01	L'evoluzione						16:46
	02	La conquista della posizione eretta						09:59
	03	Danza dei grandi rettili						04:15
	04	Cento mani e cento occhi						06:03
	05	750.000 anni fa... l'amore?						07:53
	06	Miserere alla storia						06:18
	07	Ed ora io domando tempo al tempo						03:23

Banco del Mutuo Soccorso
AKA Banco

The long-lived and influential Italian progressive band Banco del Muto was influenced by such British progressive giants as Yes and Gentle Giant while also drawing heavily on classical and folk music. Although the group simplified their sound in later years, from 1972 to 1976 the group produced a series of eclectic, densely arranged progressive classics.
Formed in the early '70s, Banco Del Mutuo Soccorso featured the dual keyboard attack of Vittorio Nocenzi, the aggressive guitar of Rudolfo Maltese, the quasi-operatic vocals of Franceso di Giacomo, and the solid rhythm section of Maurisio Masi (drums) and Tiziano Ricci. Their first album, Banco Del Mutuo Soccorso (1972), featured jazzy elements but focused heavily on a classical sound that led many to compare them to ELP. The band continued in this vein for Darwin! (1972), Io Sono Nato Libero (1973), and Come In Un'ultima Cena (1976). Banco (1975) was compiled of English-language remixes of material from their original albums. Garofano Rosso (1976) and Di Terra (1978) were almost all-instrumental and found the group exploring further into the classical realm. Canto Di Primavera (1979) simplified the band's sound to a degree, evidenced further on the live Capolinea (1980).

The group pursued a more pop-friendly sound in the 1980s before breaking up after Grande Joe (1985). They re-formed in the early '90s, releasing Da Qui Messere Si Domina La Valle (1991), a re-recording of their first two albums. Il Tredici followed in 1994, while an unplugged set, Nudo, was released in 1997. Live in Concert, a double CD of the reunited group playing in 1999, was released in 2000. - Geoff Orens


Darwin!
Date of Release 1972

Darwin! will remain Banco del Mutuo Soccorso's masterpiece. This album, the band's second, is the proud equal of Premiata Forneria Marconi's Per Un Amico and Le Orme's Felona e Sorona in the Italian progressive rock hall of fame. In Darwin!, every promise made by Banco's eponymous debut was realized. Vittorio Nocenzi's writing has flourished into complex songs blending Italian songwriting, bel canto, and progressive rock. The arrival of guitarist Rodolfo Maltese crystallized the band's luxurious sound, all topped by Francesco Di Giacomo's operatic vocals. The majestic "L'Evoluzione" opens the album, providing some of the best moments ever recorded by this band (along with "Canto Nomade per un Prigioniero Politico"). "La Conquista Della Posizione Eretta" ("The Conquest of the Wrong Position") reproduces the same pattern as "Metamorphosi" from the first album: a frenetic instrumental theme, scaled down toward the end to let room for a very emotional verse. "La Danza de Grandi Rettili" is a rare jazzy number. Di Giacomo shines on "750,000 Anni Fa...L'Amore?," a heart-wrenching ballad much closer to Italian pop music than progressive rock. The album comes to an end with "Ed Ora la Domando Tempo al Tempo," a short piece inspired by merry-go-round music. The original version of the album bears a cover with a pocket watch. Never satisfied with the sound quality of the original tapes, the band re-recorded the whole album in 1991 and issued it with blue cover artwork. Purists turned their back on this new version, but it is actually very well performed, even though it has lost the vintage 1970s Italian flavor. The original Darwin! was eventually also reissued on CD. - Franзois Couture

Gianni Nocenzi - Clarinet, Piano, Keyboards
Banco del Mutuo Soccorso
Pier Luigi Calderoni - Drums, Tympani [Timpani]
Alessandro Colombini - Producer
Renato d'Angelo - Bass, Guitar, Guitar (Bass)
Darwin - Performer
Francesco DiGiacomo - Vocals
Vittorio Nocenzi - Organ, Synthesizer, Keyboards, Clavinet
Walter Patergnani - Engineer
Marcello Todaro - Guitar (Acoustic), Guitar, Guitar (Electric), Vocals

1972 LP Dischi 6107
Dischi Ricordi 8094
1991 CD Virgin 90792
1999 CD Import 10699


Banco - Darwin!

Released: 1972
Label: BMG/Dischi Recordi S.p.a.
Cat. No.: MPCD 205
Total Time: 46:50

Reviewed by: Stephanie Sollow, July 2001
Italian prog legends Banco Del Mutuo Soccorso (or Banco for short), have been making music for the better part of 30 years now. Darwin! marks their second release, and is considered by many to be among their best work, to be one of the best in Italian prog, and, in fact, one of the best in prog overall. For me personally, I had really even heard of Banco until their appearance at Progfest 2000 was announced, though I'm sure somewhere along the line I've read an article or review in either Progression Magazine, Expose, or somewhere else. Nevertheless, I hadn't heard any Banco music until I purchased Canto Di Primavera in the months before Progfest 2000, their first-ever US appearance. At the festival I picked up Darwin!, based on others comments as where this placed in their oeuvre, but it hasn't been until now, even after their appearance at NEARfest 2001, their second-ever US performance, that I've had a chance to listen to Darwin!.

Released in 1972, in some ways Darwin! sounds very much like a 28 year old release, but on the other hand, there's stuff here that bands are still doing today, that sound "today." It is a concept album based on evolutionary theory. Of course, one should know the name Darwin, whether one agrees with him or not. If not from the small number of fish-shaped Darwin car decorations one can spot here and there (an answer to the other sort of fish-shaped car decorations) then, and hopefully more so, from his book Origin Of The Species, published in the late 1800's. I would say that Banco having survived for 30 years certainly serves as an example of survival of the fittest in the progressive species. And that they are still so respected 30 years on, when many aren't, is also a testament to something.

Three things stand out for me with this release - Francesco Di Giacomo's vocals, Vittorio Nocenzi's keyboards, and Renato D'Angelo's bass. There are other moments on each track stand out, of course -- the energetic latter half or so of "L'Evoluzione," for example. There is such drama in Di Giacomo's voice. While I'm not sure where this band stands in relation to Genesis -- in that I don't know if Banco were influenced at all by Genesis, a band whose career started around the same time -- but there is some keyboard sounds that are similar to early Genesis. However, more often than not, there are elements that are clearly not like Genesis.

"La Conquista..." is almost tango-like in parts, though it begins with all sorts of percussive sounds from the dark bass, drums, keys, etc. and a sound that is both like someone blowing raspberries and some funky flatulence. Personally, at certain points I kept thinking of the "Cantina Band" track on the Star Wars soundtrack, though I'm certainly not suggesting any influence here, unless composer John Williams was a Banco fan. Though it's Nocenzi's keys that are the lead here, it's D'Angelo's simple bass line that I really dig. Not that I don't like the keys, but there is something very sinewy and sultry about the bass. There are keyboard passages that are bright and steel like, rather cold. Not meant negatively, but in contrast to the bass, they are.

Lulled by the gentleness of "Danza Dei Grandi Rettilli" "Cento Mani E Cento Ochhi" leaps out of your speakers. Not as energetic as "L'Evolution," it is a mix of classical and Emersonion sounding keys. If one were to mention ELP at all, other than as I said above, what comes to mind for me mostly is "Jerusalem" -- it doesn't sound like "Jerusalem," but there is a tempo and pace that is similar. There are hints of "Stones Of Years" - again more as feel than as any influence. I would venture to say that influence is certainly not in the equation. "Cento Mani..." is fairly mid-tempo where the keys are occasionally angular -- a Hammond, it sounds like.

"750,000 Anni Fa...L'Amore?" is another gentle track. Di Giacomo's vocals are sublime, so emotional. Just voice and piano, giving way to deep, dark keys with higher tone keys playing in counterpoint. "Miserere Alla Storia" is mostly a loping, jaunty instrumental piece, but along the way transforms itself into various shapes. "Ed Ora Io Domando Tempo Al Tempo Ed Egli Mi Risponde ... None Ne Ho!" is at once playful - like a circus theme - light and airy with some deep bass tones ... fanfareish.

Conclusion: when all is said and done, I really dig this album. I have enjoyed listening to it and I know why Banco is so respected and why folks rate Italian prog the best. Highly recommended to all fans, but especially those into symphonic prog, Italian or not.

More about Darwin!:

Track Listing: L'Evoluzione (13:59) / La Conquista Della Posizione Eretta (8:42) / Danza Dei Grandi Rettili (3:42) / Cento Mani E Cento Occhi (5:22) / 750,000 Anni Fa ... L'Amore? (5:38) / Miserere Alla Storia (5:58) / Ed Ora Io Domando Tempo Al Tempo Ed Egli Mi Risponde ... Non Ne Ho! (3:29)

Musicians:
Vittorio Nocenzi - organ, synths
Gianni Nocenzi - piano and piccolo
Marcello Todaro - electric and acoustic guitars
Renato D'Angelo - bass and contrabass
Pier Liugi Calderoni - drums and percussion
Francesco Di Giacomo - vocals

Contact:

Website: www.bancodelmutuosoccorso.it
Note: will open new browser window

Discography

Banco Del Mutuo Soccorso (1972)
Darwin (1972)
Io Sono Nato Libero (1973)
Banco (1975)
Garofano Rosso (1976)
Come In Un' Ultima Cena (1976)
...Di Terra (1978)
Canto Di Primavera (1979)
Capolinea (1980)
Urgentissimo (1980)
Buone Notizie (1981)
Banco (1983)
...E Via (1985)
Donna Plautilla (1989)
Il 13 (1994)
Nudo (1997)
Papagayo Club (1972)
Banco Del Mutuo Soccorso Live (1970)

============================================
review added 12-2-99
Banco del Mutuo Soccorso: Darwin!
Banco del Mutuo Soccorso
Darwin!
Dischi Ricordi
Italy 1972

Vittorio Nocenzi, organ & keys; Gianni Nocenzi, keys; Marcello Todaro, guitars; Renato d'Angelo, bass; Pier Luigi Calderoni, drums; Francesco di Giacomo, vocals

Tracklist:
1. L 'Evoluzione — 13.57
2. La conquista della posizione eretta — 8.41
3. Danzo dei grandi rettili — 3.41
4. Cento mani e cento occhi — 5.20
5. 750.000 anni fa . . . L' Amore? — 5.35
6. Miserere alla Storia — 5.57
7. Ed ora io domando tempo al Tempo ed edli mi risponde . . . non ne ho! — 3.24

total time 46:46


Jon Byrne:
The Italian prog scene is the one "foreign" prog hotbed with which I have had any real contact. During my explorations of Italian prog, the name Banco kept coming up over and over again. It took two tries before I finally got my hands on one of the band's more renowned albums in its original form (I got the redone version of the band's self titled debut album a little while ago). After a few listens, I fail to see what all the hype is about.
Darwin! is full of wonderfully proggy stuff, as you might expect from an album recorded deep in the middle of the genre's golden age. Occasional influences pop through here and there without ever being derivative or cliched. The sounds are lushly symphonic, with rich keyboard textures providing a foundation for instrumental and vocal flights. In fact, as Italian vocalists go, Francesco di Giacomo is neither as operatic nor melodramatic as some of his comrades.
Unfortunately, to me, the songs themselves often don't really stir anything inside me. They wander about instrumentally and at times almost become a prog parody (as if you can say, "see, that's prog!"). Bits and pieces stand out but never really combine to form a satisfying whole. It's all accomplished with a lot of skill, but it possesses neither the lyrical beauty of early PFM or the intense complexity of Deus ex Machina.
In the end, I can see why Darwin! appeals to a lot of people. I find a lot of it appeal myself. I really wanted it to grow on me and find some immense enjoyment in the album. A few momentary delights, however, is all I really found.

Sean McFee:
The second album of Banco del Mutuo Soccorso is a concept work based on the scientific work of Darwin. Various songs treat topics such as evolution, natural selection, rejection of Creationism, etc. The entire thing is in Italian, of course, so many will have no idea what is being expressed anyway. Banco's music is generally notable for two things; Vittorio Nocenzi's mastery of multiple analog keyboards and Francesco di Giacomo's operatic vocal stylings. There is less of the sometimes syrupy balladry of the first album, as the mood generally stays less romantic. There are more sections similar to the instrumental workout in "Il Giardino del Mago"; the opening attack of "Miserere Alla Storia", the fanfare of "Cento Mani, Cento Occhi" and di Giacomo's ranting in "Evoluzione" come to mind.
The sound quality of this album is not always perfect, but the rough edges in this case seem to add to the power and mood, whereas I found them sometimes distracting in the case of their first album.
Darwin! is one of the most important Italian progressive rock releases, demonstrating Banco's continuing evolution as a band mixing Italian operatic touches with symphonic progressive rock. Recommended to any newcomer to Italian prog.

Joe McGlinchey:
One of the finest albums by a band that is definitely in the upper-echelon of classic Italian prog. This concept album on evolution starts off, appropriately enough, with the fourteen-minute "L'Evoluzione." The song begins with moderate pacing, Hammond organ and ringing piano chords musically recalling Van Der Graaf Generator circa Godbluff, and soon launches into an ELP-like (in Tocatta mode) assault with vicious Hammond stabs, swooping moog lines, and ferocious drumming. Keyboardist Vittorio Nocenzi composes with an advanced sensibility (i.e. Gentle Giant or Emerson), not settling for major triads or open tonalities, but still never loses an iota of emotional connection. And this is not to say that Banco are derivative of the above bands I've mentioned. They are pretty much their own. Van der Graaf would not do the smoky, lilting jazz of "Danza dei Grandi Rettili." Nor could ELP pull off the sad carousel-waltz, "Ed Ora Io Domando Tempo...", that closes the album (reminds me of the closing of Fellini's 8 Ѕ, where the protagonist wearily dances around and around in a circle with his friends and lovers). Throughout, the musicianship and music itself is excellent and as "prog" in the most basic recognized sense of the word as you can get. The only thing I can think of that one might not warm up to is the vocals, but at least the singer is definitely giving it his all. You'll probably have to play this album several times before it begins to hook you. But it will hook you.

Eric Porter:
Ah, at last my first taste of the legendary Banco. The band conjures many sounds, from ELP, Floyd, Crimson and Genesis, yet retain a very original sound. My favorite parts are the softer piano passages. The band shows off its classical bent about 10 minutes into "L'Evoluzione" with piano, organ, and vibes all neatly arranged. We are treated to some excellent Hammond workouts, and a flair for symphonic passages is displayed. Some forceful keyboard soloing and a spooky theme dominate "La Conquesta Della Posizione Eretta". The band gets into a jazz mode during "Danza Dei Grandi Rettili", showing a vast spectrum of influences. A very traditional Italian arrangement with harpsichords and accordion float through "Ed ora..." and provides an interesting musical twist bringing the CD to a close. Is anyone reminded of Genesis' "Return of The Giant Hogweed" in "Cento Mani E Cento Occhi" during its closing minute? If not, listen to the piano part and the mood. I really am impressed with the piano and keyboard work; and as has been stated by other reviewers, I find little problem listening to the vocals in Italian. I plan to delve further into this band's catalogue, another band that has taken me too long to become acquainted with. If I only had more money to buy all this great music...

conrad

Of the "Big Three" of Italian progressive rock (Le Orme and Premiata Forneria Marconi being the other two), Banco are definitely the most manic. This impression is reinforced by Francesco Di Giacomo's histrionic vocals. I can see why people describe his voice as operatic, but the timbre of his voice has more in common with Bruce Springsteen than Luciano Pavarotti.
The other reason for Banco's manic sound is the presence of two keyboards. This can give a very cluttered sound that takes a while to get used to. The sound for this album recalls the usual suspects for Italian progressive influences, especially ELP and Genesis, though there are also foreshadowings of the mood Rick Wakeman was to later create on The Six Wives of Henry VIII.

The band jumps from style to style on this album and even branch into jazz for "Danza Dei Grandi Rettili". In spite of this, they seem equally at home playing the "Return of the Giant Hogweed" inspired conclusion to "Cento Mani E Centi Occhi", the carnival waltz "Ed ora Io Domando..." or the melodramatic ballad "750,000 Anni Fa...L'Amore".

There are a number of drawbacks with this album. It has a few flat spots, "L'Evoluzione" probably being the main offender with a couple of uninspired sections. That said, every song has something to offer in at least one part of it. This is not the easiest of the Italian albums to listen to. There are a number of things in Banco's approach that take a little time to acclimatise to, the vocals not being the least. Once these hurdles have been overcome however, this is a worthwhile listen.

3-5-03



Other resources:
This band has a home page which might or might not function correctly in your browser.
There are a few customer reviews at amazon.com.
Tommy Schonenberg, at his website Tommy's Forest of Progressive Rock, has a review of this release.
There are numerous reviews of Darwin! on prog.net.



Banco Del Mutuo Soccorso


Gianni Nocenzi - фортепьяно, кларнет

Vittorio Nocenzi - орган, синтезатор

Marcello Todaro - гитара

Francesco 'Mr.Chubbs' Di Giacomo - вокал

Renato D'Angelo - бас-гитара, гитара

Pier Luigi Calderoni - ударные, перкуссия



Крупнейший представитель арт-рока Апеннинского полуострова, коллектив международного масштаба, представивший на суд слушателей свою модель сложного, интеллектуального рока богатой идеями итальянской школы. За более чем десятилетнюю карьеру они претерпели эволюцию от последователей ЕMERSON, LAKE AND PALMER и GENESIS, ставших катализаторами творчества группы в самом начале их деятельности, до подлинных шедевров такого не избалованного засильем талантов направления, как симфо-рок.

Первые свидетельства о попытках создать группу относятся, по сообщениям Жака Тони, к 1969 году, когда были записаны три композиции для сборника фирмы RCA Records. Недавно переизданная пластинка "Vedo il telefono" включала также песни THE TRIP и IL BALLETO DI BRONZO.

У истоков BANCO DEL MUTUO SOCCORSO ("Общество взаимопомощи"), как писал Дидье Гонсалес (Didier Gonzalez), - "стояли братья Джанни и Витторио Ноченци. В 1971 г. на поп-фестивале в городе Каракалла они познакомились с гитаристом Марчелло Тодаро и тремя участниками ансамбля LA ESPERIENZE: певцом Франческо Ди Джакомо, басистом Ренато Д'Анджело и барабанщиком Пьером-Луиджи Кальдерони.

В начале 1972 года вышел первый альбом Banco Del Mutuo Soccorso. Музыка представляла удивительный коктейль классицизма, барокко и ярких проблесков модернизма. Она несла лиризм пылких и завораживающих вокальных партий неподражаемого голоса Франческо Ди Джакомо, демонстрировала виртуозность во владении инструментами: раскаленные аккорды электрогитары Марчелло Тодаро и не имеющие себе равных (если не принимать во внимание величественность и насыщенность партий органа Витторио Ноченци) фортепьянные пассажи Джанни Ноченци, тогда как Ренато Д'Анджело и Пьер-Луиджи Кальдерони добавляли полные нюансов ритмические ходы, выдавая интересные крещендо и ритмические "сбои".

Особенно удачными на лонг-плее получились "RIP" и "Metamophosi". "Влияние ЕMERSON, LAKE AND PALMER в музыке BANCO чувствуется в виртуозных партиях клавишных - то ностальгических (как в "In volo" или "Il giardino del mago"), то оживляемых полными синкоп изменениями темпа ("Metamorfosi").

В 1972 году, получив благоприятные отзывы на дебютный альбом, коллектив опубликовал легендарный второй диск Darwin ! Подчиненный сквозной идее - теории эволюционного отбора Ч.Дарвина (1809-1882) и истории развития человечества -концептуальный альбом представил последовательность сменяющих друг друга ослепительных тем. "L'Evoluzione" с ее исключительной мелодической линей, каскадами искрометных фортепианных нот, проникновенной партий гитары, знаменитыми изменениями ритма и дьявольскими вступлениями чародея Витторио Ноченци на синтезаторе Муга. Удивительную "La conquista della posizione eretta" c прекрасными темами, которые развивают клавишные инструменты: последовательно вступающие ностальгический клавесин, фортепьяно с его чувственными мотивами, модернистские звучности синтезатора Муга, на фоне которых поднимаются к вершинам берущие за душу лиризм гитарных соло и голос певца..."

"Любопытно, как подобно Грэму Филду (Graham Field) и Дейву Кафинетти (Dave Kaffinetti) из RARE BIRD, игра которых дополняла друг друга, взаимодействуют братья Ноченци. Например, пока Джанни ведет основную тему на обычном фортепьяно (обнаруживая такие влияния из классики, как К.Дебюсси, Э.Сати и Б.Барток), Витторио импровизирует на органе или синтезаторе. Добавьте к этому впечатляющего оперного певца с отличным вибрато."

"По возвращении из турне по Англии произошло первое изменение состава: на смену Марчелло Тодаро пришел гитарист Родольфо Мальтезе (Rodolfo Maltese). Тем не менее третий альбом группы - появившийся в 1973 году непревзойденный Io Sono Nato Libeiro, был записан с участием обоих инструменталистов. Отточенные партии по большей части акустической гитары Мальтезе удачно накладывались на риффы электроинструмента Тодаро.

Наибольший размах и глубину замысла отражала композиция "Canto nomade per un prigioniero politiko", в которой выделялись быстрое фортепьяно Джанни Ноченци и потрясающий голос Франческо Ди Джакомо, тогда как общее настроение вещи (с блестящими "проходами" Витторио Ноченци на органе и синтезаторе Муга) вызывали в памяти мощь ЕMERSON, LAKE AND PALMER.

Однако в отличие от напоминающих отлично смазанный механизм английских коллег BANCO, предлагали лавину эмоций, лирических настроений и поэтики. Музыка группы была призвана затронуть за живое. Более изобретательная, чем когда-либо она подчиняла себе слушателя: сила и напряженное звучание акустических гитар, обусловленные общим замыслом смены темпа, определенно модернистский колорит, африканские или латиноамериканские ударные инструменты, широкие мазки современных и экспериментальных созвучий фортепьяно - все в этом гениальном шедевре вызывает удивление и восхищение.

Немного не дотягивая до заявленных высот, "La citta sottile" предлагает тщательно продуманные и особенно изобретательные фортепьянные темы, а "Non mi rompete" без сомнения является самой трогательной балладой в репертуаре группы. Io Sono Nato Libeiro стал определенным этапом в карьере BANCO, шагнувших от признания к известности.

В 1974 году уже заявившие о себе в Великобритании BANCO взяли тайм-аут для налаживания контактов с Manticore Records (только что основанной музыкантами E.L.P компании грамзаписи) с целью проникновения на англо-американский рынок.

Сборник переписанных композиций с ранних альбомов, названный просто BANCO, вышел в 1975 г. Вокальные партии (за исключением "L'Albero del pane") были исполнены на английском языке. Старые вещи заиграли новыми красками. Взятая с первого альбома новая версия "Metamorphosis" и близко не напоминала оригинал: фортепьяно Джанни Ноченцо вызывало сравнения с гением Белы Бартока или Эрика Сати, а на фоне партий мини-Муга бледнела тень Кита Эмерсона. Современный характер аранжировки "Nothing's The Same" (новое название "La Citta sottile") очаровывает, глубина и выразительность записи дала композиции новую жизнь. В расчете на мировое признание альбом был опубликован в Англии и Америке."

Наряду с P.F.M. BANCO являлись одной из немногих популярных в Великобритании и США итальянских групп, чьи альбомы - по крайней мере какое-то время - выходили одновременно на двух языках.

"В конце 1975 года BANCO приступили к работе над музыкой к фильму "Красная гвоздика". Появившаяся в 1976 г. звуковая дорожка продемонстрировал набор отличных инструментальных пьес (среди которых выделялась вдохновенная "Suggestioni di un ritorno in campagna"). Будучи второстепенной в ряду произведений ансамбля, пластинка прекрасно ложится в общую концепцию творчества группы. Сильное влияние джаза чувствуется в игре Родольфо Мальтзе, влияние которого на музыку BANCO очевидно.

Джанни Ноченци оказывал содействие Анджело Брандуарди (Angelo Branduardi) на лонг-плеях Alla Fiera Dell'Est (1976 Ariola) и Highway Fair (1978 Ariola).

В 1976 году с появлением седьмого альбома Come In Ultima Cena (еще больше выигравшего от издания на английском языке под названием As In A Last Super) группа закрепила успех. Музыка его передавала энергию находившегося на подъеме коллектива. Словно распустившийся цветок пылало волшебство игравших на пределе возможностей инструменталистов, помноженное на отличное качество записи.

Седьмой опус ансамбля, как и сборник BANCO, давал наиболее полное представление о группе. Этот шедевр представлял собой концептуальный диск на тему "Тайной вечери" - библейской легенды о последней трапезе Христа. Родольфо Мальтезе помимо гитары играл на тромбоне и валторне, а в качестве специального гостя был приглашен скрипач Анджело Брандуарди. "Обязанности звукоинженера выполнял брат гитариста JEFFERSON AIRPLANE Питер Кауконен (Peter Kaukonen). Удивительно сбалансированная пластинка, отметившая этап творческой зрелости коллектива. На ней, особенно на "Il Ragno" ("The Spider" в английском варианте), проявились восточные влияния."

"BANCO и далее не переставали удивлять, в 1978 году обратившись к неоклассической музыке с выпуском ...Di Terra - альбома, шедшего вразрез со всем, что они создали прежде. Франческо Ди Джакомо "исчез", композиции особенно новаторского диска полностью инструментальные. Группа привлекла симфонический оркестр L' Orchestra dell'Unione Musicisti di Roma, которым дирижировал Витторио Ноченци. Музыка стала еще более амбициозной и авангардистской, чем когда-либо.

"... ...Di Terra - это грандиозная симфоническая работа, выходящая за рамки прогрессивного рока или раздвинувшая их, вопрос остается открытым. Неоценимую помощь музыкантам оказал флейтист-саксофонист группы ACE Элан Кинг (Alan 'Bam' King). Когда проходит первое удивление, впечатление оказывается самым глубоким. Очень сложное произведение не сразу раскрывает все свое колоссальное богатство. Большинство поклонников не узнавали BANCO в этой работе. Какова бы ни была устоявшаяся точка зрения, пластинка заслуживает самого пристального внимания, с ней обязательно надо познакомиться, поскольку она является одной из наиболее сложных и восхитительных работ, созданных в области мирового арт-рока."

Монументальная работа из семи сюит с вкраплениями великолепных лирических тем была записана в марте-апреле 1978 года в римской Trafalgar Studios. Оркестровку выполнили Антонио Скарлатто (Antonio Scarlatto), Витторио и Джанни Ноченци.

"В 1979 г. с появлением Canto Di Primavera группа вернулась к прежней стилистике. Франческо ДиДжакомо вновь получил шанс продемонстрировать свои выдающиеся вокальные данные. Джанни Ноченци сменил Ренато Д'Анджело на бас-гитаре. Кроме того, на пластинке играли сопрано-саксофонист Луиджи Чинкве (Luigi Cinque) и перкуссионист Джордже Агедо (George Aghedo).

Продолжающая традиции Come In Ultima Cena музыка пластинки обнаруживает явные примеры вдохновения - в таких композициях, как новаторская инструментальная увертюра "Ciclo" с ее гипнотическим ритмом и репететивными секвенциями клавишных. Влияние джаза усилилось (от пластинки к пластинке все чаще использовались саксофон и духовые инструменты). Трогательные и очаровательные баллады "Niente" или "E mi viene da pensare" стали основой новейшего репертуара BANCO. Альбом в очередной раз подчеркнул необычный талант группы."

В 1980 г. появился компромиссный концертник Capolinea c невразумительными партиями духовых, а год спустя - альбом Buono Notize. Группа продолжала существовать до конца восьмидесятых, исполняя мелодичные песни (как на Non Mettere Le Dita Nel Naso) в духе AOR. По появившимся сообщениям, в начале девяностых BANCO реформировались, перезаписав два первых альбома и выпустив несколько новых.

ВANCO оставили после себя изысканную, величественную музыку, строившуюся на гармоничном сочетании выразительного вокала Ди Джакомо и утонченного инструментального сопровождения клавишных.

(Д.Г.)



c 1998-2000 Д.Гливенко. Лицензия РАО №3024 от 02.07.98 г. Любое использование материалов сайта разрешается только с письменного согласия автора.



Дискография:



1. Banco Del Mutuo Soccorso (LP) - 1972 (-/-/Orizzonte-Italy); (CD) - (Dischi/King)

In volo/R.I.P. (Requiescant in Pace)/Metamorfosi/Il Giardino del Mago: a) ...passo dopo passo... b) ...chi ride e chi geme... c) ...coi capelli sciolti al vento.../Compenetrazione/Traccia





2. Darwin ! (LP) - 1972 (-/-/Orizzonte-Italy); (CD) - (Dischi/Nexus-King/BMG)

L'Evoluzione/La Conquista Della Posizione Eretta /Danza Dei Grandi Rettili/Cento Mani E Cento Occhi/750000 Anni Fa... L'Amore/Miserere Alla Storia/Ed Ora Io Domando Tempo...





3. Io Sono Nato Libeiro (LP) - 1973 (-/-/Orizzonte-Italy); (CD) - (Dischi)

Canto nomade per un prigioniero politico/Non mi rompete/La citta sottile/Dopo... niente e piu lo stesso/Traccia II





4. Banco (Comp. LP) - 1975 (Manticore/Manticore/Manticore-Germany)

Chorale (from Traccia's theme)/L'Albero del pane (The Bread Tree)/Metamorphosis/Outside/

Leave Me Alone/Nothing's the Same/Traccia II





5. Garofano Rosso (Soundtrack LP) - 1976 (-/-/Orizzonte-Italy); (CD) - (Virgin/Virgin Dischi)

Zobeida/Funerale/10 Giugno 1924/Quasi saltarello/Esterno notte (casa di Giovanna)/Garofano Rosso/Suggestioni di un ritorno in campagna/Passeggiata in bicicletta e corteo di dimostranti/

Tema di Giovanna/Siracusa: appunti d'epoca/Notturno breve/Lasciando la casa antica





6. Come in un'ultima cena (LP) - 1976; (CD) - (Virgin/Virgin Dischi)

...a cena per esempio/Il ragno/E' cosi buono Giovanni, ma.../Slogan/Si dice che i delfini parlino/Voila Mida (il guaritore)/Quando la buona gente dice/La notte e piena/Fino alla mia porta



7. As In A Last Super (LP) - 1976 (Manticore/-/Manticore-Germany)

At Supper, For Example/The Spider/John Has A Good Heart, But../Slogan/They Say Dolphins Speak/Voila Midae!/When Good People Counsel/The Night Is Full/Towards My Door



8. ...Di Terra (LP) - 1978 (-/-/Dischi Ricordi-Italy/Musiza-Germany); (CD) - (Virgin/Virgin Dischi)

Nel cielo e uelle altre cose mute/Terramadre/Non senza dolore/Io vivo/Ne piu di un albero non meno di una stella/Nei suoni e nei silenzi/Di Terra





9. Canto Di Primavera (LP) - 1979 (-/-/Dischi Ricordi-Italy); (CD) - (Virgin/Virgin Dischi)

Ciclo/Canto di Primavera/Sono la bestia/Niente/E mi viene da pensare/Interno citta/Lungo il margine/Circobanda





10. Capolinea (Live LP) - 1980 (-/-/Dischi Ricordi-Italy); (CD) - (Virgin/Virgin Dischi)

Il ragno/Canto di Primavera/750000 annni fa... l'amore/Capolinea (1 parte)/Capolinea (2 parte)/R.I.P./Garofano Rosso/Non mi rompete





11. Urgentissimo (LP) - 1980

Senza riguardo/Dove sara ?/C'e qualcosa/ Luna piena/Paolo, Pa/Felice/Ma che idea/Il cielo sta in alto





12. Buono Notize (LP) - 1981 (-/CBS)

Taxi/Canzone d'amore/Si, ma si/Buonanotte, sogni d'oro/Baciami Alfredo/Michele e il treno/

AM-FM/Buone notize





13. Banco (LP) - 1983

Ninna nanna/Lontano da/Moby Dick/Piovera/Allons enfants/Velocita/Moyo ukoje/Traccia tre



14 ... E via (LP) - 1985

Notte Kamikaze/Ice Love/Black Out/(When We) Touched Our Eyes/To the Fire/Mexico City/

Lies in Your Eyes/Baby Jane



15. Grande Joe (LP) - 1985



16. Non Mettere Le Dita Nel Naso (CD) - 1989



17. Da qui Messere si domina la valle (2CD - Comp.) - 1991

CD 1

In volo/R.I.P. (Requiescant in Pace)/Metamorfosi/Il Giardino del Mago: a) ...passo dopo passo... b) ...chi ride e chi geme... c) ...coi capelli sciolti al vento.../Compenetrazione/Traccia

CD 2

L'Evoluzione/La conquista della posizione eretta/Danza dei grandi rettili/Cento mani e cento occhi/750000 anni fa... l'amore?/Miserere alla Storia/Ed ora io domando tempo al tempo ed egli mi risponde... non ne ho!


18. Banco del Mutuo Soccorso/Darwin ! (CD) - 1992 (Virgin Dischi)



19. Ultima Cena (CD)



20. Banco Live 1970 (Live CD) - 1993 (Mellow Records)



21. Papagayo (CD)



22. La storia (Comp. CD) - 1993

Nel cielo e nelle altre cose mute (Do largo)/Il ragno/Canto di Primavera/Fino alla mia porta/La conquista della posizione eretta/Danza dei grandi rettili/750000 anni fa... l'amore?/E' cosi buono Giovanni, ma.../Garofano Rosso/R.I.P. (Requiescant in pace)/Non mi rompete/Traccia



23. Il 13 (CD) - 1994

Dove non arrivano gli occhi/Sirene/Sirene (parte II)/Brivido/Guardami le spalle/Anche Dio/

Spudorata (pi-ppo)/Bambino/Tremila (Rock Prove)/Rimani fuori/Emiliano/Mister Rabbit/Magari che (Gargarismo)/Tirami una rete/Bisbigli



24. Le origini (2CD Comp) - 1996

CD 1

Ed io canto/Piazza dell'oro (Eh.Eh.)/Mille poesie/Un uomo solo/Donna Plautilla/In volo/R.I.P. (Requiescant in pace)/Il giardino del mago: ...passo dopo passo ...chi ride e chi geme ...coi capelli sciolti al vento/Compenetrazione/Traccia/Miserere alla storia

CD 2

L'evoluzione/Danza dei grandi rettili/750000 anni fa... l'amore?/Ed ora io domando tempo al tempo ed egli mi risponde... non ne ho!/Traccia II/Canto nomade per un prigioniero politico/Non mi rompete/La citta sottile



25. Nudo (CD) - 1997

Prologo n°1 - R.I.P./Il ragno/E mi viene da pensare/Emiliano/750000 anni fa... l'amore?/L'evoluzione/Prologo n°2 - Non mi rompete/Live Emotion: Bisbigli - Passaggio - Coi capelli sciolti al vento - Traccia





Banco Del Mutuo Soccorso - "Darwin!" (1972)
A fantastic follow-up which even was released the same year as the classic debut! On this album the group began their very creative use of synthesisers. This can especially be heard in the middle of the dramatic and excellent opening track "L'Evoluzione" and on the sinister "La Conquista Della Posizione Eretta". Both tracks are enormous pieces of progressive rock at its best. "Danza Dei Grandi Rettili" is a very nice and jazzy instrumental, while "Cento Mani E Cento Occhi" shows the group from a more quirky side. The ballad "750.000 Anni Fa...L'Amore" is probably the most beautiful track I've heard with the band. "Miserere Alla Storia" has some very sinister, almost theatrical vocal parts, and a Hammond-riff that probably made Keith Emerson jealous. An extremely good album!






Banco del Mutuo Soccorso


Banco del Mutuo Soccorso (1972)
Darwin! (1972)
Io Sono Nato Libero (1973)
Banco (1975)
Garofano Rosso (1976)
Come In Un'Ultima Cena (1976)
As in a Last Supper (1976)
...di Terra (1978)
Canto di Primavera (1979)
Capolinea (Live 1980)
Urgentissimo (1980)
Buone Notizie (1981)
Banco (1983)
E Via (1985)
Da Qui Messere Si Domina La Valle (1993)
Il 13 (1993)
Nudo (Live 1997)
En Concierto Mexico (Live 2000)
Live (Recorded 1970, Released 2000)


Compilations/Other Recordings:
La Storia (1993)
Antologia (1996)
Le Origini (1996)
Gli Anni 70 (1998)


County Of Origin: Italy
Established: 1969
Styles: Symphonic


Biography

In my eyes, Banco del Mutuo Soccorso were undoubtedly among the top five or six progressive rock bands in the world during their heyday in the mid 70s, standing out as perhaps the greatest of all the Italian groups. Their rich, refined musical attack, highlighted by the classically inspired dual keyboard tapestry of the brothers Nocenzi, plus the overwhelmingly expressive operatic vocals of Franceso DiGiacomo, combined with their compositional ability to effortlessly contrast awe inspiring power and bombast with stunning beauty, made Banco a defining phenomenon in Italian progressive rock. What vaults them into their own league, however, was their ability to sustain a level of such immense quality over the course of many albums, in contrast to the slew of Italian bands who only managed one or two albums before burning out. The first three Banco releases are all undisputed classics, monstrous works that are undoubtedly essential to any serious progressive rock collection. Other albums such as Come in Un'Ultima Cena and the all instrumental ...di Terra effectively sustain the bands legacy, and stand as essential Italian releases in their own right.

Banco originally began in Rome as a pop group whose core consisted of keyboardists Vittorio and Gianni Nocenzi, though it was not until meeting vocalist Franceso DiGiacomo at a popular music festival that the classic lineup began to come together. With the addition of Marcello Todaro on guitar, and a solid rhythm section, the bands compositions began to become longer and more complex, undoubtedly inspired by the penetrating influence of English progressive rock at the time, as well as Vittorio's own passion for classical music. After securing a deal with the Italian label Dischi Ricordi, the band went into the studio to record their landmark debut album, Banco del Mutuo Soccorso. The classic status of this album is hardly in question, representing a spark that would, at least in part, help nudge the burgeoning Italian progressive rock scene into a full blown renaissance. The next album, Darwin!, was arguably even better. After Darwin!, guitarist Rudolfo Maltese would come on board, and remain an integral part of the group until the present day. 1973's Io Sono Nato Libero is, simply put, one of my favorite albums ever, an outstanding achievement that perhaps stands as the band's magnum opus. It's hard to argue with any of these albums, all display a distinct compositional approach, and any person who is familiar with them might name a different one of the three as their favorite.

At this point, the band became impossible to ignore, and international recognition was forthcoming. After ELP had signed PFM to their Manticore label, they decided to take a chance on Banco, and the band put out an all English album, simply titled Banco, which contained English re-workings of various songs from the previous three albums. This was followed by a film soundtrack entitled Garofano Rosso, and in the same year by their fourth proper album, Come in Un'Ultima Cena. The album emphasized the classicism and gorgeous melodic instincts of the band, establishing itself as another fundamental release, though one that has been unjustly overshadowed by their previous work. 1978 was perhaps the peak of the band's ambition, Vittorio Nocenzi was given the opportunity to record with a full orchestra, the result being the brilliant instrumental album, ...di Terra. This period of Banco's extraordinary productivity would shortly come to a close however, as 1979's Canto di Primavera featured a simplification of the band's sound, veering more towards folk music and emphasizing melody over complexity, and while still good in its own right, ultimately hinted at the pop direction the band would take during the 80s.

The 80s for Banco is, presumably, a period of little interest for the progressive rock listener, though I haven't familiarized myself with any of these albums yet, and probably never will. Apparently, the focus was on chart success within their country, which seems to have been somewhat fruitful. Still, at the turn of the decade the band decided to return to their roots, and re-recorded their first two albums in 1991 as the Da Qui Messere Si Domina La Valle set. The rest of the decade has been characterized by live and studio releases reflecting their rediscovered progressive mentality, and has certainly been highlighted by their first appearances for American audiences, headlining two major festivals, Progfest in 2000 and NEARfest in 2001, captivating all who were present at either. - Greg Northrup [October 2001]

Sources: Banco del Mutuo Soccorso Official Website

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Banco Del Mutuo Soccorso (1972)

This is a spectacular debut from the band that would go on to release two of the greatest progressive albums ever in Darwin! and Io Sono Nato Libero. The album is made up of six tracks, but three of them are short intro-type songs. The other three tracks are all massive, lengthy and powerful pieces. "R.I.P. (Requiescant In Pace)" opens things up with a heavy, rocking groove and introduces the spectacular vocals of Francesco, bellowing operatically over a comparatively simple, yet tremendous groove.

The next piece, "Metamorfosi" is less vocally based and highlights the tremendous talents of dual keyboardists Gianni and Vittorio Nocenzi. Next, the 18 minute centerpiece "Il Giardino Del Mago" showcases a monumental and emotional combination of instrumental and vocal parts, an epic track. All in all this is a landmark classic that, like the next two albums, is undisputedly essential to any progressive rock collection. Not to be missed. - Greg Northrup [May 2001]

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Darwin! (1972)

The second Banco album is another in their series of classics and stands as one of my most treasured albums. In fact, Darwin!, was the first Italian album I got, and once I got to the shuddering grooves of "Cento Manni E Cento Occhi", I was completely converted to the passionate, thundering sound that would characterize one of my favorite bands. It's all here, the dual keyboard tapestry of the brothers Nocenzi, trading off Hammond assaults, delicate, heart wrenching piano runs and fire-breathing moog themes, building together in unison to moments of unimaginable climax. Atop this are the always outstanding vocals of Franceso DiGiancomo, who comes crashing in with his operatic, distinctly Italian, vocal prowess.

Nearly every song on here is a gem. "L'Evoluzione" is an utter whirlwind, beginning a tender ballad, then accelerating into a bombastic groove. "La Conquista Della Posizone Eretta" is a keyboard driven apocalypse, breathtaking throughout. And man... check out "Cento Manni E Cento Occhi". This is the song that made me a believer the first time I heard it, an up-tempo barn burner that moves through a number of themes, carried by Franceso's vocals, before arriving at its unbelievable, aggressive conclusion. "750,000 Anni Fa: L'Amore" is a tremendously moving ballad featuring Francesco backed only by a shimmering piano theme, an expressive, morose and almost romantic atmosphere pervade the song.

All in all this is another unequivocal classic. The first three Banco albums are all among my personal favorites, showing a band in the midst of a period of nearly unmatched consistency, on par with any of the more renowned English bands. Darwin! is an excellent place to start exploring Italian progressive rock. - Greg Northrup [May 2001]

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Io Sono Nato Libero (1973)

Io Sono Nato Libero is one of the crowning jewels of the entire Italian scene, and arguably Banco's magnum opus. Mainstay guitarist Rudolfo Maltese is brought on board here, and his contribution is definitely felt, as the sound is yet another step forward in complexity and depth. Wonderful, more sophisticated arrangements, awesome production and typically emotive playing characterize the album. Although I found the album to be less immediate than Darwin!, I find it to be just slightly better in the long run, as the two main tracks, "Canto Nomade..." and "Dopo Niente..." each posess a wealth of different grooves and subtle flourishes that take some time to get your head around.

"Canto Nomade Per un Priginero Politico" is a dynamic, powerful and overwhelmingly dramatic masterpiece. It unfolds throughout the first seven minutes through a series of brilliant Francesco vocal parts, shifting from balladry to aggression to a climax of complete power. The last half is filled with mind-blowing instrumental sections, ending in a percussive apocalypse. The next song, "Non Mi Rompete", is one of the more accessible Banco songs, poppy yet still very beautiful and emotional. "La Citte Sottile" is probably the weakest track here, being Gianni Nocenzi's first venture into the realm of composition, but it is still a solid cut, featuring some excellent instrumental work and a very dark theme throughout. "Dopo... Niente e Piu lo Stesso" is another masterpiece, spanning the extent of Banco's capability as a band, and exploring their extensive capability to seamlessly shift through various moods and feelings. The song ends by dramatically flowing into the classical flourish of instrumental closer "Traccia II". Io Sono Nato Libero is certainly one of my personal favorite albums, and effectively caps the band's classic early 70s trilogy. A clear-cut progressive rock classic that, like the previous two, is undoubtedly essential. - Greg Northrup [May 2001]

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Come in Un'Ultima Cena (1976)


Come In Un'Ultima Cena came out three years after their last real album, the stunning Io Sono Nato Libero, the time in between these releases was taken up by an English compilation for ELP's Manticore label, and a soundtrack album, Garofano Rosso. Here we have some compositions that are much more concerned with a cinematic atmosphere, and grandiose classical movement. Gone is the powerful bombast and off the wall frenetic energy of the first three albums. Here, we are presented with a much more refined, toned down and compositionally mature band. The emotion is still very tangible, and while the compositions are very progressive and intricate, there are certainly moments where the band turns on the aggression in reference to their previous albums. Overall, Come In Un'Ultima Cena is much more vocal based than any of the previous albums, being totally structured around Francesco Di Giacomo's beautiful narrative. If you adore this guy's voice, you'll love this album.

Come In Un'Ultima Cena is a concept album that has something to do with Christ and the Last Supper of the New Testament. The music seems very concerned with delivering the appropriate moods throughout, and is quite successful, as most of the album is highly emotive. Unfortunately, the album starts off slow, "...A Cena Per Ensempio" is a weak opening track that originally had me worried when I first listened to it. The next track thankfully restored my faith. "Il Ragno" is one of the best Banco songs ever, if a little more subdued compared to their earlier work, great vocal melodies, and a powerful organ riff, develop into something gloriously complex. "Slogan" is a track that most recalls the classic Banco bombast, though it doesn't quite reach the energy level of something like "Cento Manni E Cento Occhi", it is another magnificent track.

The rest of the album has some more gorgeous moments, like the emotional vocal melodies of "Voida Mila", and the totally fabulous ballad "La Notte E Piena", which also includes some beautiful orchestration. Overall, this is a magnificent album yet one that is even less immediate than any of its predecessors. This is perhaps their most mature, structured and complex offering, and what it lacks in raw energy, it makes up for in emotion. Come In Un'Ultima Cena is another great Banco album, and though not quite as essential as their first three (few things are), it is still a phenomenal work in its own right. - Greg Northrup [May 2001]


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...di Terra (1978)


...di Terra is Banco del Mutuo Soccorso at their most ambitious. Ironically, the aspect of the band that is often cited as their greatest strength, the famed voice of Francesco Di Giancomo, is absent from this release, as the band attempts to go an all-instrumental direction by melding their fiery style with the full orchestra. ...di Terra is probably one of the most successful stabs at this idea that I've ever heard. The music is superbly composed by Vittorio Nocenzi, achieving a perfect balance of prog-rock splendor, classical beauty and sheer bombast. This is an extremely inspired album that doesn't come off as gimmicky at all. Orchestra swells, complete with full percussion and horns, complement the Nocenzi brothers' dazzling piano and keyboard runs, who also employ synthesizers from time to time.

...di Terra may be a little off-putting initially because this is in no way your typical Banco album. It's composed very much in a classical manner, sacrificing little to none of the compositional integrity of the piece to incorporate a "rock" base. It therefore takes some getting used to. Themes develop very gradually, and may disappear suddenly only to re-emerge three tracks later. Volume dynamics are likewise very different, you might need to really pay attention or turn up to hear the softer parts, only to have your speakers explode when the orchestra goes forte. Song divisions are arbitrary and mean little in the grand scope of the piece, as it's very much intended to flow together. In any case, after some patience, ...di Terra reveals itself as one of the finest Banco albums. - Greg Northrup [May 2001]