Venegoni & Co. — Rumore Rosso
(Electromantic TJRS1963, 1977/2005, CD)
by Jon Davis, 2007-03-01:
Although this band was led by a guitarist, Luigi Venegoni of Arti & Mestieri, it is far from a guitarist showoff exercise, but a very balanced group effort. Keyboards, handled by Ludovico Einaudi and Luca Francesconi, are very prominent, with electric piano especially noticeable. And in fact the group I’m most reminded of here is Weather Report in their early days, from Mysterious Traveler to Black Market or so, only with electric guitar. Guest players on sax heighten the comparison. The grooves are loose and a bit funky, the melodies float along above them, and wah-wah-enhanced electric piano fills in the background. As those familiar with A&M know, Venegoni is a guitarist with a fluid tone and imaginative choices of notes, technically good but not prone to showy lightning-fast slurries of notes. The jazzier setting of this band suits him well, and lovers of jazz should find this as enjoyable as A&M fans. The vocals are a bit on the odd side (remember the singing in Weather Report?), but not annoying, and only show up on a few tracks in any case. For this release, a live version of the opening track “Coesione” is added, and it’s an interesting contrast to the studio version, longer and with more prominent guitar.
by Peter Thelen, 1995-07-01:
Arti e Mestieri's original guitarist, Gigi Venegoni put his own band together and released two albums in '77 and '79, both on the Cramps Label. The first of these was Rumore Rosso, a more fluid, guitar based approach in combination with certain jazz-rock elements, fusing it with ethnic color, folk, and experimentalism. Using a five-piece lineup of electric and acoustic guitars, keys/percussion, bass, drums, and vocals/percussion, the album carries a good deal of variety, yet remains quite cohesive and focused. Venturing into more funky territory at times, like classic period Kraan, there are many other strong influences at work here also. Some of the album's ten tracks feature vocals, but they don't seem a prominent part in the overall scheme, instead merely adding more variety to the sound. In short, I can't recommend this one highly enough.
Related artist(s): Luigi Venegoni
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From the press release:
To Wake a Dream in Moving Water takes from Echo Us' past and spins it into a whole new direction, one closer to traditional acoustic Celtic music than ever before.
To Wake a Dream in Moving Water was composed and recorded during the first few months of 2017. Although Celtic influenced and comprised of a number of re-workings of Irish folk tunes and Breton aires, the album is still in large part new and original Echo Us music that fits right in the Echo Us ‘canon’. “Wake” is a natural progression from “A Priori Memoriae”, which was released to critical acclaim in Europe in 2014.
To Wake a Dream in Moving Water is Echo Us’ ‘Celtic’ album that was planned for a long time but never executed because of the work on the trilogy that came before it. The album title is a typical ‘Echo Us’ play on words which one can find their own meaning.
“It is also both evocative of the Oregon rain, which I am told is not too unlike the rain in Ireland.”(Matthews)
To Wake a Dream in Moving Water is also a comment on conception- which was unintentional when the lyric was written. Matthews surprised himself a few months after writing it, realizing that the song was actually about the nitty gritty, biological workings of what happens when a child is conceived. The folk song it derives from musically describes a courting ritual, one that even today we can all relate to in our own way.
“Come With Me Over the Mountain" in acapella was the musical inspiration for the song, and came into my consciousness after the lyrics were written a few months prior. “ (Matthews)
As with all Echo Us recordings, a number of seeming coincidences resulted in connections being drawn where prior there were none. Another experience of similar capacity was found in oboe samples from A Priori Memoriae that echoed the traditional “May Morning Dew’, also reworked for guitar on the new album.