This talented Roman multi-instrumentalist, composer and producer is back with a second album after the tasty debut Urban Vision that appeared in 2024. The list of musicians are just as impressive as on the first album, starting with John Mitchell, Michael Bearpark and Massimo Fantoni on guitars, Danilo Cherni and Fabio Anile manning the keys, bassist extraordinaire Colin Edwin, a trio of drummers: Craig Blundell and returning percussors Luca Fareri and Angelo Strizzi. Some devastating trumpet work by the indefatigable Luca Calabrese and Paolo Fresu, while Nico Alesini handles the sexy sax parts. Nicola really seems to enjoy the precision of 6-minute-long compositions (perhaps spending ‘time’ in Switzerland) as it mirrors the timelines on the debut, a very impressive sense of dimension. As is the case with Nicola, Stefano Panunzi and their co-work on the FJieri albums, the mighty spirit of Japan’s illustrious bassist/saxophonist Mick Karn rules supreme. Mitchell takes care of all the microphone duties with delectable enthusiasm.
The torpid instrumental “Beyond the Borders” certainly sets the tone for the entire opus, a flexible rubber bass snoring with impeccable splendour, the trumpets blaring brazenly, the travelling guitar patterns and the exotic percussion propelled with polyrhythmic audacity. Just a brassy sax needed to launch a terrific lead guitar that merges with the throttling undertow, this is beyond any normal boundary, its sheer bliss! John Mitchell’s suave vocals permeate the stimulating “Last Evening”, the interface between the robust and in your face bass elasticity and the rousing anthemic chorus is spellbinding. The echoing keyboard cascades bouncing off the syncopation recharges the impetus for another dive into melancholic introspection, where the soloing options kick in without any hint of timidity. Same can be said for the perilous “Dangerous Night”, a thrilling ride into an urban nocturnal romp that has the attribute of being melodically accessible as well as instrumentally eccentric. The sonic hue is outright dark and drenched in obscurity, the vocals becoming senselessly arousing and the serpentine bass showing itself to be outright devilish, as the sirens blare in the background. Very close to the classic Fjieri style, served up with a blistering axe splurge that sizzles like a burst of blinding flashlight. The final section gets downright tempestuous , slithering synthesizers enhancing the tornado of sound. What a killer trio of gems, and we have barely dived in yet!
The seductive trumpet takes the spotlight on the jovially restrained attraction of “My Happiness”, the sculpting bass meandering like a reptile in search of adventure. The reflective keyboard backdrop is heavily ambient, voice effects, shiny muted brass, all combined to seduce and to satisfy. Like wading in luxuriant whirlpool of gentle contentment and cheerfulness, completely at peace and rested, the mind can wander now freely. Immaculate.
The title track sits solidly in the middle core of the album, much like a shining beacon of light, guiding the vessels as they circumnavigate our blue planet. It also serves to signal another set of surgically precise pieces that maintain the imperial glow (we are dealing here with Rome, after all). John Mitchell delivers a passionate vocal delivery, soaring like an orbiting satellite of love (no, not the Lou Reed tune!), arguably the most accessible track here, as the focus is clearly on the melody. The ripping guitar solo spares no asteroids as it scorches the stratosphere in its wake.
Throughout the eternal city’s many parks, unbelievable green parrots seem to astound visitors by their sheer numbers, cheerful chirping and showing off their abundant plumage. “Fly Now” is perhaps a celestial ode to these elegant creatures, the courteous trumpets shivering in acquiescence, the jazzy pace carefree and reassuring. The overall composure shown by the players is worthy of respectful applause, even the bass chooses to waltz with grace. The lively and lavish “The Moon Rise” swings back into the groove, Mitchell in dramatic mood on the microphone, ‘as the ship is sinking fast’, scaling up and down the vocal ladder with impunity. The drums are energetic and unrelenting, the stretching the edges of resonance, the entire piece relying on a sense spectral shivering, as identified by the trembling guitar solo. Subtle quivering on “Only Words”, an exquisitely temperamental incursion ‘into moving into my fears’, a measured requiem that seeks no glory, preferring elementary honesty, loyalty and devotion. The poignant screams at the end stamps this with timeless reverence.
“Where Frost Remains” is the lengthiest track finishing off this lush sonic journey and should consecrate this artist as a force to be reckoned with. This gentle arrivederci encompasses all the glimmering attributes expressed above, in the most solemn and humble construct. Playing gorgeous notes with spirited desire, all players united in creating heavenly music, what more can one ask for! This is intense class, just like that country can so often provide throughout the years, centuries and millennia. Let that sink in.
Musicians like Grice, Tim Bowness, Stefano Panunzi, and Jakko Jakczyk certainly have created a progressive rock niche that differs from the usual genres, transcending borders and flying high. Add Nicola Lori to the list.
5 Roman orbits