Il Baricentro
Sconcerto

It's 1976. Italian progressive rock, and not only, is now taking its last breaths, and is about to become cult music like jazz or blues. The Italian charts are dominated by the likes of Gianni Morandi, Lino Toffolo, and Afric Simone (oh dear...), but some brave individuals still insist on releasing works out of time. So here come these 4 guys: Francesco Boccuzzi (guitar and keyboards), Vanni Boccuzzi (keyboards), Antonio Napoletano (bass), and Piero Mangini (drums). The first three had the experience with Festa Mobile, one of the many bands that earned a place in the perhaps not so honorable, but long, list of “Italian one-record progressive bands”.
They decide to call themselves Baricentro, not so much to refer to the center of an object, the point of perfect balance, but to remember their origins from Bari.
How to find a place in the music market, with progressive rock agonizing and remaining true to themselves? The answer is there, blatantly clear: just remember that at that time, albums by certain Weather Report, Mahavishnu Orchestra, Return to Forever are going strong; crazy folks who ignore what melody is and 4/4 time.

Jazz-rock, then (which some will end up calling Fusion) and naturally, in the best tradition, exclusively instrumental tracks. Also, Baricentro has a little extra, that Mediterranean touch that often made the difference.

The album is titled "Sconcerto" and it can mean different things: the opposite of concerto? Amazement, confusion... but in the end, it's just a title. The music, however, is clear, direct. Despite the presence of the guitar, it's the dual keyboard sound that dominates.
The self-titled "Sconcerto" that opens the record immediately showcases the typical elements of jazz rock: complex times, (listen further to the 5/4 + 4/8 of “Afka”) and a myriad of variations, but despite this, as mentioned before, a certain taste, an aesthetic sense emerges that makes listening pleasurable.
As it progresses, certain sounds may remind you of Weather Report, but Zawinul was Austrian, these are from Puglia, can you feel the warmth?

With a slight preference for side A, speaking in vinyl terms, the album flows pleasantly and quickly makes us forget that jazz-rock is music for refined palates.
Naturally, in terms of sales, the album will remain a “minor work”, after all, how could it compete with “Johnny Bassotto"?

Two years later “Trusciant” will arrive, but that's obviously another story.

Recommended for those who think it's impossible to listen to a jazz-rock album from start to finish.