The thing that strikes me most about Slivovitz is just how tight the musicians are, and how they easily move between taking lead, providing harmony or contrast and then back again. This is fusion in a constant state of flux and motion. This was the band’s second album, originally released in 2009 (but also containing some tracks that were recorded as far back as 2004) and although a singer is credited he is certainly conspicuous more by his absence than for his contribution to the sound. There just isn’t room for him here. Interestingly there also isn’t room in the band for a keyboard player, but with sax, violin and harmonica all fighting with the guitar and rhythm section for centre stage perhaps that isn’t really surprising.
What I really enjoyed with this is the way that we the guys bring in so many different influences from South American latin and bossa nova into Canterbury Scene, then Zappa and throw in all together with some European. This is all over the place, truly progressive as they refuse to acknowledge any particular musical form – why settle for one when there are so many available and somehow you can bring them all into one piece of music? They can be gentle and relaxing, thoughtful in approach, or they can bring together a whirlwind of sound and dynamics.
“Sig. M Rapito Dal Vento” is the final number on the album, and the restraint and control are evident here as drummer Stefano Costanzo works tirelessly to drive the band along while the rest of the guys are far more laid back and refuse to go faster that is required. Well worth investigation.
