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Alan Sorrenti is a Neapolitan cantautore of Welsh origin, famous to more for its work more trades them (pieces in style dance like hit "the Sons of melodiche stars" or canzonette like the fortunate "the only woman for me"). But in the years in which "Pawn Hearts" of Van der the Graaf Generator remained to the first place in the peninsula for months selling beyond 800 mila copies, Sorrenti had also and above all a refined career of cantautore rock of clear psichedelica/progressiva matrix, than many they saw inspired to the jobs of Tim Buckley or Peter Hammill directly. The expresses changes of the Italian POP and, second how much turns out from reports of the age, manifesting themselves of problems to the voice that prevented it to complete sure evolutions, above all from the alive one, made to change road it. At first it tried also the noble road of the serious interpretation of the classics of the Neapolitan song in the Lp omonimo, but it was a field in which it had concurrent of greater thickness (Murolo had collected the best of 600 years of tradition popular and picked - Donizetti, the Bellinis, Mercadante, Winning Galilei are some of the authors of these most classic ones - in a enciclopedico and filologico job from "the Neapolitan" title it only 10 years before in order to mean to us) and hammilliano sung its badly adapted itself to works that demanded for tradition a lyric formulation. Then it was taken risks in the career that all know, had a short succeeding period of trades them, its pieces divennero "tormentone" of a pair of Italian summers and then it was forgotten. From Italian musician of tip of the Harvest and companion of the Pink Floyd in tourneÚ ours it is passed to the history like the king of the discotheques, riesumato little years or they are in one desolating apparition with Cousinses of Campaign and other ignoble personages of Italian scene POP of the 70 in one television transmission of Claudius Baglioni dedicated to the revival of years 70. A long suite omonima and three songs compose its album of debut Air (1972), capolavoro of the Italian POP. Musicians of exception for this disc, between which student of recognizable vituous Grappelli and in the orchestrali capolavori of Hoe and the Mahavishnu detaches the star Jean Luc Ponty (violinista jazz Orchestra) that he gives a fundamental contribution to the suite that entire occupies the first facade of the job. Taking advantage of thematic progressive beloveds to the Italian (acclimatizations dark-fantasy with a lot of castles, monasteri, forests and extended widths of grass, the love between a knight and its prince, the idea of the dream or the hallucination in which the author Sorrenti gets lost) construct an atmosphere that endured is involved the listener to leave from the arpeggios of spagnoleggianti guitars of Nazzaro and Paratore and to the unexpected ones vocalizes accompanies to you from grafts free-jazz of the plan of Albert Prince and from essential things fraseggi of violino. The ambiguities on which the text is based (the dualismo air-atmosfera/nome of the loved woman) transport the escaping listener in a chaotic world and, that your river culminates in the final erotico delirium (is I yours corpo/sono I it universo/nel is scivolando/aria is driving crazy) where along and phrenetic only of violino, with worthy virtuosismi of $R-he who the sound, and the ritmica outbreak of Tony Esposito brings back the protagonist to the truth (I feels that I I I io/io you am/I I am losing to you). For only giving an idea of the style canoro of the second suite enough to think that everyone of "I" hard approximately 6-7 and in all the ripresentano brano variations on every vocal lengthened in ossessiva way, with a remarkable use of dynamics to the inside of the same word, but all always they to the requirements of the text and music works. The allucinate atmospheres are rendered in a such way not to appear excessive or "dated" (like happen as an example in "YS" of the Ballet of Bronze) but however with sobrietÓ, and this explains the remarkable fascination that the suite has still today, to 30 years of distance. According to side, not memorable like "Air", but always of highest level, it with a first rilassato moment marks itself more and with a use of sung the little "end" and more resting in the danced struggente folk "I would want to meet" and with one final resumption to you in the lisergico "my mind" and in "a calm river", riconducibile to one more traditional sinfonico style. To the age many saw echoes of Buckley or of Hammill in this job and sure they did not mistake (along I vocalize that other marks the end of the disc is not that a clear homage to the Californian cantautore and seems nearly a sampling of "Starsailor"), but mistakes who reduces the disc to a banal reproposition of the style canoro of Buckley and does not recognize the contribution originates them of the author. Singing sorrentiano is various is for technical limits (did not have an extension outside from the common one) is for expressive requirements, and a modern evolution of the typical style canoro of the Neapolitan song with all those vocal ones lengthened (above all the ends) and held is outlined more rather as with dared and effective modulations for some second ones, and who does not mistake sees also assonances with some typical elements of the tradition of the "beautiful song". Perhaps also the narcotic and disowned suite "magical Flight number 1" of Rocchi can be considered musa ispiratrice of this job. Only defects are some naivetes in the witnesses, than but very they are melted with the atmosphere of the not stonano disc and in together. Like an old one incensiere to the dawn of a desert village (1973), according to disc of Alan Sorrenti, on drums sees Tony Esposito and percussions and David Jackson of Van Der the Graaf Generator to the flauto. Given the large one happening trades them and of critic of the first job, the Harvest pushed the musician sfornar of an other in the short times fornendogli of the sessionmen of remarkable value. Inferior for inspiration, the album has witnesses more balances to you but he is devoid of memorable moments, except the beautifulst song of love "Serenesse" (perhaps its more valid piece) and the most valid one danced psichedelica "Angel". The suite that it to the disc gives to the title opens with a long introduction (10 minuteren) psichedelica/free jazz, with vocal improvisations on a base of vcs3 and guitar slide, in order then to continue for as many ten minuteren with a cantilena ossessiva and monotona that it disappoints who tried the lyric cues and "Air" atmospheres. For the collectors it goes remembered that in the reprint it has been added to the single interesting "your roots" like bonus track. The anthology the successes, Miami, the Roots and other collections with tito them fantasiosi of years Ninety contain the single ones trade them of year-end 70. Roots have at least the merit to contain the more "easy" brani of first three discs and the single one omonimo.
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Alan Sorrenti 
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15 August, 1980 
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