MAD CIRCUS

Road To Planet Circus is the fourth album by Mad Fellaz and was self-released in 2022 with a renewed line up featuring Paolo Busatto (electric and acoustic guitar), Andrea Cecchetto (drums, percussion), Ruggero Burigo (guitars), Carlo Passuello (bass), Enrico Brunelli (keyboards, synthesizers), Rudy Zilio (flute, clarinet, synthesizers), and Luca Brighi (lead and backing vocals) plus some guests such as Giovanni Forestan (sax), Davide Baratto (guitar, backing vocals), Evridika Cuder (backing vocals), Fabio Trentini (backing vocals), Giancarlo Romano (trumpet) and Marcello Sambataro (additional keyboards). As on the previous album, during the recording sessions they were helped by producer Fabio Trentini (Moonbound, Le Orme) and shaped their compositions with a strong focus on the “groove” in a nice blend of prog, jazz-rock, fusion, funk, afro and even a bit of soul. The beautiful artwork by Antonio Carrara tries to depict the musical content...

 

The opener “The Animal Spell” features hypnotic atmospheres and exotic flavours that might recall the imaginary landscapes of Roger Dean. The music and lyrics in some way invite you to close your eyes and take off from the ground jumping up to the sky where life beats hard and you can find beautiful, deep colours and paint your dreams with them...

The lively, carefree “Free As A Dog” portrays a man walking on a street as free as he can be in a bright sunny day. He can run wherever he likes and no chain can stop him, all he needs is the light of the sun shining through the rain and its warming effect on his skin to feel good. The music every now and again reminds me slightly of PFM...

“Jokepot” is a funny piece inspired by the character and the story of Giancarlo Pelosini, an Italian TV quiz show contestant who answered by a suggestive joke to an ambiguous question about the warlike qualities of the legendary Amazons. He lost a huge sum of money but became famous... Next comes the lively “Sips Of Confidence”, a warning against the charming, false promises of modern barkers who draw your attention to sell you illusory remedies to soothe your pains...

 

“Rise And Shine” starts by a soft, acoustic intro. Here the vocals are used just like an instrument to add a touch of colour. When the rhythm rises the dreaming atmosphere does not vanish and the music shines like the sun upon the desert producing mirages... The following “Tuareg’s Dance” evokes in music and words a long caravan of tired men and women that, step after step is crossing a hot, sunny desert. The falling rain is like a blessing for them, an injection of hope for their hard journey towards the sea... Then, “Exodus” describes their feelings, the silent cries they left behind and the difficult choices they had to made leaving their homeland to reach the shore from where diving into the unknown...

On the notes of the sarcastic “Candy Store” you disembark on a greedy world where you have to keep calm and maintain your self-control because all what you can see is deceiving and dangerous. Real happiness lies on a magic land where there’s no crime nor lies, a paradise where you can find love everywhere... A place that doesn’t exist! Next comes “Babylon” where there are some passages that might recall Gentle Giant blended with Oriental flavours. The music and words convey a sense of dramatic awareness about all what’s going around you. It’s written in your eyes that you want back your liberty...

The following “Rise Again” begins a cappella and the influence of Gentle Giant is stronger than ever when the vocals evoke the sense of freedom that can experience children plying games and climbing trees... Eventually, the long, beautiful instrumental “Tennouheika No Sakura” (Cherry Blossoms of His Majesty the Emperor) closes the album with a surreal, dreamy atmosphere...

On the whole, a very good work that is worth listening to.

You can listen to the complete album HERE

More info:

https://www.madfellaz.com/ 

https://www.facebook.com/MADFELLAZ/ 

 

BACK TO THE PAST

De Rossi e Bordini is a project that dates back to 2008 when keyboardist Gianluca De Rossi and drummer Carlo Bordini recorded an instrumental piece entitled “Il pozzo dei giganti” that was included on the 2008 Musea - Colossus themed compilation Dante’s Inferno - The Divine Comedy Part I. Then, both musicians were part of Cherry Five’s new line up along with Tony Tartarini, Ludovico Piccinini and Pino Sallusti. Unfortunately, when Cherry Five’s bassist Pino Sallusti passed away the band had to stop and De Rossi and Bordini went back to the duo formula. In 2021 they released an eponymous album on the independent Ma.Ra.Cash Records label. The art cover is taken from a tableau by Norman Blake painted in 1826 and represents a scene from Dante’s Divine Comedy...

The opener is a brand-new version of “Il pozzo dei giganti (Inferno, XXXI)”. It starts with Carlo Bordini reciting some verses from the Divine Comedy related to the scene depicted on the art cover, where you can see the giant Antaeus helping Dante and Virgil during their journey... “Ere further on we go, so that the fact may seem less strange to thee, know, then, that towers they are not, but Giants...”. The new version is prevalently instrumental, with Gianluca De Rossi singing just a few verses of the lyrics written by Tony Tartarini for Cherry Five’s version but it was not easy to replace the theatrical style of the vocalist and frontman. Anyway, the music is great and the result is not bad at all...

“La porta nel buio” (The door in the dark) is a new version of a Taproban’s piece from the 2013 album Strigma. It’s a long suite, a nearly 19 minute tour de force for the duo, that deals with a feeling of deep fear and the desperate search for an escape from a difficult situation. In the new arrangement the drums are in the forefront from the very beginning and their interaction with Gianluca De Rossi’s keyboards is perfect...

The last two tracks, “Natività” and “Camellandia”, come from the repertoire of Rustichelli e Bordini and were both included on the 1973 album of the duo entitled Opera Prima. The new versions were recorded live in Rome during the 2019 Progressivamente Free Festival and showcase all the potential of the duo on stage but, in my opinion, a little help from some guest musicians would have improved the performance...

On the whole, despite the lack of really new compositions this is a good work that is worth listening to.

You can listen to the complete album HERE

More info:

https://www.facebook.com/derossiebordini/ 

FIRST AND LAST

Cammello Buck was the name of a Roman band that took form in 1971 with a line up featuring Paolo Rustichelli (keyboards, vocals), Pino Belardinelli (guitar), Mauro Morlacchi (bass) and Carlo Bordini (drums). The band had a good live activity and in 1972 was in the bill of the Villa Pamphili Pop Festival. With Pasquale Cavallo (from Panna Fredda) replacing Mauro Morlacchi, they signed a deal with the Delta label but, unfortunately, the band just managed to record some demos and two pieces for the score of the 1972 film Don Camillo e i giovani d'oggi directed by Mario Camerini. In 1973 Paolo Rustichelli and Carlo Bordini dropped the name Cammello Buck and went on as a duo releasing under their names an interesting debut album on the RCA label, entitled Opera Prima, completely based on keyboards and drums, with a few vocal parts...

The beautiful opener “Natività” (Nativity) is an excellent instrumental piece where dreamy, relaxed parts are blended with frenzied jazz rock passages giving form to an almost mystical atmosphere that, in some way, I think is well represented by the image on the art cover...

Next comes “Icaro” (Icarus), a long, complex track where the music and the hoarse, almost surly vocals of Paolo Rustichelli evoke gloomy, metaphorical labyrinths and the desperate desire to escape from them taking off in a vortex of rage and fear in a bold attempt to reach the sky. Two white wings are flying up and up until they suddenly fall down like and angel cast away from paradise in tears that prays for God’s mercy...

The ethereal “Dolce sorella” (Sweet sister) begins by a church like organ solo introduction, then the music and words conjure up an atmosphere of hope and almost religious expectation with vocals soaring like a prayer to a white goddess, a sweet sister that you can find into your heart and into your mind, a merciful force that can light up your dreams and help you in case of need...

“Un cane” (A dog) begins by a delicate piano intro. The mood is melancholic, the music and lyrics draw the image of a man who walks alone in the street, free as a dog... The man stops in a parking lot and finds his home under the sky, in the dark. He’s just a homeless that nobody helps. Nobody cares of him, not even those who profess to be Christians and call themselves true believers...

“E svegliarsi in un giorno” (Waking up one day) comes from the repertoire of Cammello Buck and a first version of this piece was included in the soundtrack of the aforementioned 1972 film with English lyrics and another title, “To wake up in the morning”. It’s a good track with hermetic lyrics that evoke rage and fear, faith and hope and, most of all, the desire of a new start in the morning, when the world of dreams slowly melts giving way to the threatening insolence of the real world...

The long, complex “Camellandia” starts softly by a dreamy piano pattern, then the rhythm rises driving you through imaginary landscapes full of colours and of exotic flavours. It’s a beautiful instrumental piece that ends the album with a strong cinematic atmosphere...

On the whole, a very good work! Unfortunately, the project didn’t last long and Paolo Rustichelli and Carlo Bordini parted ways soon after the album was released. So, their first opus was also the last...

You can listen to the complete album HERE

Rustichelli e Bordini: Opera Prima (1973): Other opinions:
Jim Russell: The cover photo never fails to get a smile when I look at it. This Italian album from the classic period is pure keyboard heaven and I believe that vintage keyboards and drums are the only instruments used here... (read the complete review HERE)
Paul Fowler: The standard of playing is not surprisingly excellent as in the main are the compositions, surprisingly mature considering the young age of Rustichelli, the only downside being some decidedly rough vocals... (read the complete review HERE)

 

 

LAST FORMULA

La grande casa is the fourth studio album by Formula 3 and was released in 1973 on the Numero Uno label with the historic line up featuring Tony Cicco (drums, percussion, vocals), Gabriele Lorenzi (piano, organ, Minimoog, synth, bass, vocals) and Alberto Radius (electric and acoustic guitar, bass, vocals). This time the album was produced by Mogol who took charge of the lyrics with results that, in my opinion, are not always up to the music composed by the band. For prog lovers this work might be considered a step backwards and a disappointing return to shorter, simpler pieces after its excellent predecessor but it’s not without interest and in some way it anticipates the sound of Il Volo, the band born from the ashes of Formula 3 with Alberto Radius and Gabriele Lorenzi...

The melancholic opener “Rapsodia di Radius” starts by an excellent acoustic guitar intro, then the music and lyrics conjure up the image of a world where there are many open spaces but there’s no room for love. It’s a world where rage and selfishness rule and where freedom gets drowned in a moot. Fear looms large and life is like rag a falling down between feet of lead while man seems incapable to look after himself and is like a dove that risks to die before taking off to the sky. Anyway, the beautiful, dreamy instrumental coda lets the light of hope shine through the clouds...

“La ciliegia non è di plastica” (The cherry is not of plastic) is a simple pop rock song about a beautiful, independent and veracious girl attracted by the sirens of advertisements and tabloid stories that make her insecure. The music and lyrics invite her to be more confident because she’s round, sound and tasty like a cherry and point out that her sense of freedom could be frightening for some men...

“Libertà per quest'uomo” (Freedom for this man) begins softly and with a dark mood, then the rhythm rises as the keyboards introduce the melody. After another calm instrumental passage the voices of a choir begin to soar repeating in a loop like a mantra “freedom, freedom for this man” and bringing a ray of light in the darkness...

The melancholic “La grande casa” (The big house) evokes in music and words a deep sense of solitude. A man is driving back home and his new house is big but empty. When he opens the door, all alone in the silence, he feels like a stranger, he can hear nothing but the sound of his steps echoing in the dark. This is not what he desired and now he dreams of someone to hug, someone who could tell him that he’s not alone any more...

The bittersweet “Cara Giovanna” (Dear Giovanna) begins by a romantic piano solo intro that gives way to an acoustic guitar arpeggio. Then the music and lyrics depict a man talking to a woman about their love story that is ending. According to the man, his partner conceives love as paper that she wants to burn, in her eyes he sees a strange light and the desire to search for new adventures. For him it’s hard to accept her choice...

The last track, “Bambina sbagliata” (Wrong baby), depicts another troubled love affair between a young man and a girl. The man seems disappointed and escapes from the charms of the girl who fails to bind him with her sweet, sugary ropes and whipping looks. For him the only solution is going away, forgetting, flying, running away...

On the whole, a good album but not essential in a prog collection.

You can listen to the complete album HERE

Formula 3: La grande casa (1973). Other opinions:
Jim Russell: La Grande Casa is the underappreciated little brother of the previous Formula 3 album that gets all of the accolades. But this little kid is charming and should not be written off by those who appreciate early 70s acoustic rock albums. It is not typical of other Italian Symphonic genre releases in that it has an almost folksy hippie rock feel courtesy of generous acoustic guitar and vocal harmonies. The music has an intimate, romantic, communal vibe that occasionally reminds me of the Californian rock of the period though it doesn't give up its own identity either... (Read the complete review HERE)

DREAMING FORMULA

Sognando e risognando is the third album by Formula 3 and was released in 1972 on the Numero Uno label with a consolidated line up featuring Tony Cicco (drums, percussion, vocals), Gabriele Lorenzi (piano, organ, Minimoog, synth, bass, vocals) and Alberto Radius (electric and acoustic guitar, bass, vocals). It marks an evident change in the band’s musical direction that here turns from the song-oriented psychedelic rock of their first two albums to a full fledged progressive rock and more complex structures. As for the art cover, don’t be mislead: the provocative, macabre subject elaborated by Caesar Monti, Gianfranco Marabelli and Wanda Spinello does not represent the content of an album where horrific, gloomy atmospheres do not prevail at all...

The opener, “Sognando e risognando” (Dreaming and dreaming again), is a suite divided into four parts signed Battisti-Mogol. A different, shorter version of this piece was released in 1971 on Lucio Battisti’s album Umanamente uomo: il sogno but here the band deliver a new good arrangement adding some instrumental parts. It begins by an instrumental introduction subtitled “Fermo al semaforo” (Standing at the traffic lights) that sets a foggy atmosphere and a melancholic mood. Then, on the second part subtitled “Sognando” (Dreaming), the rhythm rises and soaring vocals without words begin to drive you far from the traffic jams and the daily grind of a big city. The third part, subtitled “La stalla con i buoi” (The stable with the oxen) depicts in music and words a beautiful, pastoral country landscape where you can live in harmony with nature and your sweetheart, surrounded by singing birds, rivers full of fishes and woods. You’d better hurry up and try to reach that place as soon as possible leaving behind the hectic city life. You can do it when the traffic lights turn to green... The short last part, subtitled “Risognando” (Dreaming again) ends the piece with a soft, peaceful mood.

The long, autumnal “L'ultima foglia” (The last leaf) is an instrumental suite composed by the band and divided into three parts. The first one, subtitled “L'albero” (The tree) begins by drum rolls and dark organ waves then the rhythm rises and the electric guitar draws some disquieting melodies conveying a nightmarish atmosphere... The second part, subtitled “Non mi ritrovo” (I’m not at ease) starts by a drum solo, then the pace accelerates bringing some echoes of Latin rock à la Santana while the last part, subtitled “Finale”, ends the suite with a slight Gothic flavour...

“Storia di un uomo e di una donna” (Story of a man and of a woman) is a relatively short piece signed Battisti-Mogol that deals with a tormented relationship between a man and a woman that is slowly coming to an end. It opens with a soft acoustic guitar pattern and a melancholic feeling with the voice of Alberto Radius depicting the waning enthusiasm, the desire to look for another love, the fear to suffer again the pain of a broken romance... But there’s still something left, a bit of love is still hanging in the air and some doubts rise, so the final curtain of this love story can wait another day!

The last track, “Aeternum”, is another suite divided into four parts and composed by the band with the help of Lucio Battisti. The first part, subtitled “Tema”, sets the atmosphere with a powerful incipit that after a minute gives way to a calmer passage where music and vocals describe a magic moment where time stands still and there’s no need to think of a distant world nor to worry about the past. You can breathe slowly looking at the nature that surrounds you as the wind sweeps away your troubles, you can feel eternal at least for while... The second part, subtitled “Caccia” (Hunt), is evocative and dreamy and leads to the complex “Interludio”, that begins by a piano solo pattern and is full of classical influences and sonic fireworks. Then the last part, subtitled “Finale”, ends the album with a softer, dreamy mood...

On the whole, a very good album!

You can listen to the complete album HERE

Formula 3: Sognando e risognando (1972). Other opinions:
Jim Russell: The album is neither a failure nor an overwhelming success but somewhere in between. Many different interesting parts and some clunkers are seemingly cut and pasted together in ways that are not convincing. It gets you pumped in a few spots but can't seem to completely pull one in for the kill, the various parts sounding lost and not unified. Good ideas seem squandered without the glue, without the good flow that makes for an intense listening session. But it can't be written off so easily as many feel the album works quite well despite... (read the complete review HERE)

SECOND FORMULA

The second eponymous album by Formula 3 was released in 1971 on the Numero Uno label with a confirmed line up featuring Tony Cicco (drums, percussion, vocals), Gabriele Lorenzi (keyboards, vocals) and Alberto Radius (guitars, vocals). As its predecessor, the album was produced by Lucio Battisti but this time all the songs were signed Battisti-Mogol and interpreted by the band whose creativity was in some way limited. The overall sound mainly draws on psychedelic rock and Italian melody but the result is a far cry from the "Italian prog" of other groups of the same period, with simpler structures, lighter lyrical content and less adventurous solutions... 

 

 

The long opener “Nessuno nessuno” (No one no one) is a good piece blending hard rock, psychedelia and Italian melody. The music and lyrics evoke a foggy motorway landscape... The protagonist is driving his car and the visibility is scarce, every now and again he can see the lights of other cars coming from behind and surpassing him, then vanishing into the white... He stops for fuel at a service station, pays and resume his journey through the Po Valley feeling lonely and sad... 

 

“Tu sei bianca, sei rosa, mi perderò” (You are white, you are pink, I’ll get lost) is a straightforward rock blues piece with a nice organ work and lyrics about an irrepressible, haunting passion. A man is trying and trying again to get the woman he desires and who is driving him mad...

The melancholic “Vendo casa” (I’m selling my house) depicts a desperate man in a house that is a mess, a man who is crossing e period of deep crises on the account of a broken relationship while the following “Eppur mi son scordato di te” (And yet I’ve forgotten you) is a carefree song that was very successful as a single and that tells of a man cheating on a woman and when caught desperately tries to find a justification for what he defines just a game, a distraction...

The weak “Un papavero” (A poppy) depicts a beautiful, independent girl who takes each day as it comes and whose romances do not last long, like a flower, a beautiful poppy... Then comes “Il vento” (The wind) that tells of a man who wakes up early to steal out of his house and escape from a relationship that for him is over. He feels that when the wind begins to blow you can’t stop it, so he’s leaving his woman and his past behind him with a pinch of regret but determined to search for new adventures...

“Mi chiamo Antonio Tal dei Tali e lavoro ai mercati generali” (My name is Antonio So and So and I work at the general markets) ends the album with a rock blues flavour that every now and again could recall Bob Dylan and Jimi Hendrix. It tells of a man who works hard at the general markets unloading boxes of fruits in the rain and when he comes back home finds out that his woman denies him any solace...

On the whole, a good collection of more or less simple rock songs but not essential in a prog collection.

CINCINNATO'S COME-BACK

Cincinnato split up in 1973 and it wasn’t until 2010 that two original members, Giacomo Urbanelli (piano, keyboards) and Gianni Fantuzzi (guitars), had a new go under the name Thauma Cincinnato along with Franco Erenti (keyboards, synth) and Paolo Burattin (bass, acoustic guitar) who had already collaborated with the band in the seventies. In 2016 they self-produced a new album entitled L'essere e l'auriga, mixing modern sounds and vintage atmospheres and with more focus on lyrics than on their debut work from the seventies. During the recording sessions they were helped by some guests such as Graziano Rampazzo (drums), Ilaria Guerra (vocals), Tina Nocerino (vocals), Erminio Grassi (percussion), Luciano Cirino (piano), Fra Flower (darbuka, percussion), Serena Erenti (French horn) and Maurizio Vaccalluzzo (trumpet) who gave their contribute to enrich the sound while Salvatore Scianna took charge of the album cover...

The opener “Colori di noi” (Colours of us) is a slow, reflective track where music and lyrics conjure up a wave of melancholy that hugs you, light and strong like a veil, coloured and transparent. Hidden, painful emotions and disquieting feelings are like mysterious colours that only our eyes can perceive...

The nervous “Espectadores Part 1” follows alternating almost obsessive rhythms, hypnotic passages and charming flamenco guitar patterns. It depicts in music and words dizzying, hammering images hitting heavily upon a passive audience. Between news, arguments, debates and many contradictions eventually what’s left is a desperate need to switch off the devilish media machine...

“La peste” (The plague) is a sarcastic bluesy jazz ballad that deals with a kind of social plague provoking the degeneration of ideals and the regression of civilization. As social dynamics and political debates turn into wild animal fights, the memories of the past got lost leading to a present where optimism and sweet oblivion are the therapy that set a sleepy mankind free from the spectre of freedom and its responsibilities...

The rather weak “Dialogo” (Dialogue) is an ironic piece where male and female vocals play the role of a man and a woman whose marriage is falling apart, a dialogue that evokes an outrageous and bitter battle... Then it’s the turn of the soft, dreamy “In bici nel parco” (Cycling in the park) that begins by a delicate classical guitar arpeggio and tells in music and words of a quiet, idyllic park ride of a man and a woman in a sunny day on their bicycles. It marks a strong contrast with the previous track...

The title of the following “Dasein” refers to a fundamental concept in the existential philosophy of Martin Heidegger, a form of being that is aware of and must confront such issues as personhood, mortality and the dilemma or paradox of living in relationship with other humans while being ultimately alone with oneself. Here the music and lyrics invite you to search for time and a place where to stay in harmony with the human nature and the environment... 

Thauma Cincinnato 2016

 

The melancholic, reflective “Tu” (You) tells of the difficulty to overcome the crisis of a relationship and hangs between nostalgia and time passing by while the sense of life escapes and the past becomes a border hard to cross... Then “Espectadores Part 2” conjures up the image of a person who seems losing his individuality getting lost in the crowd, like a sheep following the herd, looking at life like a spectator...

The last track, “Città Oceano” (City Ocean), begins by a dreamy instrumental section, then the sound of the waves in the background and a soft piano pattern lead to soaring vocals, calypso rhythms and exotic flavours depicting images of an imaginary city where the grey and noisy streets are dangerously crowded. It’s a city that attracts and crumbles who fall under its wild, brutal charm. There are cars lined up like mannequins on the catwalk as groups of thirsty people look for the miraculous source of wondrous objects, fruits of a dreamy ocean. But as the images of this fantastic future world unfold before the eyes of the protagonist, he realizes that he does not want to change. For him it’ better diving into the eyes of his sweetheart, in a lost desire that now touches his naked soul...

On the whole, a good album although very different from Cincinnato’s eponymous debut work. Old fans could be a bit disappointed...

More info:

https://www.facebook.com/ThaumaCincinnato/ 

https://soundcloud.com/thauma-cincinnato 

REBELS AND FOOLS

Cincinnato took form in 1970 under the name Eros Natura in Marnate, a small town in the province of Varese. They changed their name into Cincinnato when they signed a deal with the PDU label in 1972. The new name refers to a statesman and military leader of the early Roman Republic who became a legendary figure of virtue and whose name is still synonym of a person who does not fall in love with power and honours but prefers a simple and modest life. In 1973 the band managed to record an eponymous album with a line up featuring Giacomo Urbanelli (keyboards, vibraphone, vocals), Gianni Fantuzzi (guitar), Annibale Vanetti (bass) and Donato Scolese (drums). Their music draws on many influences, from jazz to hard rock, but the band tried to shape their own compositions in an original way, in full freedom, through long jam sessions. The recording process of the album took only a few days and a low budget, so the result is uneven...

 

The opener is a long instrumental track, “Il ribelle ubriaco” (The drunken rebel) that starts with a burst of energy. Then a calmer, dreamy section follows before a new acceleration that brings a vague atmosphere of chaos and turns into a fiery tarantella rhythm that could recall PFM...

“Tramonto d’ottobre” (October sunset) is a delicate, dreamy track based on a slow piano pattern evoking autumnal atmospheres, falling leaves and beautiful colours... Then “Esperanto” ends the first side of the LP with strong jazz flavours and a pulsing rhythm, blending many musical languages into one...

 

The long, complex “L’ebete” (The fool) is the only sung piece of this work and stretches along the whole second side of the original vinyl. In my opinion it’s an excellent piece with a visionary atmosphere and evocative lyrics that conjure up the image of a man who feels like a fool in front of the mystery of life and death. He can’t understand what he really sees, he can hear confused voices around him, surprise and fear hit hard on his heart and he stands still, bewildered by the power of nature, overwhelmed by love and a sense of pity for his fragility... After a first part where vocals take the lead, a long instrumental journey follows driving you through many different emotional landscapes...

Unfortunately, the album was released only in 1974 when the band had already called it a day, it wasn’t adequately promoted by the label and was soon forgotten, until its re-release on CD. The AMS new edition features three bonus tracks: a new version of “Tramonto d’ottobre” recorded in 2006 by Giacomo Urbanelli and Donato Scolese plus Piero Orsini on bass, a new piece entitled “Tangando”, recorded in 2006 by the same trio, and a live recording dating back to 1972, “Eros natura”, with a very poor sound quality...

On the whole, a good work from a band that would have deserved more credit.

You can listen to the complete album HERE

Cincinnato: Cincinnato (1974). Other opinions:
Jim Russell: The music is quite lovely and interesting to my ears. My best description would be spacious, atmospheric, esoteric, a little spacey, warm, and with a decidedly unhurried, laid back feel to it. This is largely (though not completely) instrumental music whose goal seems to be the spirit of improvisation. I would recommend it very much to listeners who love a patient exploration of rock building and subsiding slowly with piano, acoustic and electric guitar, bass, and agile drumming... (read the complete review HERE)