body{ text-shadow: 0px 0px 4px rgba(150, 150, 150, 1); }

23 Aug 2016

Capitolo 6 “Frutti Per Kagua” 1972 Italian Prog

Capitolo 6 “Frutti Per Kagua” 1972 excellent Italian Prog recommended….
full dailymotion

In 1969 a couple of musicians from Viareggio band GLI EREMITI (Luciano Casa and Jimmy Santerini) joined a band from Livorno (I Rangers), and the resulting five-piece was called CAPITOLO 6. Two drummers were included in this line-up, though Luciano Casa mostly played 12-string acoustic guitar and sang backing vocals. The group obtained a record deal with RCA subsidiary It (thanks to RCA producer Roberto Tessandori, who was also from Viareggio), a label that was much interested in singer-songwriters than in rock groups, and a second single on the new label appeared in 1971, the group being by now based in Rome. They had a promising live activity, playing at Viareggio festival in 1971, and even supported Led Zeppelin in Rome, but 1972 saw a line-up change, with original members Casa and Santerini leaving. New keyboardist Antonio Favilla and sax/flute player Loriano “Fischio” Berti were taken in; Berti left after not long (he’s credited on the LP among the composers), and the remaining quartet released their first and only album in the same year.

“Frutti Per Kagua” is a mixed album with two very different sides, the first one containing the 22 minutes long title track, with flute in evidence and a good sound. Guitarist Bartolotti was responsible for the heavier sound of the group. Side two contains three shorter tracks with good lyrics (by Italian songwriter Francesco De Gregori) but less inspired in their musical content. A single with “Il Grande Spirito” (with an unreleased track on B-side) was also taken from the album, but the band decided to split due to the lack of success. They had also been featured, singing other artists’ songs, in some RCA compilations released throughout the world for the Sanremo 1972 festival (see details below).

Keyboardist Antonio Favilla was involved in the short-lived second line-up of CAMPO DI MARTE, he had drug problems and sadly died in the early 90’s. Even original keyboardist Santerini died from leukaemia in 1977.

Maurizio Lo Giudice, ITALY 

Italian group formed in the early 70s from the merger between two failed bands in the region of Tuscany. Then formed a quintet led by keyboardist and drummer Jimmy Santerini and Luciano House that in this case, House played only 12-string guitar and helped on vocals.

The band had its peak in 1971 when they signed with the Italian subsidiary of RCA Records to release an album that was finished only after some time. Also in that year, the band played in festivals in their hometown, Viareggio and still came to opening for Led Zeppelin in Rome for thousands of people.

In 1972 the band lost two principal members being replaced by excellent Antonio Favilla keyboardist and flutist / sax Loriano Berti, who left the band shortly after the release of this album in question.

With all these strange lineup changes over the short period of its legth, the band managed to maintain an essential quality in relation to the technique of their musicians with perfect vocal harmony.

The record is composed of only five but fabulous tracks, being the first a true gem worthy of what we know as Italian Progressive Rock. The track of almost 19 minutes, gives its name to the record and is conducted with extreme perfection by Berti with beautiful flute passages throughout its course. At times it is noticed a distinct similarity to the style of Ian Anderson playing his lead instrument but not forgetting the soft touch that only the Italian Progressive Rock can offer to the most discerning ears.

The second part of the album is composed of smaller tracks with very expressive vocals, giving more emphasis on the passages of acustic and eelctric guitars, mingling the tender Moog solos followed by a shy, but beautiful Hammond Organ sound…..

Ever have one of those albums you bought and listened to only a few times and sold because you did not like it *only* to try it again years later and give it many listens and then end up liking it?

Along with Crimson’s “Larks’ Tongues in Aspic” (which I initially hated/sold and rebought years later and loved), this is such an album.

About 15 years ago (at the time I was getting into RPI), I loved the soft pastoral sounding RPI bands like Orme/PFM/QVL/etc.. I started exploring more of the 2nd/3rd tier RPI bands back in 98 after getting all the “50+ essential ones”. I got this one and did not like it because it sounded too harsh and raw as if a garage band jam. I put it on my “for sale list” and sold it. Years later as I became more open minded (I was closed minded), I tried this again. Only this time, I decided to play it about 5 times in a row. Now I like it because it sounds harsh 

Although I cannot see credit to Jumbo’s lead singer, he sounds like he makes an appearance towards the end of the 18 minute album side track as it does not sound like the singer you hear for the majority of the album. I don’t see the Jumbo guys’ name here nor do I see his name mentioned on the italian prog web site for this album. But I swear it’s him. Can someone confirm?

By the album cover, I’d guess that this album has something to do with the politics of US treatment to the native American’s either in the 19th century or since? Maybe I’m wrong.

Musically, this album sounds like the musicians jammed and cranked out 4 tunes in 1 take amidst mediocre sound equipment. There’s a certain raw-sound/recorded-live-in-the-studio-with-no- overdubbing feel to this album. But I like it quite a bit. Most of the time the album is hard rocking with some prog and some psychadelic tendencies. Sounds more like proto-prog with the rawness of the “Indian Summer” (another pretty cool album) album if anyone has heard that album? Throw in a flute that tends to be more rhythmic than melodic (this is not a bad thing) along with some italian beat vocal harmonies (the kind you hear from about 1970), heavy deep purple-ish guitar leads and a lead vocalist who can be harsh at times. On a few occassions, the vocal harmonies tend to even remind me of that on Jesus Christ Superstar. All the while being a heavy-hard-rock melodic album with prog and psych leanings.

If you like your music primarily heavy with heavy guitars and the RPI vocal harmonies/melodies (along with some harsh lead vocals at times) that you’re familiar with along with the token Jethro-Tull sounding flute along with a raw-ness about this album that indicates that it could have been recorded in one take in a high school gymnasium, this album is definitely an album to check out.

If you’re just getting into RPI, I’d check out the usual suspects that tend to rate the top 50 RPI albums to get. If you can’t get enough of those first tier albums and want more (like I did) of RPI and want to start checking into the non-first-tiers (in which there are a lot of great gems like Ricordi Di Infanzia, etc..), please check into this Capitolo 6 album and give it at least 5-10 listens before you decide whether or not you like it.

Not essential but definitely a good RPI album to have in your collection if you’re exploring the non-first tier albums……

Yet another great album, this is actually one of my favorite prog-albums. There is great dialogue between the voice, guitar and flute. In some parts in gets pretty raunchy (pesado…pesado…) but it never looses its melodic attributes. The guitar is never to loud, all the instruments are perfectly sinqued and never does one get lost behind another. It changes mood pretty dramatically in some parts, but the changes are never abrupt or out of place it follows a well developed structure.

A really nice classic, the voice is another nice addition. A great example is my fav. pick on the album “Il Tramonto di un Popolo” where the voice is another part of the set of the mood of the whole track, not like in other albums where it just kind of follows along with the song. the best part is the end of the song where it just bursts out with this huge sentimental yell, its awsome! I always try to look for this one album efforts, where, sadly, the band employes/explode all off their creativity into a hand full of really great tracks. Like this type of albums, NOT allong the musical style of Capitolo 6, I could amply recomend Panna Fredda “Uno” and Le ali del Vento “1969-1971” (a girl on vocals, really cool!). Get this album if you dont have it…..

“Frutti Per Kagua” is a previously rare and expensive album from early progressive rock masters CAPITOLO 6. If you are a collector or love prog-rock, this respected classic Italian progressive rock LP should have a place in your collection. Interestingly enough, even though the band hailed from Rome, this was is a concept album based on late stories of Native Americans.

The title track encompasses the entire first side on the album, running for 22 minutes. Their crowning glory is truly a prime slice of prog-rock heaven with beautiful flute passages interlaced with guitars and keyboards. The vocals are exceptional, even though I did not understand them; they seemed very expressive and fit well with the music.

This was yet another revelation for me in regards to the importance of Italian progressive rock. I realize I probably have said this before but it is worth reiterating, some of these bands early on were just as critical to the prog-rock genre development as British bands were. I certainly have heard enough proof of that over the last few years thanks to the superb reissues of Comet Records. This one is definitely a must have!…..

1 - Frutti per Kagua (18:24)
02 - Il grande spirito (3:31)
03 - Il tramonto di un popolo (5:57)
04 - L'ultima notte (11:30) 

johnkatsmc5, welcome music..







Cassette Deck

Cassette Deck