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Rating: Legend has it that one day the phone rang at the Parodi house: "Hello, this is Fabrizio De André, I would like to make a record with you." Reality is another thing.
Al Di Meola, noted Jazz guitarist (they suggest avoiding "jazzer"), heard Andrea during concert rehearsals and he too, enchanted by the voice, wanted to do something with Parodi. From their meeting, this work halfway between the Mediterranean and New York was born, and if already in 'Abacada', Parodi had taken us to all the ports of the Mare Nostrum; now he sails much farther west, crossing, like a modern Columbus, the Pillars of Hercules to wash ashore exhausted at the feet of the Statue of Liberty.
The concert begins very slowly, the musicians start playing among themselves between guitar phrases and the voice climbing in daring tones, Andalusian echoes magically explored by Al di Meola fragment and blend with almost Cuban rhythms, ending in a frenzied Flamenco between Alghero and Granada.
Among blatantly Jazz pieces like “Umbras” and covers that almost make you smile like “Sound of Silence”, the work unfolds through the long improvisation of “Creation” where the musicians, after self-celebrating, give space to the typical Sardinian guttural singing.
The first musical instrument, the voice is used to create new sounds, new emotions, Gavino Murgia gives his best and opens the introduction to “Efix” a literary character taken from the story “Canne al Vento” by Grazia Deledda. Unlike the studio work, here the song gains new vitality also because of the phonetic experiments of the aforementioned G. Murgia and the guitar ever-present but never overbearing by Al Di Meola.
An overwhelming finale between launeddas and various vocalizations. When “Deo ti Gheira Maria” starts, I feel like crying; the voice evokes too much emotion. This is “The Sound Of Silence”, a song too used and abused by everyone, the emotion is given to me only by the way Andrea sings it; I can't even understand the lyrics. I repeat, it stands only for the voice and interpretation. “La Maza” is the Spanish song that made the two known; Al lets himself go in a long Iberian arabesque to introduce Parodi's voice, at some moments recalling the Gipsy Kings. The track is a potential radio hit if we were in a normal country; instead, we are always beholden to the power of the usual notable figures. It would take so little to open everyone's musical horizons.
Being a live performance, the musicians occasionally indulge in long improvisations, also to let the singer's voice rest. “Armentos” begins with something familiar, almost a homage to De André. It's a strange feeling; after many listens, I still haven't fully grasped what piece it is, perhaps: “Verranno A Chiederti Del Nostro Amore”, somewhat heavy for a long instrumental part that keeps turning without taking us anywhere. “No Photo Reposare” (Pron. no poto reposare) is an absolutely unreviewable piece for various reasons.
First, because if my eyes are full of tears and my hair on end, chills down my spine, how can I write? Second, because it's the love song chosen by me and my wife (she, a native of Brescia, never understood it), moreover, it is a traditional song known by all Sardinians. “I assure you I desire only you.” The last track “Astrolicamus” is a song taken from the past with Tazenda here rendered a bit jazz in some parts. Only “A Foua” is missing, an instrumental track that I do not comment on because it is missing in this mp3 format.
Ultimately, a good ethno-jazz blend that, perhaps, even Peter Gabriel couldn’t have conceived. An honest work and almost untraceable, I thank DeBaser for this because thanks to this site I was able to contact and be contacted by many music lovers. Especially thank Sabyno alias Roberto for providing me with this work.
And one last piece of advice, don't wait for the crocodiles on the news to realize that even in Italy there are artists who deserve attention.
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