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https://www.youtube.com/watch?v=oOhKRpE1GiI

Tamale-00:00 La Valle Dei Templi-04:37 Written-By, Piano -- B. Biriaco* Looping-10:50 Written-By -- F. D'Andrea* Mistero Della Firefly-14:00 Pensieri-20:02 Written-By -- B. Biriaco* Periblo-22:22 Eucalyptus-27:33 Written-By -- C. Fasoli* Alba Di Un Mondo-28:34 Written-By -- C. Fasoli* Cantilena-31.34 Written-By -- F. D'Andrea* 2000 E Due Notti-35:37 Un Cerchio Giallo-41:19 Line-up / Musicians - Bruno Biriaco / drums, percussion, acoustic piano (2) - Franco D'Andrea / acoustic & electric pianos, synthesizers - Claudio Fasoli / alto, soprano & tenor saxophones - Tony Sidney / acoustic & electric guitars - Giovanni Tommaso / vocals, bass, double bass, synthesizers + Toni Esposito / percussion http://www.youtube.com/watch?v=PPfMdnbyrqc Perigeo was a musical project born in 1971 from Giovanni Tommaso. The original lineup included five members, Tommaso himself at the bass, Bruno Biriaco on drums, Claudio Fasoli at sax, Tony Sidney at guitar and Franco D'Andrea on piano, the band released seven studio albums 'till his definitive breakup in 1981. The band offers a sort of jazz-rock sound inspired by Miles Davis' "******* Brew". This early form of fusion initially meets the resistance of so-called "purists" of jazz, but soon attract the sympathy of many fans, earning invitations to major national festivals, but also a series of concerts in Europe, especially in England and France. In 1972 the group comes out with their debut album, Azimut, the jazz roots of the five musicians are already evident, even if the sound is rather static. Abbiamo tutti un blues da piangere, released the following year, proves itself far superior, both for the virtuosity of each musician and for the greater complexity and expressiveness of the tracks; this album marks the origin of italian jazz-rock and jazz-prog, which is the first true embodiment of modernity brought by Tommaso. The 1974 is the year of Genealogia, an album more ''accessible'' than the previous and it's marked by an increased use of synthesizers, with the coming of moog, played by Tommaso himself. The release is even more rich and varied, with a brilliant mix of music genres: the rhythms and harmonies have a conformation more rock than before, even if the group is more alive than ever. Genealogia give to Perigeo an excellent feedback from critics and soon the band became one of the great classics of Italian prog-rock. After a triumphant European tour with the Weather Report in 1975, Perigeo is back with his 4th studio album La valle dei templi it 's a revolutionary album, more vital and dynamic than previous three, especially in the rhythm section: the credit is mainly due to the intervention of Neapolitan drummer Tony Esposito. With this last release the group also achieved a commercial success, consecrating the Perigeo as one of the best reality of the Italian rock of the period. The next year sign the end of the jazz-rock style with Non e' poi cosi' lontano, while the album still shows the technical abilities of the individual components, it's contamined by pop tunes, after this disappointing release the group members began to devote themself entirely to the career of sessionmen, a number of external collaborations and als... The band offers a sort of jazz-rock sound inspired by Miles Davis' "******* Brew". This early form of fusion initially meets the resistance of so-called "purists" of jazz, but soon attract the sympathy of many fans, earning invitations to major national festivals, but also a series of concerts in Europe, especially in England and France. In 1972 the group comes out with their debut album, Azimut, the jazz roots of the five musicians are already evident, even if the sound is rather static. Abbiamo tutti un blues da piangere, released the following year, proves itself far superior, both for the virtuosity of each musician and for the greater complexity and expressiveness of the tracks; this album marks the origin of italian jazz-rock and jazz-prog, which is the first true embodiment of modernity brought by Tommaso. The 1974 is the year of Genealogia, an album more ''accessible'' than the previous and it's marked by an increased use of synthesizers, with the coming of moog, played by Tommaso himself. The release is even more rich and varied, with a brilliant mix of music genres: the rhythms and harmonies have a conformation more rock than before, even if the group is more alive than ever. Genealogia give to Perigeo an excellent feedback from critics and soon the band became one of the great classics of Italian prog-rock. After a triumphant European tour with the Weather Report in 1975, Perigeo is back with his 4th studio album La valle dei templi it 's a revolutionary album, more vital and dynamic than previous three, especially in the rhythm section: the credit is mainly due to the intervention of Neapolitan drummer Tony Esposito. With this last release the group also achieved a commercial success, consecrating the Perigeo as one of the best reality of the Italian rock of the period. The next year sign the end of the jazz-rock style with Non e' poi cosi' lontano, while the album still shows the technical abilities of the individual components, it's contamined by pop tunes, after this disappointing release the group members began to devote themself entirely to the career of sessionmen, a number of external collaborations and also their solo careers. In 1980, the five came back together under the name of 'Special Perigeo', only to achieve the double concept album Alice, inspired by the life of Lewis Carroll, author of the novel ''Alice in Wonderland'' in addition of the old repertory of jazz-rock fusion, the work turns into a sophisticated pop, with the participation of many italian artists. Shortly after, Giovanni Tommaso gives life to the New Perigeo, the lineup consists entirely of new members: Maurizio Giammarco (sax-high-soprano, flute and choir), Carlo Pennisi (electric guitar, acoustic and vocals), Danilo Rea (piano, keyboards, marimba and vocals), Agostino Marangolo, formerly of Goblin (drums). At the end of 1980, the RCA promotes a project with a promotional tour along with New Perigeo, Rino Gaetano and Riccardo Cocciante. From concerts, they make an EP titled Q-Concert, finally in 1981 the New Perigeo release the last studio album Effetto Amore without any success. Although the project was of short duration, Perigeo was certainly the most successful attempt at fusion of jazz and rock happened in Italy, thanks to a careful balance between improvisation and structured music. Biography by Erik Nymas, Italy

Tamale - 4:35 La valle dei Templi - 6:18 Looping - 3:07 Mistero della Firefly - 6:01 Pensieri - 2:17 Periplo - 5:09 Eucalyptus - 0:59 Alba di un mondo - 2:57 Cantilena - 4:01 2000 e due notti - 5:40 Un cerchio giallo - 4:28 Bass, Synthesizer, Vocals – Giovanni Tommaso Drums, Percussion – Bruno Biriaco Engineer, Mixed By – Rodolfo Grappa Guitar – Tony Sidney Percussion – Toni Esposito* Piano, Electric Piano, Synthesizer – Franco D'Andrea Producer – Renato Coppola Saxophone – Claudio Fasoli http://www.youtube.com/watch?v=PPfMdnbyrqc Perigeo’s fourth album is probably the one that symphonic progheads should try out first to see if the group’s JR/F is likely to please them or not. Whether La Valle Dei Templi (Temple valley) is a concept album (not likely) or a thematic album (not sure of that album), there is a sense of unity between the tracks in this album, that wasn’t in previous album; and this feel is reinforced with the ancient ruins photo shots on the album’s covers. The still unchanged line-up remained on the Italian RCA branch (which handled PFM as well) and released this album midway through 75. This is the first album where leader/bassist Tommaso writes less than half the track, leaving the rest of the group plenty of space to contribute. The opening Tamale has a strong melody and riff and clearly comes from RTF and MO influences and is a strong entrance to the central theme of the album. The communally-written title track must be the first highlight of the album, starting with a bowed bass and insistent piano ostinato (drummer Biriaco doubles up D’Andrea here) in the first part and allows Sidney to come-up with a real killer solo in the second movement. Another real strong track is Periplo, where Fasoli and Sidney trade lead lines while the other supports on unconventional slide and dissonant background fills. Further down the album, 2000 E Due Notti is another excellent moment where added percussionist Toni Esposito adds much tension to a eerie track. In moments like these, the early JR/F is far away, but it is still unmistakably Perigeo. Clearly and intelligently dispersed throughout the album the more reflective slower tracks like Pensieri and Cantilena to provide a bit of rest between the more dramatic music of Of all the songwriters present in the group (that’s everyone), the most puzzling is saxman Claudio Fasoli and his two tracks Eucalyptus (a short sax outburst) and Alba Di Un Mundo (a semi-dissonant music that could provide an excellent intro to a much longer track) are ending a bit enigmatically without concluding properly. The album-closing Sidney-written Cerchio Giallo starts on his acoustic guitar, but a third of the way into it, Fasoli and a bowed bass from Tommaso pick up, slowly building up a superb climate, where D’Andrea brings some McCoy Tyner-like piano, only for the track to end frustratingly in a fade-out. Certainly as good as its predecessors, and unlikely better than them, VDT has a slight difference with its predecessor: it seems to be more prog minded than your typical JR/F album (even though it’s the first to contain almost no vocals), but is that voluntary or was it induced by the light theme of the album, we’ll probably never know. In either case, with four aces in its game, plus a trump with the double live album from the following year, Perigeo holds one of the best oeuvre in the peninsula.

From " La Valle Dei Templi". http://www.youtube.com/watch?v=oOhKRpE1GiI

http://www.youtube.com/watch?v=oOhKRpE1GiI La Valle Dei Templi (track is divided in 2 parts)