today's BGM in our office :
NAPOLI CENTRALE / self-titled (1975)
Re-released from BMG RICORDI in 1995.
JAMES SENESE : vocals/sax (sax tenore acustico ed elettrico/voce solista)
MARK HARRIS : e.piano (piano electrico Fender)
FRANCO DEL PRETE : drums/percussion/whistle (batteria/percussioni e fischio)
TONY WALMSLEY : bass (basso chitarra)
I love Italian Prog-Rock music as much as Italian pops.
Of course, I love so-called "mainstream" of Italian-Prog like Premiata Forneria Marconi (PFM), Osanna, Banco Del Mutuo Soccorso etc. etc., but I love, too, more domestic and/or traditional groups like L'uovo Di Colombo, Corte Dei Miracoli, Area, Nuova Idea, Rovescio Della Medaglia etc.etc.etc....
Napoli Centrale is one of those groups, but their sounds slightly differs from so-called "Italian Progressive Rock". This kind of music which Napoli Centrale plays should be compared with Jazz/Fusion artists, especially of Jazz-Funk ones, I think. Not like other "typical-of-Italian-Prog" groups, their music is closer to tastes of groups, if calling them a prog-rock group, like KRAAN (Germany), RIFF RAFF (UK), Zao (France) etc. Much closer to Miles Davis' "On The Corner" than King Crimson.
This era, around 1975, this Jazz-Fusion style was already well-established and recognized in many countries by superb Jazz musicians like Mahavishnu Orchestra, Herbie Hancock, The Crusaders and Weather Report etc. from the Jazz-field, and by Blood, Sweat & Tears, Chicago, early Earth, Wind & Fire from the Rock-field, so these "local/domestic" groups should be counted together with above groups by whom love this kind of music.
The unique sounds (though it's typical in Jazz/Fusion field) may be created from the leader, James Senese's blood. He, part-African-American and part-Italian, sings with very strong voice and plays saxophones very emotionally. His "no-border" playing style matches to stylish el.piano chords by Mark Harris who was born/grew up in the USA. Franco Del Prete who was a group-mate of James Senese in THE SHOWMEN plays many notes on his snare drum, and Tony Walmsley who was from UK let his bass-sounds dance on Franco's percussive notes.
In the USA, and UK, those "jazz/fusion" sounds was getting sophisticated around 1975, but music on this album is (was) still rough, bare and wild.
Music is like the universe for me. It's easy to find brighter and famous stars, but there are many many more, unkonwn stars which are shining brightly, which are very big, and which are very beautiful. We can't visit to those far stars, but we can find and listen to those "hidden" music (though they were just hidden for the listener's self).
Napoli Centrale is one of those groups, but their sounds slightly differs from so-called "Italian Progressive Rock". This kind of music which Napoli Centrale plays should be compared with Jazz/Fusion artists, especially of Jazz-Funk ones, I think. Not like other "typical-of-Italian-Prog" groups, their music is closer to tastes of groups, if calling them a prog-rock group, like KRAAN (Germany), RIFF RAFF (UK), Zao (France) etc. Much closer to Miles Davis' "On The Corner" than King Crimson.
This era, around 1975, this Jazz-Fusion style was already well-established and recognized in many countries by superb Jazz musicians like Mahavishnu Orchestra, Herbie Hancock, The Crusaders and Weather Report etc. from the Jazz-field, and by Blood, Sweat & Tears, Chicago, early Earth, Wind & Fire from the Rock-field, so these "local/domestic" groups should be counted together with above groups by whom love this kind of music.
The unique sounds (though it's typical in Jazz/Fusion field) may be created from the leader, James Senese's blood. He, part-African-American and part-Italian, sings with very strong voice and plays saxophones very emotionally. His "no-border" playing style matches to stylish el.piano chords by Mark Harris who was born/grew up in the USA. Franco Del Prete who was a group-mate of James Senese in THE SHOWMEN plays many notes on his snare drum, and Tony Walmsley who was from UK let his bass-sounds dance on Franco's percussive notes.
In the USA, and UK, those "jazz/fusion" sounds was getting sophisticated around 1975, but music on this album is (was) still rough, bare and wild.
Music is like the universe for me. It's easy to find brighter and famous stars, but there are many many more, unkonwn stars which are shining brightly, which are very big, and which are very beautiful. We can't visit to those far stars, but we can find and listen to those "hidden" music (though they were just hidden for the listener's self).
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