Buon Vecchio Charlie
Buon Vecchio Charlie

THE REVIEW

Like Chapter 6, this Italian band also produced a single work, creating a sound similar to the greatest Anglo-Saxon prog groups. Based on the typical sounds of "Colosseum," "King Crimson," "Genesis," and "The Nice," this beautiful concept album from 1972 maintains a more symphonic imprint thanks to the jazz influence and the dominance of the flute.

The tracks are three: "Venite giù al fiume," "Evviva la contea di Lane" and "All'uomo che raccoglie i cartoni". Notably, there is an excellent digipack reissue from Akarma Records which includes two bonus tracks: "Rosa" and "Il Guardiano della Valle". Let me delve deeper into the album's content, directed and led by a young and talented Rino Sangiorgio on drums, by the virtuoso guitarist Luigi Calabrò, by Richard Benson (today's antichrist) with a warm and sensual voice, and Sandro Cesaroni on winds, who does an impeccable and outstanding job.

The opening track is an extremely classical composition: it sounds English, but the mastery of the flute is like the Anderson of "Tull," in 12 minutes there are strong epic moments alternating with rather frenetic, fun, and melodramatic flute riffs... unmistakable are the folk shades present. "Evviva la contea di Lane" instead is the only one in line with Italian sounds and especially PFM, written by the guitarist Benson, it is an excellent example of Italian-made virtuosity, with great mastery of the guitar and a lively solo.

The third and final track, 15 minutes long, is the most technically complex gem because it consists of multiple constantly changing tempos. The jazz improvisation with organ and flute is excellent (at times it feels like listening to Osanna), while the inclusion of medieval-style chords, dragging the work into exciting folk scenarios, is original.

Surely this is an essential album for the Italian prog school, it's a pity that I don't have the latest reissue to describe the two bonus tracks to you. Still, 100% a cult classic of Italian music.