Quando apprendo che i Jethro Tull avrebbero suonato a
Palermo l’8 luglio 2003 (prima volta in Sicilia) al Teatro di Verdura
(anfiteatro all’aperto, sorta di “appendice estiva” del Teatro Massimo), mi
attivo subito per “piazzare” i Malibran come gruppo di apertura del loro show.
Li avevo visti dal vivo numerose volte, in giro per l’Italia, fin dall’estate
del 1988. E, soprattutto, erano da sempre il mio gruppo preferito. Dunque,
esibirmi con loro sullo stesso palco, magari conoscerli di persona, e poterlo
fare davanti ad un pubblico numeroso, presumibilmente “affine” al nostro tipo
di proposta musicale, sarebbe stato quanto di meglio avrei potuto sperare. Un’
operazione simile mi era già riuscita con il Banco del Mutuo Soccorso, 4 anni
prima, e dunque mi metto subito “al lavoro” per rendere concreta questa
possibilità: contatto Aldo Tagliaferro, presidente del “fan club” italiano dei
Tull (del quale facevo parte), che apprezza i Malibran, e che conosce di
persona Ian Anderson e soci. Anzi, da semplice loro fan, Aldo è diventato un
po’ il “referente italiano” del gruppo: durante i tour, va a prenderli
all’aeroporto, li “scarrozza” in macchina da una città all’altra, li porta nei
vari hotel e ristoranti e tutto il resto. Tra l’altro conoscevo Tagliaferro
ancora prima che fondasse il “fan club” (e la relativa rivista “Itullians”, cui
ero abbonato), perché era lui (insieme ad Aldo Pancotti, amico del Banco, e
primo “gancio” per riuscire a suonare insieme allo storico gruppo romano nel
1999) a farmi avere rare registrazioni dei Jethro Tull. Quindi mi metto anche
in contatto anche con la “Blue Sky”, l’agenzia che porta i Tull in Italia: loro
sono sempre gentilissimi, e, “in sinergia” con Aldo Tagliaferro si cerca di rendere
concreta la cosa: Malibran e Jethro Tull insieme a Palermo.
Passano mesi di
telefonate, con conseguente alternanza di speranze e delusioni: “si può fare”,
“anzi no, ci sarebbe questo problema”, e così via. Alla fine Aldo mi chiama,
non mi trova, ma parla coi miei, ed io, al mio rientro a casa, trovo un
biglietto sul tavolo: “suonerete con i Jethro Tull”: wow, meglio del biglietto
vincente della lotteria di Capodanno! Si entra nei dettagli, e continuo a
sentire sia Tagliaferro che la Blue Sky: Ian Anderson ha gradito il CD di
tributo ai Tull (“Songs for Jethro”), aperto da una nostra versione di Bourèe:
dunque i Malibran sono la prima band del disco che ha ascoltato. Ma pone delle
condizioni: innanzitutto, non dobbiamo essere una cover band dei Jethro Tull,
ma un gruppo con una discografia propria: e in effetti è così. In secondo
luogo, io non posso suonare il flauto: Ian Anderson non vuole altri gruppi che lo
suonino, prima che lui salga sul palco.
La cosa mi sembra comprensibile sotto vari punti di vista, e per noi non è un problema:
di fatto sono pochi i brani nei quali, dal vivo, utilizzo il flauto: dopo che
Benny (il tastierista) ha lasciato i Malibran insieme a Giancarlo (flauto e
sax), io, oltre a cantare, con la chitarra devo anche coprire i vuoti lasciati
dai due “transfughi”: e dunque, dal momento che non dovremo tenere un concerto
intero, sarà sufficiente non mettere in scaletta “Magica Attesa” e “Pyramid’s
Street”.
Inoltre, inizieremo “Prelude” saltando la parte iniziale ed eseguiremo
una versione ridotta di “Malibran” senza l’assolo di flauto (che, tra l’altro,
essendo quasi tutto un omaggio ai Tull, nell’occasione non avrebbe proprio avuto
senso!). Ecco però in arrivo un altro guaio: Alessio, il nostro batterista (e mio
fratello), quel giorno potrebbe non essere disponibile, e cominciamo a
considerare l’ipotesi di un sostituto (ma come? Eravamo in sei e adesso diventiamo
in tre, più un batterista “esterno” che non conosce i nostri pezzi? E questo giusto
nell’occasione più importante?!?). Comunque questa cosa si risolve: Alessio ci
sarà, e si comincia ad entrare nei dettagli tecnici: noi dovremo suonare 40
minuti e lasciare il palco ad una certa ora; non potremo usare la
strumentazione dei Jethro, dal momento che verremo solo collegati all’impianto
principale: dunque il mio amico Riccardo (del service “Moonlight”) mi presterà
i microfoni, mentre Ignazio (un altro amico) sarà per noi al mixer: in cambio
chiede solo se sarà possibile far entrare la moglie senza farla pagare: giro la
richiesta, che mi viene accordata. Per Ian Anderson, per lo storico tour
manager inglese della band, per quello italiano (Massimo) è tutto ok. Noi ci
limitiamo a fare una sola, normale prova, constatando che il nostro show
funzionerà benissimo anche senza flauto: del resto, in molti dei nostri “pezzi
forti”, quali “On The Lightwaves”, “La Città sul Lago” o “Nuvole di Vetro”,
nelle nuove versioni senza Giancarlo il flauto non è previsto comunque).
Sul giornale “La Sicilia” esce un paginone tutto dedicato a
questo concerto che abbina i siciliani Malibran ai leggendari Jethro Tull, con
belle foto a colori e biografie di entrambi i gruppi. Ma, appena un paio di
giorni prima della data tanto attesa, ecco una laconica e-mail da parte del
tour manager italiano, che mi comunica semplicemente quanto segue: “per motivi
tecnico-burocratici non potrete suonare con i Jethro Tull”). Ma come, era tutto
definito nei minimi dettagli, c’era l’ok di Ian Anderson e di tutto l’entourage
della band, e adesso non possiamo suonare? Chiamo il tour manager, e poi anche
l’organizzatore dell’evento a Palermo. Mi
sento dire, addirittura, che se suoneremo noi, non suoneranno i Jethro Tull!
Alla fine si scopre che l’agenzia “Blue Sky”, purtroppo, aveva pensato più che
altro al benestare di Ian Anderson, ma non a comunicare la partecipazione dei
Malibran agli organizzatori di Palermo, i quali avevano probabilmente saputo
della cosa proprio dal giornale, sentendosi “scalzati”, e senza essere in possesso
della necessaria documentazione (EMPALS, o chissà cos’ altro). Le provo tutte,
ma otteniamo solo il “contentino” di assistere gratis al concerto dei Jethro
Tull, senza gruppo di apertura (!).
E dire che la nostra presenza era data per
certa al punto che, su Internet, nelle liste dei concerti dei Tull dagli inizi
(1968) ad oggi, relativamente alla data di Palermo si può leggere: “Open Act:
Malibran (cancelled)”. Ci andiamo comunque, con il macchinone di Jerry, e
arrivati sul posto (dove vedrò Steve Hackett l’anno dopo) sento Tagliaferro al
telefono: lui è lì, ma non riusciamo ad incontrarci. Riesce comunque a farci
entrare senza pagare (e vorrei vedere!). Il bello (si fa per dire) è che un
tipo seduto davanti a me si lamenta del fatto che non c’è un gruppo ad
intrattenere il pubblico in attesa dei Jethro Tull (!!!). Scherzando, quando
qualcuno mi chiedeva se non ero emozionato per il fatto che avremmo suonato con
il mitico gruppo di Ian Anderson, io rispondevo che sarei stato soddisfatto
solo quando i Jethro Tull avessero fatto da “gruppo spalla” a noi. Naturalmente
non parlavo sul serio. Anche se qualcosa del genere accadde con i Marillion: il
gruppo di Fish, non avendo ancora raggiunto il successo, pregava Anderson di
permettergli di aprire qualche loro concerto, inviando cassette, o qualcosa del
genere.
Finchè i Marillion esplosero con “Misplaced Childhood”
e nel 1986, a Milton Keynes (come disse lo stesso Anderson da quel palco) ricambiarono
il favore, lasciando suonare i Tull (piuttosto in ombra, in quel periodo) prima
di loro. Ad ogni modo, nel nostro caso, sul giornale del giorno dopo scrissero
che i Malibran avevano suonato prima dei Jethro Tull. Ma come li scrivono certi
articoli? Da casa? E’ vero, noi c’eravamo, ma tra il pubblico! Io ho filmato il
concerto, e in realtà ci siamo pure divertiti, nonostante ci fosse sfuggita
all’ultimo momento un’occasione poi rivelatasi unica. Quattro giorni dopo
abbiamo suonato a Bronte e la nostra carriera è andata avanti, con qualche
altra soddisfazione (più di una, in verità). Personalmente, in seguito, ho
davvero suonato prima di Ian Anderson a Novi Ligure, nel 2006, nel corso della
Convention annuale di “Itullians”. La nostra versione di “Bourèe si sentiva in
diffusione, mentre io ho partecipato come flautista a due brani dei Jethro (“We
Used To Know e Weathercock”, con in mezzo il mio consueto assolo) in qualità di
ospite del cantante-chitarrista Andrea Vercesi. C’erano anche gli ex Jethro
Glenn Cornick, Clive Bunker e Dave Pegg, più l’ex batterista dei Gentle Giant.
Non è stata la stessa cosa, ma chi si accontenta…
Giuseppe Scaravilli, aprile 2015
Nella foto qui sopra Ian Anderson nella stessa settimana del concerto di Palermo
1) Oltre L'ignoto
2) Nuvole di Vetro
3) I Know Your Soul
4) Si Dirà di Me
5) La Città Sul Lago
6) Trasparenze
7) Magica Attesa
8) In Viaggio
9) Livin' Alone
Line-up:
Giuseppe Scaravilli - vocals,guitar,flute,bass,keyboards
Angelo Messina - Electric Bass
Alessio Scaravilli - Drums & Percussion
Jerry Litrico - Electric Lead Guitar
Giancarlo Cutuli - Flute,Saxophones
Benny Torrisi - Piano,Keyboards
Link - http://www65.zippyshare.com/v/66525315/file.html
PROG ARCHIVES REVIEWS:
THE WOOD OF TALES
This is a progressive
masterpiece from 1990 that has been digitally transferred from a mint vinyl LP
and re-issued on the magnificent Brazilian label Rock Symphony. The original
vinyl LP was released on the Pegaso Records label and it was MALIBRAN's debut
album. MALIBRAN was born in 1987 on the Sicily Island outside Italy. They are
playing typical Italian progressive rock with a 70's sound. The musicianship is
strong and the music contains many instrumental passages and some nice flute
playing. Many of my favourite albums are from Italy with bands such as IL
BALLETTO DI BRONZO, BIGLIETTO PER L'INFERNO, CELESTE, I GIGANTI, MARY
NEWSLETTER, MAXOPHONE, METAMORFOSI, MUSEO ROSENBACH, PREMIATA FORNERIA MARCONI,
IL ROVESCIO DELLA MEDAGLIA and STANDARTE, and now I can add MALIBRAN to the
list as well. MALIBRAN has much in common with many of these aforementioned
bands. This is without doubt an Italian classic, but unfortunately I think that
not many know about this band. They have recently released a new album called
"La Città sul Lago" on one of Italy's two major progressive rock
labels: Mellow Records. Buy this album and you won't regret it! Highly
recommended!
THE WOOD OF TALES
Back in 1987, the Sicilian band MALIBRAN was born. In the beginning,
the Catania natives took off particularly far from the progressive rock
tendencies, where a very metal-sound orientation predominated all over their
compositions and arrangements. It wasn't until 1989 and during a Prog Festival
organized in Rome, when MALIBRAN finally started to set off among the prog
world along huge bands of the size of LEVIATHAN, EDITH and NOTTURNO
CONCERTANTE. After this mega-show and judging by the response of the fans to
the band, they finally produced their first album which was released in 1990 on
the Pegaso Records label. Later on, the now seventies-oriented style band
released the incredible masterpiece presented as "the best Italian album
since 1977", "Le Porte del Silenzio", where MALIBRAN conquered their
place among the best three Italian bands of the 90's with FINISTERRE and NUOVA
ERA. Out of curiosity, is how I discovered MALIBRAN. "The Wood of
Tales" is an overlooked album, that could easily be measured up to the
instrumentation quality and strong composition of "Le Porte del
Silenzio", but due the fact it is indeed the band's debut album, it lacks
of a deserved recognition and fully acceptance. In that context, is why I
firstly wanted to upload my review on "Le Porte del Silenzio", to
create a wider panorama where comparisons could be included and counterpoints
could be dissipated. It was useful as well because it grew higher expectations
on the fans, and in that order, I hoped most of the now MALIBRAN fans could
feel the proximity of discovering a brand new band for them. "The Wood of
Tales" is a sea full of complexities and simplicities. Why? Because it's
got it all, so you can continuously question yourself why of the surprising
displays of geniality on unpredictable conversations between an intrepid flute
and a ruthless guitar that sounds off almost disturbing. The opening song of
this album named after the band, contains the precise amount of eerie
ingredients to avoid you from leaving your seat, warming you up for what's to
come (at this point, I must say Giuseppe SCARAVILLI sings spectacularly clear
in English. That's a plus for any foreign band which is constantly struggling
to remain universal). Giancarlo CUTULI and Benny TORRISI take away
exceptionally the self-titled piece for almost nine minutes, being inspirationally
interrupted by Jerry LITRICO's astonishing guitar managing and neat drum
performing by Alessio SCARAVALLI. This instrumental suite is beautifully
executed from beginning to end, proving that they could be catalogued among the
Italian greatest musicians. When moving on to "Sarabanda", you and
your ears can realize musical purity comes in a MALIBRAN shape, here you will
be able to contemplate the difficulty of playing an acoustic guitar so rapidly
and impetuous that it'll make you ask for seconds. "Pyramid's Street"
is the suitable excuse for Giuseppe SCARAVALLI to sweat emotiveness and
delicacy throughout his voice while he's having a short conversation with the
intertwining flute that flows all over the album. The climax of this suite is
represented in a beautiful encounter between the flute that turns quite
charming at the pure Arabic style and a echoing guitar that overtakes every now
and then to Giuseppe's voice. The lyrics may be repetitive here, but the music
floating around them is unarguably variant. The inevitable end comes when we
catch up with "Prelude", an indisputable heartbreaking -almost
epical- song that evokes great unfelt feelings, that brings out the melodic in
you and that will irremediably turn your thoughts against each other. In here,
you will experience a certain turn of fate concerning the lyrical composition,
but the music accompanying the vocals is outstanding as the rest of the album. A
critical point of departure to compare works to come from most of the Italian
bands and many others involved in the art rock, "The Wood of Tales"
is the debut album from an underrated band that's certainly deserving of
applause and recognition. MALIBRAN will clearly appeal to Italian prog rock
fans and to fearless proggers that find in curiosity their source of personal
reward. Extremely recommended!
THE WOOD OF TALES
Malibran offers a pure
symphonic music. Not always Italian since vocals (when available) are a mix of
English and Italian. Their debut album, which is mostly instrumental (thank
god, because I am not convinced by Giuseppe Scaravilli (the lead vocalist of
the band). This is particularly true during the opening number
"Malibran". We'll just get confirmed than when playing instrumental
music, the band sounds a lot better. The title track is definitely a highlight.
Italian symph as they can produce : beautiful and poignant music where emotion
has a a lot do. Another great track is "Pyramid's Street". Very
strong fluting, this "Bolero" type song is really fascinating. Of
course, it is not the first to use this classic theme, but they do it with
brio. And what to say about the magnificent "Prelude" ? Apart that it
is a weird title for a closing number, it is the most achieved song from this
very good album. Wonderful melody, stronger beat than usual, superb guitar work
(there won't be many like this on "The Wood of Tales") and again
superb flute play. It is the best song from this album and I really recommend
it to you if you have the chance to get hold on this album. This band is not
very well known but fully deserve your attention. If you like "Camel"
("Moonmadness", "Snow Goose" period), this band will really
please you. The flute adds a little "Tull" flavour which is also very
pleasant. Four stars.
THE WOOD OF TALES
Another major name of the
growing Italian progressive rock scene of the late-80's/early-90's along with
Nuova Era,Ezra Winston,Sithonia etc...They were found in 1987 in
Catania,Sicily,starting an almost metal band,before refining their sound by
late-80's into a delicate symphonic package,influenced by the 70's Italian
legends.First album ''The wood of tales'' was originally released in 1990 by
Pegaso Records and it's their only release totally sung in English.Forget about
the English lyrics,as ''The wood of tales'' is sounding more like a lost gem of
the 70's Italian prog wave than anything close to UK prog.It is mostly an
instrumental release coming like a cross between BIGLIETTO PER L'INFERNO,OSANNA
and BANCO DEL MUTUO SOCCORSO,featuring tons of dark symphonic
arrangements,filled with strong flute work,atmospheric synths and delicious
Hammong organ passages.Especially the flutes are to the fore,ranging from
gentle sounds to haunting driving parts,while keyboardist's Beny Torrisi style
reminds me a lot of NUOVA ERA's Walter Pini,being at the same time classical-tinged
and melodic.Some very intense grandiose parts in terms of symphonicism are
fully characterized by strange and powerful guitar chords,good solos,changing
tempos and deep keyboard work...Believe me,this is one of the finest prog rock
works to come out in the 1980-1990 period with a very uncommercial sound and
trully profressional performances and arrangements,demanding repeated
listenings to be appreciated.Highly recommended to all fans of symphonic rock! The Wood Of Tales, the 1990 debut by Italian band
Malibran, is something of a rarity (at least in my RPI collection) insofar as
it consists exclusively of English language vocals. I'm not particularly keen
on this idea, preferring groups to sing in their native language. Some of
Malibran's future releases would in fact feature both English and Italian
vocals, which if anything is even more unsatisfactory in my opinion. The funny
thing is that the sleeve notes are written entirely in Italian. Given that the vocals
are in English it would have been nice to have at least some information on the
band in that language, but what do I know? By all accounts Malibran were formed
as a metal band in 1987 and I'd say there's still some evidence of that on this
album. The band includes two guitarists and they tend to dominate on this
album. Generally speaking Benny Torrisi's keyboards play only a supporting
role, although Giancarlo Cutuli's flute is well to the fore on each track. If
you like flute and double electric guitars, there's a fair chance you'll enjoy
this. The first two tracks are identical in length, with each clocking
in at 8.39. I don't think there's any great significance in this fact; I just
think it's a bit strange. The first song, Malibran, opens with caterwauling
guitars over a piano and drums stomp. Stirring stuff indeed, although I'm not
overly keen on the digital-sounding keyboards. The vocal part of the song is
slow and subdued and provides an effective contrast to the introduction. These
guys are clearly influenced by bands such as Jethro Tull and Camel, having at
one time or another covered some of these artists' material. This may explain
the prominence of the flute on their albums although here it reminds me of the
man they call The Flute, Ray Thomas of The Moody Blues. Anyway, the extended
flute solo reintroduces the opening theme, which in turn brings this first song
to a close. It's a great start to the album and the next track is equally good.
The title track begins with keys and Alessio Scaravalli's toms setting the
scene. This is a slow-paced instrumental featuring flute once again, and some
guitar that's vaguely reminiscent of BJH's John Lees. Midway through there's a
change of rhythm with the guitars adopting a distinctly metal tone. The third
track, Sarabanda, is a Baroque-styled instrumental piece featuring flute and
classical guitar. The singing on Pyramid's Street sounds a bit cheesy but it
would be churlish of me to further criticise Giuseppe Scaravalli's English
vocals. It's not really that big a deal; suffice to say his voice sounds so
much better in Italian. There's some snake charmer flute on this song, and this
Arabic influence plus the bolero rhythm make it sound more like Rock Andaluz
than RPI. Some of the electric guitar even reminds me of Spanish band Mezquita.
A guest musician plays the keyboard solo toward the end of this song, but I
have no idea why. The final track proper, Prelude, features yet more flute;
Giancarlo Cutuli owns this
album! Lead guitarist Jerry Litrico gets in on the act here as well though,
with a couple of blistering solos. There are three live bonus tracks on this
Mellow re-release from 2002. I generally don't care for so-called bonus tracks,
but that's an issue probably best reserved for the forums. The three tracks in
this case are Song For Lisa, Mystery, and Trequanda. Trequanda is the most
worthwhile addition to the album despite the drum solo, while Mystery features
excellent guitar and saxophone solos. Song For Lisa I could do without although
I could honestly do without any bonus tracks, especially live tracks added to a
studio album. Overall this is another fine RPI album, and while it's not one of
the '70s classics it is nonetheless very much in that style. It's not my
favourite Malibran album and I feel the English language vocals detract
slightly from it, although for others those same vocals may actually be a
positive. Flute fans in particular should check out this band.
THE WOOD OF TALES
Malibran is one of the bigger
names in the nineties' resurgence of Italian progressive rock, and this 1990
debut is the album that put them on the map for prog fans worldwide. The
Wood of Tales is an interesting, but flawed, concoction of neo-prog,
Italian symphonic prog, and even a few dashes of progressive folk. Flute plays
a major part in Malibran's debut, and I love how the instrument is presented as
an integral part of their sound - other than that, The Wood of Tales is
characterized by the mix of pastoral symphonic prog and eighties' neo-prog that
inspired many Italian prog bands around this era. The Wood of Tales is
not a flawless gem that's been forgotten by the sands of time, but it's a solid
debut that should satisfy most Italian prog enthusiasts. The easiest comparisons
to draw when talking about this album are probably Premiata Forneria Marconi,
IQ, and even a bit of Jethro Tull (the flute-led sections make this comparison
almost inevitable). The Wood of Tales is a mainly instrumental
album, but there are a handful of vocal sections that ultimately leave me with
a lukewarm impression. At least on this album, Giuseppe Scaravilli is not the
most gifted vocalist and his singing parts come across as detrimental to the
compositions. While he's far from an atrocious vocalist, the album would've
been a bit better had it been fully instrumental. After all, The Wood
of Tales does have plenty of excellent moments of symphonic prog -
though there aren't any killer tracks here, Malibran was still a group of
gifted songwriters from the beginning. The musicianship on this debut is also
quite impressive, and every musician delivers their part with finesse.While it
may seem that The Wood of Tales is a near-flawless album after
reading the first two paragraphs of my review, I've yet to mention that the
album has a pretty weak production. The sound is simply muddy and unpolished,
and the occasional 'buzzing' noises and uneven mix really don't do the album
any justice. It's not unlistenable or anything like that, but The Wood
of Tales definitely would've left a better impression if the
production were up to par with the music. The Wood of Tales is a
flawed, but ultimately promising, debut from one of the biggest names in
nineties' Italian progressive rock. Malibran offered plenty of cool ideas and
solid compositions with this effort, and I'll be curious to hear what that's
led them to create on future albums. Though not essential by any means, The
Wood of Tales is a solid observation worthy of 3 stars. Fans of symphonic
prog may want to check out this somewhat obscure classic.
OLTRE L’IGNOTO
This is the last full original album from this excellent Italian band.
One of my fave in the genre.If ever you would like to discover all the
magic of Italian symph, I recommend you to listen to "Si Dira Di Me".
Nice flute, strong vocals, lush keyboards, complex suite of themes, but more
than anything : these keys are absolutely gorgeous. Soft sax as well to
complete this nice picture. It is by far the best piece of music. The closing
section belongs not only to the best of their repertoire but also to the best
of Symphonic rock. Being Italian or generic. The guitar solo will fill all your
needs for beauty and This long and beautiful song overshadows any other one. The
title track "Oltre L' Ignoto" also belongs to the best ones of this
work. Even if it is a partial rip-off of "Watcher" during the
opening. But if you can make abstraction of this start, you'll get the best out
of this band : expressive and poignant vocals, harmonious instrumental sections
(church organ and so emotional guitar...). The second highlight. "In
Viaggio" is just a little behind. Strongly linked to "Genesis",
it holds an excellent guitar solo. Upbeat song (almost neo-prog) at times, it
also reminds me "King Crimson" of the very early period (mellotron I
guess). The song stops at just over ten minutes After a blank, we'll get a kind
of "Jethro Tull" medley from which "Bouree" is the best
known one. The band has released a tribute album called "Songs For Jethro"
in 2000. Of course, and for the very first time, there will be several fillers
on this short album (according to their standards). All being short tracks like
"L' Incontro" which is a pastoral acoustic song and nothing from the
other world really. "La Via D'acqua" is the instrumental counterpart
even if more pleasant. Third one of the same kind "Verso sud". A dull
acoustic and passionless song. Far from their inspired work unfortunately. The
album is also less personal. When you listen to "Mare Calmo", you
feel like being on board of "DSOTM". It is a very pleasant
instrumental of course which will be appealing to any old nostalgic as I am but
you need to like such regressive work to appreciate it. There is also a weird
track featured. "Cerchio Mobile" is partially influenced by electro-funky-pop
sound as if "Malibran" was "inspired" by the poor work of
"Banco" during the nineties. Not really a good idea IMO. This album,
while being a good one thanks to the three long songs is not the one I prefer
and I would recommend their first two albums if you would like to discover this
great Italian band. Three stars.
OLTRE L’IGNOTO
Released in 2001, Oltre
L'Ignoto was the last album Malibran recorded as a six-piece band. The group's
official website doesn't contain an abundance of information, and their myspace
site doesn't translate into English very well. From what I can gather, band
members Giancarlo Cutuli (winds) and Benny Torrisi (keyboards) left during this
same year. Whether this was during the recording of this album I don't know.
Giuseppe Scaravalli plays virtually all instruments on three tracks here, but
he was maybe just doing that McCartney thing rather than filling in for absent
colleagues. Reading through the song list gives the impression this is a
concept album. Even with my extremely limited Italian language skills I can
tell there's a nautical thread here, with songs about waterways and calm seas.
The album artwork reinforces this idea as it depicts a Renaissance-style scene
of sailing ships in a harbour. While I can't describe the narrative I do think
the compositional unity clinches this as a concept album, with musical themes
recurring throughout the disc. On the subject of language, I've no idea if any
people are put off RPI because of the Italian language vocals. Personally I
prefer bands to sing in the vernacular, and I can't get enough of this type of
little-known gem from Italy and the Spanish/Portuguese-speaking worlds. Setting
aside the vocals, this album is a real musical feast that has strong shades of
prog giants Jethro Tull, Genesis, VDGG and King Crimson. Admittedly this does
border on slavish imitation on one song, but more of that later. The album gets
off to a fairly inauspicious start that has the opening moments of Si Dira Di
Me flirting with Neo-Prog. However the song quickly settles into more familiar
RPI territory with legato flute, sensitive vocals and one of those plaintive
electric guitar riffs I'm especially fond of. Playful flute and vibes usher in
a section that includes mournful saxophone refrains, doubled on flute. The
opening riff reappears with yet more flute, this time of the Ian
Anderson-inspired staccato variety. Just when you think the song is finished
following further melodious synthesizer and guitar solos, Malibran hit you with
a coda straight out of the left field. So typical of those Italians! For a few
seconds I'll swear that's David Jackson's rasping saxophone I'm listening to.
The second song gets under way with another flute and vibes duet. What is it
with Italian bands and vibes? They all seem to use them. Not that I'm
complaining mind, as the effect is usually delightful. After this brief intro
the main part of Watcher Of The... oops sorry, Oltre L'Ignoto continues with
another wonderfully tender melody and sections that contain contrasts of dynamics
and tempo. L'Incontro is the first of the songs on which Giuseppe Scaravalli
plays all instruments, albeit with the addition of a couple of string players
on this one. It has more than a little of Cadence And Cascade about it. Not the
melody as such, but more the general mood of the song. Cerchio Mobile consists
of a funk groove on either side of a brief guitar jam that reminds me of German
space rockers Eloy, complete with squelching guitar chords. La Via D'Acqua and
Verso Sud are the other Giuseppe Scaravalli ''solo'' pieces on the album. The former is a short acoustic instrumental; the latter is more of the same
with vocals. Both are fairly innocuous tracks with maybe just a suggestion of
filler. Scaravalli's slide guitar on the instrumental Mare Calmo has a bit of
Dave Gilmour about it. Actually it's probably more than a bit, and then there's
the Any Colour You like synth part. In Viaggio closes the album in epic fashion
with the heaviest riffs on the disc. The instrumental closing section that reprises
the title track is truly glorious music. There's about 30 seconds of silence
before we get a ''hidden'' Jethro Tull tribute and that's your lot. Hopefully
my review doesn't give the impression this album is entirely derivative and
fleshed out with fillers. I don't think Malibran make any bones of their
influences and there are possibly one or two tracks that are less than
outstanding. However thanks to the three top-notch songs here I rate it as
excellent and a worthwhile addition to any RPI collection.
OLTRE L’IGNOTO
After ''La citta sul
lago'' several official and unofficial rare studio/live recordings of Malibran
saw the light like ''Raccolta 1990 - 1998'' (1998),''In concerto'' and ''Rari
ed Inediti'' (both from 2000).In the meantime Malibran even toured in the USA
with Giancarlo Cutuli and Benny Torrisi announcing their departure shortly
after.So the fourth studio work of Malibran was a bit of an adventure,partly
recorded by the whole band and partly recorded by Giuseppe Scaravilli alone.The
new album, entitled ''Oltre l'ignoto'', was finally released on Mellow
Records,with the band already shortened to a quartet. Despite the difficult
situation the band was going through,''Oltre l'ignoto'' sees Malibran fresh and
inspired and fortunately the whole album is sung in Italian for the first
time,leaving the dull English vocals behind for good.Musically the album
follows the same vein as with ''''La citta sul lago'',their sound is more
modern compared to the early days,but still their musicianship has a strong
retro influence.Alternating between symphonic arrangements with powerful
organ,harmonic flutes and sensitive guitar work and more Neo-Proggish moments
with floating synthesizers and strong guitar solos,Malibran are still alive and
well,offering some splendid moments among the overall decent stuff of the
album,especially in the longer tracks.There are also plenty of acoustic
passages with the support of violin,cello and smooth bass to give a sort of
dreamy feeling to the album.However a few negative points are still
present,apart from their early sound nostalgia.The sparse electronic effects
and the distorted guitar at moments seem rather useless,still for the first
time Malibran's vocals belong among the highlights of the album. Another more
than decent Malibran release,not so close to their early masterpieces, but a
step forward from the previous album.Anyone into modern Italian Symphonic
Rock,who does enjoy also some vintage passages,should simply purchase
this.Strongly recommended...3.5 stars.
LA CITTA’ SUL LAGO
Five years after
MALIBRAN's masterpiece "Le Porte del Silenzio" (1993) they were
signed to the Italian label Mellow Records and their new CD "La Città sul
Lago" were released. This album follows the same musical direction as
their two previous albums. Their music is a blend between 70's Italian
progressive rock (IL BALLETTO DI BRONZO, BIBLIETTO PER L'INFERNO, CELESTE, I
GIGANTI, MAXOPHONE, METAMORFOSI, MUSEO ROSENBACH, PREMIATA FORNERIA MARCONI, IL
ROVESCIO DELLA MEDAGLIA etc.), new Italian progressive rock (IL TRONO DEI
RICORDI, MARY NEWSLETTER, STANDARTE etc.) modern progressive rock (ARENA, IQ,
MARILLION, PENDRAGON etc.) and JETHRO TULL. The JETHRO TULL reminiscence is much because of the nice flute playing
throughout the album. The music is very varied with many rhythm changes,
extended instrumental passages and big contrasts between quiet and heavier
parts. They are also very skilled musicians. I love this album as much as their
previous two and it's a must have in every progressive record collection. Highly
recommended!
LA CITTA’ SUL LAGO
After the live CD "In
concerto" one year later Malibran released their fourth album entited
"La citta sul lago". Despite the long running time from at about 70
minutes, Malibran succeeds to keep my attention on this CD. The compositions
sound alternating featuring many strong shifting moods, breaks and soli and a
varied instrumentation (guitars, flute, saxophone, piano). My highlights are: a
fiery, wah-wah drenched guitar solo in the titeltrack, a playful percussive
break with a biting guitar solo in "The time", a Jethro Tull inspired
part in "La stagione del re" and metal guitar and propulsive drums in
"Nuvole di vetro". If I compare this CD to their earlier work like
"Le porte del silienzio" the Marillion echoes are almost faded away.
I trace some elements from Camel (flute and guitars), Genesis (keyboards and
12-string guitars) and Jethro Tull (flute) but gradually Malibran has managed
to sound more original. A special word goes to the splendid duo-guitarwork from
Guiseppe Scaravelli and Jerry Litrico (in the vein of Rohtery and Latimer),
they deliver many moving and exciting soli and duo-guitarplay! FORZA ITALIA!
LA CITTA’ SUL LAGO
"Malibran" has
released two very good albums. This is the third one in a row.
"Camel" and "Genesis" were the inspiration for respectively
"The Wood of Tales" and "Le Porte del Silenzio". This album
sounds a bit harder but the band will continue to produce beautiful and melodic
music. "Distanz" opens almost like "In The Cage" ("The
Lamb") and it is the best of the short numbers from this album. But there
will be some marvelously symphonic songs like the sublime "Nuovo
Regno". This is a pure jewel of Italian symphonic music. Well in tradition
of the genre. Extraordinary and wild guitar solo combined with soft keys work.
But these guitars, arghhhhhh... The highlight. The title track is not the best
song they have written. It's a long instrumental featuring partially an improv
and chaotic style music. Fortunately, the second part is more a classic
"Malibran" songs with nice fluting, great harmony and sweet sax. During
"In The Time", part of the vocals remind me of Peter Hammill. Dark as
he could be. Very pleasantly combined with flute as well as piano. It is a bit
more hectic than usual but the guitar will play a major role again and raise
the quality of this song. "Magica Attesa" is a complex instrumental.
"Tull" and "Camel" atmosphere are very pleasant. There are
and lots of theme changes as well. The second part is less appealing : jazzier
and more rhythmy. It sounds as another song actually. This is totally the
opposite for "Le Stagione Del Re" which is a nice acoustic piece.
Fully Trespass-esque. Very smooth and peaceful. Delicate flute will embellish
this pastoral song. Still, it is one of my least fave from the album (excluding
the short numbers of course). The long "Nuvole Di Vetro" opens on a
jazzy part but not for long. It will also turn into a very soft song, acoustic
for a while. There are lots of theme changes for this very elaborate song. It
is not of the caliber of "Nuovo Regno" because I'm missing the great
guitar breaks. The final instrumental part falls a bit flat even if a good sax
section will bring some variety. In terms of long compositions, "On The
Lightwaves" brings us back well on track with their best material. It is a
complex song with powerful vocals (Hammill) is again not far away. Soft melody,
great instrumental play. The riff from "Apocalypse" ("Supper's
Ready") is "borrowed" for most of the finale (four minutes). But
let's not blame them too much for this. This album is just short when compared
to their previous studio work. It is probably their most personal album and I
would rate it seven out of ten. But not four stars. So, until further notice
three stars will be my rating.
Malibran's "La Citta Sul
Lago" comes on the heels of two very commendable past efforts that had
some fine progressive moments and certainly had all the ingredients to
establish a nice little career. The Sicilian band has some identifiable traits
none more obvious than a heavy flute and saxophone presence in the able lungs
of Giancarlo Cutuli. Keyboardist Benny Torrisi is typical of the Italian
school, very ornate on piano and masterful in coloring the symphonic backdrop
with synths and trons. Guitarist Jerry Litrico can howl with the best of them
and is no slouch while Italian prog generally can always boast of superior bass
and drum combos, no exception to the rule here. These "friends" have
been around for over 20 years now and it shows in this their best album yet but
the weak vocals are a hard nut to crack as it can easily grate on even
enthusiastic ears. From the opening "Distanze" the languid groove is
set, as each track has a life of its own. "Nuovo Regno" introduces
the various soloists, so as to get a keen picture of their abilities. The
singing is in Italian and it comes across fine. The instrumental title track is
where the trip really takes off, a synth, bass and flute led excursion to the
"City on the Lake" , morphing into a wah-wah drenched furrow that
liberates the imperial sax from its bonds and rips with sheer abandon. The
track has a reminiscence of the Gong classic "Isle of Everywhere" off
the "You" album. Litrico's extended solo has a bluesier tone than
Hillage but the exhilaration is definitely there. This is an exceptional track
that simmers along nicely. When Cutuli throws in a sorrowful flute lament and
the acoustic guitar chimes in, the arrangement veers into another lane, with an
effect laden slinky solo. "In the Time Part 1 &2" is a bit
difficult to like because the raspy heavily accented singer deflects the
pleasure a tad but the music is great nevertheless. Why can't the Italians just
stick to their fascinating native tongue, "fer crayin out lewd"?
"Magica Attesa" is a folky breeze overtly flaunting the flute,
interluding gently until the beat kicks in, very Tullish, proving convincingly
that these guys have the instrumental side down pat, with another howler from
Jerry Litrico's "electrico" guitar. "La Stagione Del Re"
shows that when singer Beppe Scaravelli chooses his native lingo, he doesn't
force the notes and the sounds flow delicately from his mouth, an acoustic folk
background enchants further, uncomplicated. "Nuvole di Vetro" (Glass
Clouds) Part 1 features more limpid flute flights (the quintessential
Italo-prog instrument in my opinion), with more windswept Italian vocals and a
delicate acoustic lilt and Part 2 , interjects a heftier buzz with ripping
guitars, choppy organ and polyrhythmic chaos but maintaining the softer
singing! Nice twist! The choir mellotron works in tandem with the driving
guitar, finally liberating a sublime saxophone solo that shimmers brightly.
Such an evocative yet underused prog instrument! So next up is a very short
"Interludio" serving up some more gentle blowing! The epic "On
the Lightwaves" sadly returns to the lousy English vocal delivery that
just creeps nastily into your mind, sabotaging the contrasting themes. Doctor
Cutuli's flute comes to medicate the pain somewhat but the disease is way too
rife. An awe-inspiring and elongated lead guitar solo helps forget momentarily
the nuisance. The non-vocal "Richiami" is a Middle Eastern flute riff
that ends on some soft axe leads.Beautiful booklet artwork and great sound as
well. Just stay away from Shakespeare and stick to Dante Alleghieri! 4
corleones.
LA CITTA’ SUL LAGO
Malibran is a modern
Italian band that deserves more exposure here on ProgArchives. Their music is
reminiscent of classic '70s RPI and their third studio album, La Citta Sul Lago
(1998), contains the usual trademark Malibran elements and includes references
to metal, space-rock, jazz and Eastern music. The band benefits from the twin guitars
of Giuseppe Scaravilli and Jerry Litrico, while Giancarlo Cutuli's flute-play
is exquisite as always although his saxophone possibly surpasses it on this
album. There are a total of ten tracks that alternate between songs and
instrumentals. The main standouts among these are the three epic tracks that
run consecutively on the first half of the album. NUOVO REGNO features some
lustrous sax and flute, although it's the killer guitar riffs and stampeding
drums that really impress. Two songs on the album contain English- language
vocals and the 2-part IN THE TIME is the stronger of the two. It contrasts the
tranquillity of mellow flute, piano and vocals with the pyrotechnics of
metal-infused guitar and drums. Sandwiched between these two songs is the 10-minute
title track. UK giants Camel, Jethro Tull and Genesis clearly influenced much
of Malibran's work, but during the first section of this multi-part
instrumental there's a definite Focus vibe. The second section heads into
space-rock territory with its mellow sax and wah wah guitar. While these three
are worthy of special mention, there's not really a bad track on the album. Overall,
La Citta Sul Lago is good but not essential. While its first half is excellent,
the second half isn't quite as strong. Malibran albums are generally quite
lengthy affairs and this one is just short of the 70-minute mark, so perhaps it
would have benefited from a tighter focus. It would still make a nice addition
to any RPI collection, but there are other Malibran albums that might be worth
checking-out first. Third and longest album by Malibran,these time my feelings
are a bit mixed up.While the band still presents their deep-rooted 70's
influenced music,the whole album sounds more modern,losing some of the magic of
their previous releases.The vocals remain a problem,they are very flat and
atonal,while on the English lyrics they are hillarious.On the other hand,the
musicianship keeps going at the high level.Pastoral flute parts,dreamy solos
and symphonic keys all the way.The addition of the sax makes the album more
varied and eclectic,but I do not think it is for its own good,as the band lost
some of their identity.Overall the tracks sound less symphonic and complicated
compared to the past,focusing mainly on melody and atmosphere.Still the albums
is a good example of modern Italian Prog with big-time retro-inspirations and
comes (even that way) recommended.
LE PORTE DEL SILENZIO
MALIBRAN's second album that
has been out of print for over 5 years is now re-issued from the master-tapes
by the magnificent Brazilian label Rock Symphony. This is, if possible, an even
greater masterpiece than MALIBRAN's debut album "The Wood of Tales"
(1990). Here you can find all the elements from the debut: the wonderful flute
playing, the majestic keyboards, the nice guitar work and the saxophone, an
instrument not often heard in progressive rock. MALIBRAN has a great 70's
symphonic sound with reminiscences to other great Italian bands such as IL
BALLETTO DI BRONZO, BIGLIETTO PER L'INFERNO, CELESTE, FINISTERRE, I GIGANTI,
MARY NEWSLETTER, MAXOPHONE, METAMORFOSI, MUSEO ROSENBACH, PREMIATA FORNERIA
MARCONI, IL ROVESCIO DELLA MEDAGLIA and STANDARTE. The title track is a 27
minutes classic masterpiece. This album is perhaps the best Italian album in
the 90's along with MARY NEWSLETTER's album "Nuove Lettere" (1996)
and STANDARTE's album "Stimmung" (1998). I love Italian symphonic and
progressive rock, and Rock Symphony have done a cultural charitable by
re-releasing MALIBRAN's two first albums. Thank you for the music! I hope I'll
get to hear their latest 1998 release "La Città sul Lago" too. Highly
recommended!
LE PORTE DEL SILENZIO
Judging by the opinions
and reviews of many collaborators, MALIBRAN is contemplated as one of the best
contemporary progressive rock bands from one of the most influent countries of
this genre, and speaking for me, I think so too. This Sicilian sextet produces
in 1993 their second album "La Porte del Silenzio", which many
consider, me included, one of the greatest musical works of the last ten years.
The previous circumstances surrounding this album, such as "The Wood of
Tales"; were precisely the most propitious to project a brand new
reorganization, to reborn not only as a band but as a revealing yet convincing
musical process. From the first moment the album captivates you into an
indescribable world, most of all when it takes you through passages of extreme
symphonic contents, almost classic I'd say. A special mention deserves this
CD's last cut, a 27 minutes suite named after the album, a majestic and solemn
piece, a walk through several mood types, all of them intense and versatile. I
have always enjoyed pointing out the best track from an album that deserves the
mention of a "suite", but if I could, this time, I'd pick them all
and review each one of them respectively. thing I won't do in order to get you
hooked on this incredible Italian prog production. Individually each instrument
is superbly interpreted, the flute performing by Giancarlo CUTULI, unarguably
exquisite, very appealed to the one played by Kollar ATTILA of SOLARIS than the
JETHRO TULL's; is not only virtuous, fast, precise, but delicate, fine, varied
and jolly as well. The keyboards played by Jerry LITRICO sound off classic in
some interludes, mostly the piano, quite spacey sometimes, creating atmospheres
propitious for the enlightenment of the flute and the guitar, where this last
one has many moments of extreme brilliantness, profoundly sensed, inspired and
very provocative due the inconveniences of sounding sort of neo-progressive
sometimes, but I'd difficultly label it that. Maybe the virtuosity and
sensitiveness displayed in this album are the most convincing combination it's
got besides the harmonies, cadencies and rhythms accompanying all the tracks
masterfully played in here. It is imperative to underline that the highlighted
weakness of this band is undoubtedly its vocalist; where the quality of his
voice lacks of preciseness. This may be the only reason of why I wouldn't
consider MALIBRAN as one of the top class bands of the modern era nor the
Italian art rock as well. Still, no matter the flaws this album may contain,
I'd dare to say it's one of those productions I could widely recommend
practically to any respected lover of good music, independently of its musical
preferred genres.
LE PORTE DEL SILENZIO
First of all I want to remark
that, despite of recording in the recent times for the Brazilian Label Rock
Symphony, they are from Catania, in the isle of Sicily-Italy,even though- in
the period regarding the issue of their debut album- they tried to undersign a
long contract for the EMI Records label from Italy and of course they failed,
cause they sold a few copies out...well the same experience as for another 90's
band with an old 70's sound, Nuova Era, whose destiny was anyway a bit
different.I like to point out that Malibran-unlike Nuova Era-are performing a
few lives still today and with good results, even though their production from
the Studio is a bit weak . But coming back to such "Le Porte del Silenzio,
the 70's imprinting is strong and quite obvious, all along the album suite. The
presence of the guitars is important-sometimes reminding me of the harmonic
solutions by Aufklarung, (another remarkable Italian symphonic ensemble with a
mood of "hard rock"), by adding the flute as well as an approach of
"classical music", which is very interesting.But the other music
features are not so "progressive", in the sense that they are not
exploring the language of the new millennium nowadays, nor they produce
something really fresh and innovative, unlike for instance Il Trono dei
Ricordi...well you know that I prefer another kind of progressive music in the
vein of After Crying or Isildurs Bane, but I think of some good music passages
for this Italian Band and it's a pity they have not performed some really original
tunes, by looking for example for a more personal way of composing suites.
Glass Hammer for instance has been able to perform something original in the
USA, despite of using some typical symphonic breaks-through !!...Well at the
end make your own choice and add an half star at least, because I'm sure that I
can't affect the opinion of their several fans!!! Seventies music played
in the nineties. Who could complain ? Not me, that's for sure. The band
released a great debut album and three years later came "Le Porte del
Silenzio". And even if there are little variation in the music played,
some changes did appear with this album. There are more more sax in here, which
at times provides some soft jazzy moments like in "Livin' Alone". I
also can notice more "Genesis" oriented music (but "Camel"
is still present as well lke on their first album "The Wood of
Tales"). Guiseppe is doing better on the vocals as well (good news !). And
more than anything, some songs will be sung in Italian and that's a major improvement.
The epic track and title song "Le Porte del Silenzio" is the absolute
highlight and by far the best song. A jewel of a harmony (but that's what
Italian symph is all about, right). Tranquil symphonic music with light piano,
sweet fluting, emotional vocals and tutti quanti. This masterpiece raise the
level of this album significantly, because I must say that the other songs are
lacking some inspiration in comparison with their previous work. Most of the
songs are good like "Libero" but I am missing some of the magic here.
And the "Genesis" orientation is fully recognizable during the synth
solo of "I Know Your Soul" ("Cinema Show" or "In The
Cage"). But don't worry, we'll get brilliant instrumental passages as well
as our necessary dosis of emotion. "Malibran" music is not the most
elaborate but at the same time, they attract me more than a band like
"Banco" for instance. This music is really accessible and since there
are not so many vocal parts (bearing in mind that more than half are sung in
English unfortunately) the language barrier should have no effect. This band
would deserve more attention from the progheads out there. Just listen to the
magnificent finale of "Le Porte del Silenzio". You'll get all there !
Four stars.
LE PORTE DEL SILENZIO
3.5 stars.This album is very
much a tale of two halves in my opinion. The first half is good but fails to
capture my imagination, i'm not sure why they decided to sing in English on the
first two tracks either. Still it's quite enjoyable, especially the flute.The
second half is actually the side long title track. They sing in Italian and the
highlight is the guitar to end this over 27 minute track. Things get started
with "Livin' Alone" which features some good contrasts and tempo
changes. I like the flute and synths to open. Sax before 5 minutes followed by
vocals for the first time. Pretty good tune. "I Know Your Soul" has
lots of piano, flute and drums early. Vocals a minute in. A change after 2 1/2
minutes and I like the guitar a minute later. It's an ok song. "Libero"
is where we hear Italian vocals for the first time. Some excellent soaring
guitar before 3 minutes, vocals follow. Some more nice flute then the tempo
picks up before 7 minutes with sax to end it. "Nel Labirinto" is a
short instrumental with some cool guitar melodies throughout. "Le Porte
Del Silenzio" is the closing title track. A good atmosphere thanks to the
synths early. The guitar cries out followed by vocals 2 1/2 minutes in. The
guitar is back a minute later. I like the vocals that follow, they have some
passion to them. Piano takes over 5 1/2 minutes in then flute joins in. Lots of
synths and flute then those vocals return 11 1/2 minutes in.This sounds so
good. A calm with keyboards follows. It picks back up then vocals return 18 1/2
minutes in. Guitar leads the way 20 1/2 minutes in. Flute 22 minutes in as it
settles. It kicks back in with scorching guitar 23 1/2 minutes in. Vocals a
minute later. I like it. More guitar creates an incredible finish. I really
like the title track, it's such a ride ! Overall though 3.5 stars seems right.
LE PORTE DEL SILENZIO
After the excellency of ''The
wood of tales'',MALIBRAN had to go on to produce another monumental release.The
previous album successed many good critics and the band begun performing all
around Italy,some of their dates included also the biggest Italian Rock
festivals.With lot of time to work on their music, MALIBRAN enter 1993 wih a
brand new album,''Le porte del silenzio'', released again on Pegasus
Records,re-issued on CD at the end of the 90's by the Brazilian label Rock
Symphony. Nothing has changed,compared to their 1990 debut, regarding both the
line-up and music style.Vintage influences and symphonic keyboards along with
melodic and sometimes heavier guitar parts travel the listener to 70's Italy and
its prog rock romanticism.The band sounds closer than ever to NUOVA ERA with
keyboardist Benny Torrisi having an even more energetic role.Unforunately the
first two tracks are sung in English and, though the musicianship is fantastic
with tons of symph keys, driving flutes, distinctive guitars and complex
arrangements but a surprisingly rather dark atmosphere, the magic produced by
the Italian lyrics is not there.The follower ''Libero'' has a more simple form
than the English tracks,guide by the nice synths,beautiful organ and strong
voice of Giussepe Scaravilli,a track which reminds me of NUOVA ERA more than
anything.The short instrumental ''Nel labirinto'' is actually bassist's Angelo
Messina personal moment,while the album closes with the great epic ''Le porte
del silenzio'',clocking at 27 minutes.Though MALIBRAN borrow some lines of the
opener at the first moments of the track,soon it transforms into a symphonic
opus with numerous magnificent changing moods and tempos.Thrilling and lovely
flute work by Giancardo Cutulli, which will leave you wanting for more,Torrissi
makes the moog synthesizer outburst plenty of spacey yet melodic lines and his
piano work is a tribute to classical music,while even guitarist Jerry Litrico
borrows some influences from classical inspiration for his own
instrument.Musically the album is a stand out with a lot of space for some
instrumental symphonic rock of the best quality,while Scaravilli performs quite
well behind the microphone,though vocals were never MALIBRAN's strong point. Among
the best releases of traditional Italian Symphonic Rock,created the time of the
return of the Italian Prog scene during the 90's,and definitely essential for
any prog collection!
TRASPARENZE
Trasparenze is the fifth
studio album by Malibran, a band from Catania whose roots date back to 1987. It
was released in 2009 on the independent label Electromantic, more than seven
years after its predecessor Oltre l'ignoto. Although it was originally
conceived as a solo project of the leader and multi-instrumentalist Giuseppe
Scaravilli, later other members of the band joined him during the recording
sessions and eventually this excellent work was released under the name
Malibran with a line up featuring Giuseppe Scaravilli (vocals, acoustic and
electric guitar, flute, bass, keyboards), Jerry Litrico (guitar) and Alessio
Scaravilli (drums) plus the guests Giancarlo Cutuli (sax) and Toni Granata
(violin). Of course, here composer and lyricist Giuseppe Scaravilli does the
lion's share playing almost all the instruments but the result is in perfect
continuity with the band sound. In the booklet you can find extended liner
notes that explain the genesis of each track while the art cover is taken from
a painting by Karl Friedrich Schinkel that in some way describes the spirit of
this work...The opener is the title track, "Trasparenze"
(Transparencies), a complex suite with many changes in rhythm and mood
featuring some passages that could recall Genesis or Jethro Tull. It's about
the passing of time... All along your life there's something or someone that
attracts you and shows you the way you have to follow with its perfumes and its
fire. You have to go on and on as your age flows away like a short poem,
between dreams and reality, led by your will and by the flames of that
fire...Next comes the dreamy "In un attimo" (In a while). It starts
with strummed guitar and flute, then the music and lyrics conjure up a long
awaited, timeless moment of peace. You have in front of you a white canvas that
your are going to fill with the colours of your dreams... You are painting a
magic landscape and your soul is flying over there. Your troubles are left
behind and you can smile, forgetting for a moment all the problems of everyday
life, your mind is already over there..."Vento d'Oriente" (Wind from
the East) features a mysterious, exotic flavour. Heavy electric guitar riffs
are mixed with Mediterranean influences while the music and lyrics evoke
distant deserts and ancient sands, lost identities and empty realities. Listen
to the voice of the wind blowing from the East, it carries echoes of ancient
songs and whispers mysterious charms..."Presagio" (Omen) alternates
calm, pastoral sections to heavy riffs and Latin rock passages. It tells of
obscure presages looming on the horizon like the thundering sound of the rapids
ahead while you are swimming on the calm waters of a river, cradled by the
current. Well, you've better keep calm and fight against all the adversities of
life without fear..."Pioggia di maggio" (Rain of May) is a beautiful,
dreamy instrumental track full of soaring, delicate melodies. It leads to
"La marea" (The tide) that tells in music and words of the contrast
between the need to go away searching for a better way of life and the
responsibilities that prevent you from leaving, keeping you tightly bound to
your routine. You know you have to stay but you feel a strange emptiness
growing inside you, maybe one day or another you'll turn your glance back and
you'll start running after an idea, following dreams and ideals, drifting with
the tide towards new horizons..."Nel Ricordo" (In the memory) is
about the power of fate. Your future turns around you like a dark shadow from
whom you can't escape, you'll soon forget who you are because you're already
changing and moving forward, you can't help it! The days and the nights you
spent are like circles in the water that soon will fade away, the past is going
to melt in your memory, you can't cheat on destiny..."Volo Magico"
(Magic flight) is a short instrumental track that conveys a strange sense of
mystery. You can hear the sound of the bumblebees around you as you're flying
from flower to flower under the charm of exotic perfumes and colourful
landscapes... It leads to the nocturnal atmospheres of "Promesse vane"
(Vain promises), a piece about a man who feels like an eternal boy and finds
difficult to accept his everyday life and the burden of time passing by. Where
are the promises of his childhood, what is left of his old dreams? He's burning
out and nothing but his fantasy and imagination can set him free from the
metaphorical chains of reality and make him happy, at least for a while...The
short, dreamy "Gioco di specchi" (Game of mirrors) is a nice
instrumental track that introduces the wonderful suite that closes the album,
"Pensieri fragili" (Fragile thoughts), a long, complex piece that
every now and again recalls Arti & Mestieri and begins by the sound of a
pouring rain... Here the music and lyrics take you back in time to World War I,
in a trench along the front between the Kingdom of Italy and the
Austro-Hungarian Empire. Under the rain the thoughts of a young infantry
soldier unfurl while the water washes away a desperate night of waiting. Around
the soldier there is nothing but mud and fog but he dreams of enchanted valleys
and smiling faces that now seem just faded memories... A thousands eyes observe
the human fragility from the sky, the soldier feels that the real enemy is
inside him, he wants to give up not because of cowardice but because he feels
that this war is not his own business. He doesn't care about honour and glory
and in the fog he gets stealthily out of his shelter and runs for his life,
disappearing in the rain...On the whole, I think that this is a wonderful album
without weak moments that will not disappoint Italian prog fans...
By 2005 the degradation of
Malibran was completed.Giuseppe Scaravilli was practically the only remaining
member of the band, but -instead of calling it quits- his desire for
progressive music led him to the Tower Hills Studios in Belpasso at the end of
2006 for the recordings of a new album.Former members Jerry Litrico, Alessio
Scaravilli and Giancarlo Cutuli helped him on some tracks along with Toni
Granata, who provided violin duties in three pieces.The whole process ended in
2007 and all liner notes were written by Giuseppe Scaravilli in the same year,
but the album would not find a release home until 2009, when Electromantic
Music decided to give Malibran's new effort a chance.The man handled most of
guitars, keyboards, flutes, bass parts and vocals in this work. This was
definitely Malibran's most uneven effort ever, no wonder with Scaravilli being
the left-alone person for this whole work.The compositions date from mid-90's
unreleased stuff to tracks written during the period of the recordings. Musically
this is a weird album.The two longest pieces, the eponymous one and ''Pensieri
fragili'', co-written by Jerry Litrico are good, old Malibran at their very
best.Folky Symphonic Rock with sensitive Italian vocals, laid-back tunes and
pastoral flutes, occasionally interrupted by nice electric guitars and
atmospheric keyboards, creating emotions somewhere between melancholy and drama
and a fine balance between melodious and atmospheric soundscapes with smooth
interplays placed here and there.The rest of the album finds Scaravilli in a
bit of confusion .Most of them maintain the folky atmosphere, flavored by more
Singer/Songwriter stylings and less proggy influences, based on mellow acoustic
lines, flutes and poetic vocals.These pieces though are often
colored by sax, violin and keyboards for a more artistic approach.CELESTE are
among the groups to spring to mind.Malibran were not known for massive electric
riffs, but a few tracks in ''Trasparenze'' display the more attacking side of
Scaravilli with powerful guitars and strong rhythmic tunes, definitely the less
interesting material of the album.The man though has done a great job overall
to keep the spirit of the band alive along the lines of Classic Italian Prog
ala PFM and LOCANDA DELLE FATE, even if the folky side is more pronounced. A
new album is yet to be desired.Malibran remained active for sometime regarding
their live performances and the driving force named Giuseppe Scaravilli
reputedly had tons of material ready to be released, but their absence from the
recent scene make it rather questionable. ''Trasparenze'' finds Malibran
reduced and generally more relaxed, even if the addition of a pair of heavier
tracks is also displayed. Pastoral Symphonic/Folk Rock, based mainly on
acoustic guitars, keyboards and flutes.Smooth, emotional and recommended music.
STRANI COLORI
The new millenium officially
found Malibran in a transitional period with Torrisi and Cutuli out of the
band.Still they had a contract with Mellow Records and, instead of a regular
studio album, the undisputed leader of the group Giuseppe Scaravilli returned
with a compilation of tracks, covering the history of Malibran and containing
rare live recordings, unreleased material and a few covers.This compilation was
released in 2003 under the title ''Strani colori''.This is a very interesting
CD actually with a great photo gallery, covering Malibran's journey through the
ages, but also musically the album stands quite strong.Most of the unreleased
tracks are either solo performances by Scaravilli or products of the new
reduced line-up and range from melancholic Italian Symphonic Rock with smooth
guitars, flutes and keyboards to acoustic textures with a folky edge, the
quality is very nice and the compositions are really decent, though not the
best among Malibran's discography.For those not aware of the sound, imagine
HOSTSONATEN and FINISTERRE both on stage.Some of the well-known Malibran's
tracks like an instrumental version of ''The wood of tales'' or ''La Stagione
Del Re'' along with unknown material have been captured live from early-90's
and it is always a good thing to listen to Malibran's delicate and dramatic
sound in a live performance, not to say that the compositions are great.The
album contains also some cover songs like ''Rhayader'' by Camel, '' Cause We've
Ended As Lovers'' by Jeff Beck or even ''Bouree'' by Ian Anderson in an effort
by Scaravilli to add a slight Malibran flavor in these without any amazing
result, as most of them are kept as they were. Nevertheless this is an
interesting Malibran collection, which contains enough material to make also a
dedicated fan of the band purchase it.An album full of Italian romance and
tradition and a nice addition for fans of Italian Prog, Symphonic Rock or Folk
Rock.
OLTRE L’IGNOTO
After ''La citta sul lago''
several official and unofficial rare studio/live recordings of Malibran saw the
light like ''Raccolta 1990 - 1998'' (1998),''In concerto'' and ''Rari ed Inediti''
(both from 2000).In the meantime Malibran even toured in the USA with Giancarlo
Cutuli and Benny Torrisi announcing their departure shortly after.So the fourth
studio work of Malibran was a bit of an adventure,partly recorded by the whole
band and partly recorded by Giuseppe Scaravilli alone.The new album, entitled
''Oltre l'ignoto'', was finally released on Mellow Records,with the band
already shortened to a quartet. Despite the difficult situation the band was
going through,''Oltre l'ignoto'' sees Malibran fresh and inspired and
fortunately the whole album is sung in Italian for the first time,leaving the
dull English vocals behind for good.Musically the album follows the same vein
as with ''''La citta sul lago'',their sound is more modern compared to the
early days,but still their musicianship has a strong retro
influence.Alternating between symphonic arrangements with powerful
organ,harmonic flutes and sensitive guitar work and more Neo-Proggish moments
with floating synthesizers and strong guitar solos,Malibran are still alive and
well,offering some splendid moments among the overall decent stuff of the
album,especially in the longer tracks.There are also plenty of acoustic
passages with the support of violin,cello and smooth bass to give a sort of
dreamy feeling to the album.However a few negative points are still
present,apart from their early sound nostalgia.The sparse electronic effects
and the distorted guitar at moments seem rather useless,still for the first
time Malibran's vocals belong among the highlights of the album. Another more
than decent Malibran release,not so close to their early masterpieces, but a
step forward from the previous album.Anyone into modern Italian Symphonic
Rock,who does enjoy also some vintage passages,should simply purchase
this.Strongly recommended...3.5 stars.
THE WOOD OF TALES
Malibran
from Sicily, Italy has managed to release a considerable amount of good albums
and they have earned themselves a good reputation. A reputation which started
with this album. The music here is both a dominated by the flutes and some
guitars at the end. The sound is the typical neo-prog sound. This mostly due to
the guitars and the vocals which reminds me a lot about the British neo-prog
sound from the 1980s. The English vocals is also a contributing factor to the
British sound on this album. The songs are on average good with some really
superb melody lines scattered around. The guitar solos on the final track
Prelude means the album ends on an untraditional manner, this being an RPI
album. Which neatly brings me to....This is not a traditional RPI album by any
means, but The Wood Of Tales still has enough DNA material to fit into this
scene. But most of all; this is a debut album with all it's traditional ills.
And it is a good album by all standards. I have my gripes with the vocals and
the lack of any truly great songs. But besides of this, The Wood Of Tales is
well worth checking out. 3 stars
LA CITTA’ SUL LAGO
Malibran
is a modern Italian band that deserves more exposure here on ProgArchives.
Their music is reminiscent of classic '70s RPI and their third studio album, La
Citta Sul Lago (1998), contains the usual trademark Malibran elements and
includes references to metal, space-rock, jazz and Eastern music. The band
benefits from the twin guitars of Giuseppe Scaravilli and Jerry Litrico, while
Giancarlo Cutuli's flute-play is exquisite as always although his saxophone
possibly surpasses it on this album. There are a total of ten tracks that
alternate between songs and instrumentals. The main standouts among these are
the three epic tracks that run consecutively on the first half of the album.
NUOVO REGNO features some lustrous sax and flute, although it's the killer
guitar riffs and stampeding drums that really impress. Two songs on the album
contain English- language vocals and the 2-part IN THE TIME is the stronger of
the two. It contrasts the tranquillity of mellow flute, piano and vocals with
the pyrotechnics of metal-infused guitar and drums. Sandwiched between these
two songs is the 10-minute title track. UK giants Camel, Jethro Tull and
Genesis clearly influenced much of Malibran's work, but during the first
section of this multi-part instrumental there's a definite Focus vibe. The
second section heads into space-rock territory with its mellow sax and wah wah
guitar. While these three are worthy of special mention, there's not really a
bad track on the album. Overall, La Citta Sul Lago is good but not essential.
While its first half is excellent, the second half isn't quite as strong.
Malibran albums are generally quite lengthy affairs and this one is just short
of the 70-minute mark, so perhaps it would have benefited from a tighter focus.
It would still make a nice addition to any RPI collection, but there are other
Malibran albums that might be worth checking-out first.
TRASPARENZE
Although nominally a Malibran
album, it's probably more correct to think of Trasparenze (2009) as a Giuseppe
Scaravilli solo project. In fact, it's even sub-titled 'A new musical project
by Giuseppe Scaravilli from Malibran'. Having said that, four members of the
original band play on the album and Malibran is still on the go so I don't
believe Scaravilli warrants a separate database entry on Prog Archives. The
other members of Malibran, past and present, that feature here are Alessio
Scaravilli (drums), Jerry Litrico (guitar) and Giancarlo Cutuli (saxophone).
Guest musician Toni Granata also plays violin on three tracks. Giuseppe handles
the vocals and plays all other instruments... guitars, bass, keys, flute. Trasparenze
is classic '70s-inspired RPI and Giuseppe himself believes this to be his best
work to date. The cd booklet contains lyrics and lengthy sleeve notes for each
song, one song to each page. Although this text is in Italian, the production
information is printed in English. Strange. This album is heavier in places
than other Malibran discs, with the usual Camel and Jethro Tull stylings
seemingly absent. However there's still plenty of acoustic stuff , mostly
around the middle of the album, and Genesis remains a strong influence. Giuseppe
Scaravilli composed all the tracks, although Jerry Litrico collaborated on the
two long songs that bookend the album. The first of these, the title track, is
over 13-minutes long and consists of numerous ideas that involve all the
classic Malibran ingredients; moody intro, funky drum rhythms, majestic main
theme accompanied by flute and acoustic guitar, electric guitar solos and hard
rock riffs. Excellent. Pensieri Fragili also tops the 13- minute mark and is
even more complex. There are many twists and turns that help to maintain
interest and fans of classic Genesis should surely enjoy this song. So the two
epics at either end of the album are excellent but what of the rest?
Well, In Un Attimo and Nel
Ricordo are briskly paced songs that, although pleasant enough, don't exactly
set the heather on fire. Vento d'Oriente is the first song on the album to
feature Granata's frenetic violin and this is much better. The heavy riff and
oriental sound make it reminiscent of Led Zeppelin's Kashmir. A definite
highlight. Presagio starts out as a fairly typical Malibran song and also
features the first synthesizer solo on the disc. However we're then treated to
a blistering guitar solo, heavy riffs and galloping drums. This isn't too far
from Black Sabbath territory. That run of acoustic tracks I mentioned starts
with the flute and violin interplay of Proggia di Maggio. This is a lovely
instrumental that livens up near the end with what is the only other
synthesizer solo of note on the album. La Marea is another melodic soft
rocker/ballad and is one of my favourites here. The mellow introduction of the
instrumental Volo Magico soon gives way to an agitated, scraping violin and
funky drums. There's a bit of a Mediterranean folk influence on Promesse Vane
thanks to the acoustic guitar, although Steve Hackett also springs to mind.
This song shifts nicely from slow and mellow to brisk and bright. The short
instrumental Gioco di Specchi also has strong shades of Hackett, this time with
electric guitar and accompanying eerie sound effects. Trasparenze is a long
album that clocks in at 78-minutes, so you get your money's worth. There's not
even much filler on it, with maybe just a couple of slightly weaker songs. My
one criticism is that the album is a bit light on keyboards, but the loads of
great flute you usually get with Malibran offset this. Trasparenze is an
excellent album although I'm not sure if I agree with Giuseppe that this is his
best work to date, as I have a soft spot for Malibran's Oltre L'Ignoto. RPI
fans should of course have both these albums!
THE WOOD OF TALES
The Wood Of Tales, the 1990
debut by Italian band Malibran, is something of a rarity (at least in my RPI
collection) insofar as it consists exclusively of English language vocals. I'm
not particularly keen on this idea, preferring groups to sing in their native
language. Some of Malibran's future releases would in fact feature both English
and Italian vocals, which if anything is even more unsatisfactory in my
opinion. The funny thing is that the sleeve notes are written entirely in
Italian. Given that the vocals are in English it would have been nice to have
at least some information on the band in that language, but what do I know? By
all accounts Malibran were formed as a metal band in 1987 and I'd say there's
still some evidence of that on this album. The band includes two guitarists and
they tend to dominate on this album. Generally speaking Benny Torrisi's
keyboards play only a supporting role, although Giancarlo Cutuli's flute is
well to the fore on each track. If you like flute and double electric guitars,
there's a fair chance you'll enjoy this.The first two tracks are identical in
length, with each clocking in at 8.39. I don't think there's any great
significance in this fact; I just think it's a bit strange. The first song,
Malibran, opens with caterwauling guitars over a piano and drums stomp.
Stirring stuff indeed, although I'm not overly keen on the digital-sounding
keyboards. The vocal part of the song is slow and subdued and provides an
effective contrast to the introduction. These guys are clearly influenced by
bands such as Jethro Tull and Camel, having at one time or another covered some
of these artists' material. This may explain the prominence of the flute on
their albums although here it reminds me of the man they call The Flute, Ray
Thomas of The Moody Blues. Anyway, the extended flute solo reintroduces the
opening theme, which in turn brings this first song to a close. It's a great
start to the album and the next track is equally good. The title track begins
with keys and Alessio Scaravalli's toms setting the scene. This is a slow-paced
instrumental featuring flute once again, and some guitar that's vaguely
reminiscent of BJH's John Lees. Midway through there's a change of rhythm with
the guitars adopting a distinctly metal tone. The third track, Sarabanda, is a
Baroque-styled instrumental piece featuring flute and classical guitar. The
singing on Pyramid's Street sounds a bit cheesy but it would be churlish of me
to further criticise Giuseppe Scaravalli's English vocals. It's not really that
big a deal; suffice to say his voice sounds so much better in Italian. There's
some snake charmer flute on this song, and this Arabic influence plus the
bolero rhythm make it sound more like Rock Andaluz than RPI. Some of the
electric guitar even reminds me of Spanish band Mezquita. A guest musician
plays the keyboard solo toward the end of this song, but I have no idea why.
The final track proper, Prelude, features yet more flute; Giancarlo Cutuli owns
this album! Lead guitarist Jerry Litrico gets in on the act here as well
though, with a couple of blistering solos. There are three live bonus tracks on
this Mellow re-release from 2002. I generally don't care for so-called bonus
tracks, but that's an issue probably best reserved for the forums. The three
tracks in this case are Song For Lisa, Mystery, and Trequanda. Trequanda is the
most worthwhile addition to the album despite the drum solo, while Mystery
features excellent guitar and saxophone solos. Song For Lisa I could do without
although I could honestly do without any bonus tracks, especially live tracks added
to a studio album. Overall this is another fine RPI album, and while it's not
one of the '70s classics it is nonetheless very much in that style. It's not my
favourite Malibran album and I feel the English language vocals detract
slightly from it, although for others those same vocals may actually be a
positive. Flute fans in particular should check out this band.
ciao Giuseppe, potresti ripostarlo . nando caserta
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