Garybaldi
Astrolabio

Garybaldi = Nuda, it's difficult to dissociate the duo supported by the splendid cover of the debut album of the Genoese group, founded by the late Pier Niccolò Fossati, known as Bambi, on the roots of Gleeman; I will try with a brief exhumation of their second album released in 1973, which I personally consider superior to the first.

"Astrolabio" is an ancient instrument literally capable of describing the stars and celestial bodies; there is a precious medieval model of Arabic origin in the astronomical museum of the oldest university in the world, but what I describe here is exclusively to showcase the art of its creator. It is composed of two long suites, one for each side of the album: psychedelic is the first "Madre di Cose Perdute," and rich with Hendrixian virtuosity is the second "Sette?", including a finale in crescendo with the recognizable arrangement of the famous folk tune "San Martino Campanaro," composed in the 1700s and translated into dozens of languages, including ours.

Two very different sides of the same coin: the artistic pinnacle of a group that unfortunately got lost in the overly abundant musical offerings of the early 70s, when intrinsic expressive qualities often weren't enough to emerge, but a launch and support from record labels were needed, which partly were lacking in the case of Garybaldi: lauded by critics but penalized by sales; the same story of many other valuable formations in the Italian scene, which in this case is certainly worth remembering.

"Madre di Cose Perdute" is a small jewel where the plot woven by Bambi Fossati's guitar is excellently supported by Lio Marchi's keyboards in the soft beginning full of anticipation and echoes that soon give way to the main theme, very epic and unmistakable, which unfolds for the rest of the track always excellently arpeggiated by Fossati, with the equally skilled Serra on bass and Cassinelli on drums serving purely as accompaniment. The second part of the piece is admirably psychedelic and partly meditative, with the inevitable final reprise of the main theme. I am sure that upon first listening, some may "suffer" the somewhat subdued tone of Bambi's vocal contribution, but by delving deeper into this piece, I am sure that the amalgamation with it will significantly improve your opinion. With this, I do not mean to say that it represents one of its strengths.

"Sette?", as introduced by Bambi himself, talks about the "system" and does so as his idol Jimi would have, certainly known during one of the three Italian concerts in '68, in which he is described very familiarly with the few attendees, at least those who had the fortune to follow him at the Palazzetto dello Sport in Bologna. Even Bambi's filtered and partially distorted voice closely resembles the style of the great Hendrix, but it does not allow for understanding the author's critique of the "system," except by having the texts attached to the first CD version by Fonit Cetra. After the long homage to the master, a broad and significant musical dialogue between Fossati and Marchi begins, on which the author ironically narrates his particular relationship with the "system," always in line with Jimi's monologues. The instrumental construction for the crescendo departure on the theme of "San Martino Campanaro" is fantastic, Frère Jacques might be proud!

The maturity test of Garybaldi is certainly passed with flying colors, unfortunately, it will remain a satisfaction for a few close ones and sadly only in the memory of its creator, who died at only 65 years old! The judgment is inferior to the intrinsic value of the work, but 5 stars are reserved for masterpieces, and while this may be considered one for the group, it certainly wasn't at the time.