressani
take over the drums, and Ugo Wuillermin handle e-piano,
flute, acoustic guitar, and vocals.
Bruna appears in a small role on the PBP album.
They always performed original material and never
were into covers like many bands begin with.
The material for the album was written by Baldassarri,
Wuillermin, and Manfrin. The group split up in 1975.
This live album consists of 5 highly exploratory extended
tracks ranging from 6-17 minutes in length.
At different moments they can remind me of psych-era
Pink Floyd, New Trolls (Tempi Dispari album), Deep Purple,
Il Giro Strano, The Doors, or even Krautrock sometimes.
Preludio e catastrofe opens the album with chirping birds
followed by the most cacophonous guitar screechings of
Baldassari, creating something of a dark-moment
Thematically it's an interpretation of the universal questions
of life, death, and man's spiritual meaning.
Gressani and Cardellina do a nice job throughout of
keeping the rhythm grounded during the moments of craziness foisted on them by the other musicians. I'm not sure where Baldassari and Manfrin find some of these cryptic sounds
but they can get really "out there."
Ai raggi del sole morente (Beneath the rays of the dying sun)
is my favorite track and I consider it a masterpiece.
This track reminds me very much of the powerful live versions
of "Saucerful of Secrets" the Floyd used to perform
A spoken word intro by former vocalist Gianni Bruna floats
over classic RPI-flavored piano play, as dramatic
Then a weaving flute comes into a very murky section t
hat builds tension, finally exploding with the intense banshee
vocals of Ugo Wuillermin, who I kid you not, can hit the
high-end screech just like Ian Gillan.
It is really strange how much this repeating e-piano
(I think) low/high chord pattern sounds just like the part in
"Don't Leave Me Now" from The Wall, though this music
preceded it by 6 years.
The whole track beautifully finds music for what feels like
the process of dying, a very eerie and poignant affair.
The track climaxes with a sweeping "Saucerful" sound of a descending organ runs and more spoken word narration
Chilling and exciting RPI track it is. Next comes the 17 minute monster that is Danza di zingara (Gypsy Dance) and this is
the one for those who lit up in the parking lot.
This is a jazzy number with a relentless bass riff which
goes on forever and reminds of the trippy fusion the likes
of the "Tempi Dispari" Trolls or even Cincinatto.
Gressani nails some amazing drum fills and the jamming
is very spirited. The last 4 minutes are the most interesting
with spacey keyboards coming in waves and finishing with
the birds again.
Spleen LXXVII sounds like it has a harpsichord opening
(though one is not credited) moving to brisk keyboard/flute
This is followed by sad vocals and some nice organ/flute
work evoking haunted dark-ages forests and regal
Caino nel tempo closes the album with wonderful classical
piano and vocals a la Quella Vecchia Locanda, then to a
heavier Deep Purple-like rock before flute interludes take us
to a fade ending that sounds as if it was cut early.
I have to wonder if there was a bit more to this recording
that got chopped off. Unfortunately, Guido tells me this
single Mellow release is the only recorded work of
this sadly underappreciated band.
Overall the music searches and is for people who enjoy
the process of musical exploration over more obvious
attempts at composition that is easily assimilated.
In other words, you won't be humming these tracks after one
play but if you like weirdness you'll sure as hell be intrigued.
There are two ways to view the sound quality of this rare live recording.
Glass half empty or glass half full?
Sure, by today's standards this is a real mess.
Recorded in a somewhat primitive manner there are
plenty of technical problems, not the least of which is
very audible crowd noise in the soft spots.
Thankfully it is talking and not screaming, still I'd love
to choke these kinds of people who can't shut their piehole
when artists are trying to perform for them.
There are also moments of over-saturation that occur,
yet I happen to be a glass half-full kind of guy regarding
sound quality of archival recordings.
I am thankful that someone
(Mauro MORONI and Ciro PERRINO again) had
the insight to release this amazing music, warts and all.
I accept the sound issues as part of the price for a chance
to hear a very rare and very good RPI band perform live
during the peak of the movement.
The highs and lows of the frequency range are intact so
in that sense this is a much better recording than other
archival efforts like Giro Strano, the problem here is
simply some glitches and those in the crowd
Bottom line, if you love this kind of music, don't let the
"oh the sound is bad" wussies scare you away from
a great time.
The rather brief booklet contains lyrics and five great stills
of the band members, including Baldassarri playing his
Les with a bow and Wuillermin playing two saxes at once.
The rear panel photo shows PBP on the steps of the
ancient Roman Theater at D'aosto.
Today Mr. Gressani is an architect who still performs in
a jazz quintet and collaborated on compositions with PBP
keyboardist Paolo Manfrin.
I thank Guido for taking the time to communicate with me
about this special time.
I heartily recommend this live recording to anyone into
the "difficult" branch of RPI or anyone who likes a rather
rough and tumble mix of different styles with improvisation.
Not for those who like it safe or soft. It's 4 stars for this writer. . .
Q: What are your thoughts today looking back on the special
period of Italian prog of the early '70s?
Guido Gressani: "I think that the period of Italian progressive
of the early '70s was a magic time: the people were open
to any musical proposal and the musicians invented
the musical language---every band was special!"
Review by Finnforest
Special Collaborator Honorary Collaborator