Premiata Forneria Marconi
A.D. 2010 - La Buona Novella

LA RECENSIONE

Incredible!! Incredible!!

A.D. 2010 La Buona Novella - Opera Apocrifa.

How is it possible, after 40 years of activity, to still write such meaningful, dense, overflowing music, that leaves one astounded? I believe only P.F.M. can, after so much time, still write such "total" and fantastic, "imaginative" music.

When I heard about the reinterpretation of 'La Buona Novella,' as was the case with the famous "In Concerto," I was skeptical (however, after so many years of choosing to elect Premiata as my top group and owning all the albums published by the group, can I still have doubts about the incredible qualities of these extraordinary musicians? - I'm asking myself?!!!) but in light of what I am listening to, I stand even firmer on my opinions expressed above.

The beginning of the CD is dreamy... It feels like flying on a glider, viewing the earth from a perspective not typically seen, and then continuing to gaze at frescoes "painted" by true masters of the brush (Van Gogh).

It’s difficult to choose among the ten tracks which impressed me the most, but if I really have to make a choice, I think "Universo e terra (Preludio)", "L'infanzia di Maria," the piece that most recalls the P.F.M. style, "Il ritorno di Giuseppe" - with Mussida’s guitar in the foreground, both acoustic and especially electric, with a solo so intense and divinely played that it sends shivers down the spine, and "Laudate Hominem", which closes the CD with atmospheres of classical music, rock, and "church" music, ending by reconnecting with the Premiata of 'Per un amico' on the notes of Geranio, are the ones I prefer. The vocals, logically, leave something to be desired, but as we know, Premiata, except for the Lanzetti period, never had a true singer, even though the songs where Mussida sings aren't displeasing. He confirms himself as the great guitarist he is and continues to amaze by always pulling something unique and touching out of his hat after so many solos. Dijvas is the machine-gun bass we all know, Di Cioccio... the SOUL, Lucio Fabbri embroidering, with his violin, high-fashion finishing touches, and Piero Monterisi plays as only someone who joins PFM can do.

A special note for Gianluca Tagliavini. Replacing maestro Premoli isn't easy, indeed, but he managed not to make us miss Flavio by "coaxing" sounds from the Hammond that have made the organ famous and integrating into the group as a true professional. Bravo.

The work done by the band in adorning the pieces of the great Fabrizio De André is wonderful and reconciles the listener with progressive, jazz, classical, and tarantella-like sounds. In short, another great performance by this band, of which Italy should be proud.