(Rock Progressivo Italiano / Progressive Rock) Malaavia - Danze d'Incenso - 2003, APE (image+.cue), lossless

MALAAVIA is a new Italian band. Their music is symphonic prog in the Italian tradition with some Arabic and modern experimental sounds. This makes the music a fusion

of different expressions. The closest comparisons from the seventies scene could be bands like OSANNA and SAINT JUST. Lino Vairetti from OSANNA makes a guest

appearance in one track in their debut album "Danze D'incenco". This album has strong keyboard work by Oderigi Lusi and the vocal sections between the male singer &

guitarist Pas Scarpato and female singer & flautist Solimena Casoria are especially delicate.

Malaavia from Napoli started in 1998 as a project of guitarist, bassist and singer Pas Scarpato along with bassist Tullio Ippodamia.The duo welcome keyboardists

Antonio Casoria and Oderigi Lusi, flutist/singer Solimena Casoria and percussionist Egidio Napolitano to form the first nucleus of the band.Just when things seem to

roll, Ippodamia and A. Casoria left Malaavia in 2000 and the next year Scarpato recruited drummer Lucio Fontana.However over the span of five years Malaavia

participated in several contests, concerts and festivals with success.In 2002 Scarpato met Massimo Orlandini and Raoul Caprio of MaRaCash Records, which would result

the release of the band's debut ''Danze d'incenso'' in 2004.In the record several guest musicians would help the Malaavia quintet, among them keyboardist Michele

Mutti from La Torre Dell' Alchimista and Lino Vairetti from Osanna.
The album proposes a nice mix of Progressive Rock with Ethnic and World Music and the opening 15-min. ''Sequenza prima: delle danze'' is a good example.Just when you

get enough moments of Classic Italian Prog of symphonic nature with dominant synths, piano and organs appears a interesting journey around the world with lots of

saxes, violins, mandolins and percussion, offering evident Spanish, Eastern and Arabic overtones, while some lyrics are even delivered in the Spanish and Ancient

Greek language.Some dull beats or commercial moments are also present, but overall this composition sounds very nice.
Second track comes under the title ''Sequenza seconda: della conoscenza'', clocking at almost 20 minutes.Here Malaavia sound a lot like the most ethereal material of

HOSTSONATEN with a touch of ZAUBER, excellent Progressive Folk with symphonic orchestrations.Beautiful flute parts, light piano interludes, dreamy female vocal lines

and versatile symphonic keyboard passages with some very good instrumental moments, again another segment (''Vie interne'') seems totally out of place, hurting the

composition's consistency.
Things become too dangerous regarding the tracks' lengths with the third part of the album ''Sequenza terza : tra balsami d'incenso'', which lasts over 38 minutes.But

actually this sounds as the more consistent track of the whole album despite the minor flaws.Charming combination of romantic Italian Prog with Ethnic/Folk Rock, even

the male vocals sounds great on this.There are strong references to the Spanish, Middle-Eastern and Mediterrenean culture throughout, either through the tunes

provided by the pianos and synths or with the use of traditional instruments like the accordion, flamenco guitar, percussions or flutes.But there is still plenty of

Classic Italian Prog color in this with Classical preludes and symphonic instrumental soundscapes.Again HOSTSONATEN is the closest comparison, tight mix of keyboard-

based Prog with Ethnic Music, producing a variety of trippy soundscapes.
Very good album and an impressive musical concept overall.Works much better as a whole listening than separating the tracks with each listen and this way it will

definitely reward you.You love HOSTSONATEN, you'll love Malaavia as well.Strongly recommended...3.5 stars.
This is another fine example of Italian proficiency in progressive rock field, combining local and foreign influences to create memorable music and exemplary playing.

RPI is akin to Italian cuisine, there are a lot of combinations, flavors and aromas that can go into the pan, while still keeping to long held traditions . The main

cooks are Pas Scarpato and Oderigi Lusi with an army of guest musicians on violin, viola, trombone, sax, flutes, synths, mandolin and percussion. This is one colossal

suite composed of 22 pieces that all intertwine brilliantly, some snippets and others, full blown pieces. It will take multiple listens for this to sink in but when

it does, hold on to your prosciutto! I was attracted by the positive reviews and I am not disappointed one bit as this is pretty original RPI stuff with hints of

opera, jazz, Italian folk, Middle Eastern spices (including Arabic and Hebrew), some disco (yup!), lighter barroom piano fare, classical orchestrations and the cucina

's sink!
Huge highlights include (and there are many): On "Abraham", the singing from Osanna's Lino Vairetti and Solimena Casoria is ecstatically incredible, blazing fast and

powerfully emotive, creating a landmark RPI piece for the ages. The music is phenomenal but multiple voice fencing is truly epic and the chorus defines hummable to

death. Same can be said on "Marrakech", where another scintillating female vocal rules the roost, with slight Moroccan hints, a caravanserai of bopping bass and a

sandstorm of brass work. .
"Kyrie Elieson" is operatic, playful and loopy. "Ombre" is utterly brilliant, grandiose and driven, especially when twined with the follow-up "Gnoti Sauton",

featuring crisp lady vocals and a sizzling synth solo (courtesy of Michele Mutti of Il Torre dell'Alchimista) that is flush with emotion, all of this splendor wrapped

in lush symphonics . Bloody fantastic this.
The pulsating "Vie Interne" is where the disco feel is prevalent but not to worry, this ain't no Donna Summer (RIP), it's both gloomy, quirky, playful and has a sexy

sax solo that will knock your socks right off, plus Solimena does another masterful vocal, fast, clean and just wow! "Cuori d'Eletricitta" offers more brisk wailing,

flute and some liberal doses of passion and power, the mellotron synths kicking up some dust and finally a diabolic electric guitar solo bursting of fuzz and froth

amid the pomp and circumstance ("Hominem Quaero"). "Vivi nascoto" is another colossal male vocal that inspires with an easy beat and some fabulous duet vocal and

choir work into an almost hummable song that will stick in your mind, the arrangement has a massive orchestral feel that is also impressive.
Obviously, the instrumental title track is the longest piece here clocking in at 6.48, shepherded by a lovely flute melody, later paralleled by a synthesizer,

acoustic/Spanish guitar modulations, elegant piano ripples and some more ornate classical dressing.
Then a miniature 3 part suite "Mezzaluna Fertile" sandwiched by a fascinating JS Bach piano interlude elevates the music to the proggiest levels and does not fail to

impress, stuffed with various cinematographic voice effects and a colossal orchestrated chorus, metallic resonations in the foreground, bleeping synths and sparkling

melodies. The impassioned female vocals scream despair and the male vocals recite in resignation at a blistering pace..
Gentle acoustic guitar leads the haunting "Locus Amoenus" in perhaps the most personal and melancholic instrumental piece yet, disturbingly sad. When the dexterous

mandolin takes over, the sheer beauty of this song rises to the top. "Canzone di Giuseppe" is done in an outright Italian folk style, with male and female vocals,

allied with some accordion-like sounds, dabs of synthesized sound effects, a lingering little ditty that is extraordinarily pleasant. The final cut, "Coda di Luna

Calante" a muscularly flute-led beat, displays a trembling Hammond and loving piano work, only to be outdone by a whopping guitar intervention both sharp and concise.

This a spacey exit that gets arranged with swirling synths and a near psychedelic formula.
A varied, complex, inspirational and refreshing RPI album that bodes well for the future.
I found this CD by pure chance. And I was amazed by its terrific musicality. I was not expecting much: although Italy has produced an incredible number of great prog

acts since the 70?s, lately I was a bit disapointed with its newer groups. But Malaavia is really something else. Their debut album is absolutely stunning for its

sheer power and musical diversity: think of any style and you?ll probably find it here somewhere. It?s hard to describe it and hard to believe it. And what could be a

ragged and/or confused array of different kinds of music, turns out into a very cohesive, melodic and well rounded piece of art. Thanks to their great knack for

writing good tunes, tasteful arrangements and fine melodic sense, this is by far one of the most satisfying albums I found this year. I specially loved the

alternating male/female vocals, with some operatic male voices thrown in at the right places.
I was equally surprised by the different ratings this album got from other reviewers. Naturally some of them didn?t get it. And I guess it?s just a matter of taste. A

challeging album like someone said? Not for me, that?s for sure! I fell in love with it the minute I heard the first few notes from Preludio Di Luna Piena. And every

time I listen to it I love it more. Every note, every instrument or voice, comes and goes at the right moment. Not a single boring moment in the whole CD. Not even a

weak moment. Excellent songwriting, terrific musicanship, beautiful vocals. Can you ask for more? Oh, yeah: tremendous powerful. emotional and convincing

performances. And you get that a lot in Danze D`Incenso. Original, bold and quite different from other italian acts, ok, and yet very familiar, accesible and

captivating. Prog with a capital P. Something to listen from beginning to end without skipping a single track.
There is no highlights, really. You should listen to it as a whole. Production is top notch.
I probably should not give this album five stars so soon, since this is only their first release and I want to believe they can improve even more in near future. But

I can?t help it. It would not be fair to do otherwise: for me it?s a masterpiece. And my rating might contribute to diminish the unfairness of some misguided reviews

I found here. Definitly recommended! One of the best debut albums I heard in a long time.
I was a little disapointed with what I heard lately in the field, bu now my faith into prog music is restored!

- Oderigi Lusi / organ Hammond b3, acoustic pianoforte, piano rhodes, keyboards, synthesizers, background vocals
- Pas Scarpato / basses, guitars, vocals
- Lucio Fontana / drums
- Solimena Casoria / flute, vocals
- Egidio Napolitano / percussion and Ambien sounds

With:
- Michele Muttib / synths on "Gnoti sauton".
- Lino Vairetti / vocals on "Abraham, where is the land?"
- Giovanni Mauriello / vocals on "Kyrie Eleison";
- Franco Malapena / mandolin and Tenor vocal
- Stefano Larizza / vocal chorus
- Giulio Cozzuto / solo guitar
- Umberto Muselli / Tenor saxophone
- Paolo Sasso / violin and viola
- Peppe Sasso / violin, Soprano saxophone
- Omayyash Kuswami / trumpet, fluglehorn
- Jaspo Kurson-Florini / trombone
- Giorgio Zambonini "Zambo" / guitar solo in "Coda di luna calante"