UR- is the fifth studio album by Accordo dei Contrari and was released in 2021 on the Cuneiform Records label with a confirmed line up featuring Marco Marzo Maracas (guitar), Stefano Radaelli (sax), Cristian Franchi (drums) and Giovanni Parmeggiani (Steinway piano, Fender Rhodes, organ, Minimoog). According to the liner notes, like the previous one, this work was recorded live at Le Dune studio in Riolo Terme, a small town in the province of Ravenna, with the help of some guests such as Alessando Bonetti (violin), Patrizia Urbani (vocals), Sergio Papajanni (bass), Carlo Facondini (electric guitar) and Francesco Guerri (cello). The recording sessions took only a few days (from January 30 to February 2, 2020), with some overdubs in 2020-21. The album conceptually deals with roots and was dedicated by keyboardist and composer Giovanni Parmeggiani to his ancestors and to his son. The particular, colourful artwork was provided by Dario D’Alessandro...
 |
The title of the opener, “Tergeste”, refers to the ancient name of Trieste, a city where Giovanni Parmeggiani often had to commute by train when composing the music for the album. It’s a beautiful track that starts by a piano solo ostinato pattern and then goes through many changes in rhythm and mood. In my opinion, this piece might be a perfect score for a spy film set on the Orient Express...
“Così respirano gli incendi del tempo” (Thus they breathe, time’s fires) is a long, complex track that blends jazz rock and classical influences and every now and again reminds me of Area and Banco del Mutuo Soccorso while the following “Più limpida e chiara di ogni impressione vissuta (Parte III)” (More limpid and clearer than any lived impression - Part III) brings an emotional storm with its tense, frenzied passages and calmer parts...
As written in the liner notes, the title of “UR-” refers to a prefix meaning “original”. This long, articulated piece begins by a nocturnal piano pattern and the soaring vocals of the guest Patrizia Urbani used as an instrument to to add tension and colours, then the rhythm gradually rises with a martial pace as sax and electric guitar draw disquieting shadows...
“Secolo breve” (The short century) could recall again Area, with its revolutionary rage and frenzied pace. The title refers to The Age of Extremes: The Short Twentieth Century, 1914–1991 a famous book by Eric Hobsbawm, published in 1994, where the author comments on what he sees as the disastrous failures of state socialism, capitalism, and nationalism and offers his sceptical view on the progress of the arts and changes in society in the latter half of the twentieth century...
“Contrari ad ogni accordo” (Opposed to any agreement) ends the album and begins by a calm, dreamy atmosphere with the piano and cello in the fore, then the rhythm section begins to pulse, sweeping away the dreams and introducing a more aggressive, uncompromising mood...
“Così respirano gli incendi del tempo” (Thus they breathe, time’s fires) is a long, complex track that blends jazz rock and classical influences and every now and again reminds me of Area and Banco del Mutuo Soccorso while the following “Più limpida e chiara di ogni impressione vissuta (Parte III)” (More limpid and clearer than any lived impression - Part III) brings an emotional storm with its tense, frenzied passages and calmer parts...
As written in the liner notes, the title of “UR-” refers to a prefix meaning “original”. This long, articulated piece begins by a nocturnal piano pattern and the soaring vocals of the guest Patrizia Urbani used as an instrument to to add tension and colours, then the rhythm gradually rises with a martial pace as sax and electric guitar draw disquieting shadows...
“Secolo breve” (The short century) could recall again Area, with its revolutionary rage and frenzied pace. The title refers to The Age of Extremes: The Short Twentieth Century, 1914–1991 a famous book by Eric Hobsbawm, published in 1994, where the author comments on what he sees as the disastrous failures of state socialism, capitalism, and nationalism and offers his sceptical view on the progress of the arts and changes in society in the latter half of the twentieth century...
“Contrari ad ogni accordo” (Opposed to any agreement) ends the album and begins by a calm, dreamy atmosphere with the piano and cello in the fore, then the rhythm section begins to pulse, sweeping away the dreams and introducing a more aggressive, uncompromising mood...
More info:
