04. La terra
- Walter Maioli / arabic oboe, wooden flute, naj, bass flute, maranzano, bass harmonica, reeds, whistles, bells
- Daniele Cavallanti / Soprano saxophone
- Antonio Cerantola / acoustic guitar, balalaika
- Lino "Capra" Vaccina / maroccan bongos, koborò, african drums, tabla, gong, xylophone, whistles, cymbals, musical bow, percussion
- Otto Corrado / Soprano saxophone, flute, bells
- Attilio Zanchi / acoustic guitar
- Marjon Klok / harp, Tamboura, bells
- Trilok Gurtu / tabla, snake drums, maroccan bongos, cymbals, xylophone, cow bells
"La Terra" brings us for a change some non-symphonic progressive greetings from Italy. In their music many different styles blend as an unique ethnic batik, which should please the ears of the fans of ethnic and improvisational (psychedelic?) music.
"Mina" starts with an accordion which creates associations of western music, but this first impression is soon blurred with the tablas bringing Indian feeling to the soup. Soon freely soloing tenor instruments float around forming Mid-Eastern like patterns. The ecstatic rhythm pauses for awhile, until it is brought back by pounding dark drones.
"Mud" begins with a haunting Islamic theme, which is accompanied by a hypnotic acoustic string instrument and the tablas. The dance of this trio morphs later as faster guitar driven passage, and the flute is changed to a jazzy saxophone, which brings some European influences along to this ethnic mix. Later a strong sound of some bow instrument is introduced, caressing the pulsing rhythm intensively in euphoric manner.
Third impression "Sar" rises like a spider climbing up by it's web, which is weaved by help of high pitched harp strings, and soon the music begins to swirl around peacefully, allowing the baritone strings, tablas and flutes to start their geometrical movements, which lead to a furious acoustic run.
The last title song is the longest one of the four, lasting a bit over ten minutes, as the three previous lasted between six to eight minutes. The beginning of "La Terra" is a large peaceful space created by an Indian like monotonous drone, some casual touches of metallic percussive and bird-like shrieks. Soon guitars begin to carve out concrete shapes from this hazy mist. Later a flute and a harp are joined, and the tempo starts to grow slowly, reaching the climax after about five minutes, leaving relaxing guitar patterns to linger in the air. Another variation of this run follows soon, lead by the pulse of a mouth harp. Sadly this jam does not reach a proper ending, but it is faded out.
Along with few other uses of in and out fadings done during the mixing of this album, it is hard for me to find anything else to criticize on this fabulous album. And these solutions are not as irritating in this kind of slow and ethereal music, as they can be when used in rock music. This record can be recommended to be listened whilst burning incenses, charming snakes and getting laid.