Press Quotes




Sidecar/Brutture Moderne/Good Fellas 2011


The result of this risky experiment is first of all exciting: it’s not just because the vibrant energy of the originals has not been missed, but the baroque nuances of the arrangements generate a bizarre, elegant and sinuous chimera.” (A. B. Averame on IL MUCCHIO jul/aug 2011)

An authentic stroke of genius… marvelous creature conceived and directed by drummer Marco Zanotti, 11-piece ensemble perfectly balancing between baroque form and afrobeat groove. Extraordinary technical skill philologically respectful of the original principle. Miracolous fusion that, once in a while, turned eyes from outside homeland spellbound.” (M. Zanda on BLOW UP jul/aug 2011)

As bizarre as a baroque ensemble covering Fela Kuti might seem, the gamble works perfectly. The effect is notable and the documentary on dvd is a tasty complement.” (A. Pomini on RUMORE jul/aug 2011)

An astounding and yet alienating record, a shock between two musical approaches so distant and different each other to be compared with immense movements like those moving continental plates, indeed with no such rovinous and devastating effects. The device takes form with astonishing naturality.” (E. Bussolino on ROCKERILLA jul/aug 2011)

“A trustworthiness always together with a beautiful delicacy… It seemed a mission impossible, indeed the little orchestra directed with good taste and mastery by drummer Marco Zanotti immediately finds (and never miss it) perfect balance and fusion between nothing less than baroque music (amazing are the contributes of harpsichord and viola da gamba) and Fela’s unrelenting groove. It’s fusion or if you prefer crossover, but in the higher meaning of the word.” (E. Cilìa on AUDIOREVIEW jul/aug 2011)

“A little piece of marvel. The alchemy generating from Nigerian funk and the instruments of C.O.A. is extraordinary. It welcomes an elegant atmosphere powered with energy, inspiration and creativity. Shrine on You is a pearl born in the countryside of this Italy that sometimes still manages to surprise us with nice, intelligent, international breathing works” (E. Piazza on ROCKIT, 1/8/2011)

They play Afrobeat, but they do it with so well-made classical variations that natives Seun Kuti and Kologbo got involved in it.” (L. Valtorta on IL VENERDI DI REPUBBLICA 26/8/11)

One of the most fascinating work of this 2011. A true heart shock. The idea is simple yet immense, real fusion of black groove and erudite European music. A skilled and devoted project, between inspired interpretation and loyalty to a precise philological principle, the Orchestra alternates rhythmic truthfulness with moments of pure jazz improvisation and still breezy baroque solutions. Made in Italy for export.” (S. Vallorani, INDIESFORBUNNIES – 5/10/11)

An unexpected tribute, original, passionate and finely played. If they get around, leave at home prejudices and run buy a ticket”(F. Codias, STORIA DELLA MUSICA, oct 2011)

This Afrobeat in a complex chamber format has its own singular fascinating whys and wherefores.” (M. Lorrai, ROLLING STONES, oct 2011)

The result is very notable because the rhythmic drones and African circularity don’t ever miss their meaning, indeed they do become the ground where to cultivate new absolutely compatible sounds on. It seems to discover a primigenial continuity between apparently irreconcilable worlds.” (Sabelli, MUSICA JAZZ, nov 2011)

A sensational and brave lesson of collective enthusiasm, technical skill and creativity.” (C. de Rosa, FOLKBULLETIN, nov 2011)

C.O.A. makes mincemeats of all sort of prejudicial barrier on not-erudite music. A work that is musically and socially worthy of praise.” (G. Cancelliere, SILENZIOSA(MENTE), nov 2011)

It fills the heart up with life.” (G. Cristofaro, AUDIODROME, dec 2011)





Sidecar/Brutture Moderne/Audioglobe 2014


“a multicoloured rapshody to brotherhood. A prodigious amazing interpretation” (Elio Bussolino su Rockerilla)

“COA strikes again with his original formula. Everybody good job” (A.Besselva Averame su Rumore)

“kind moods without camera formalism” (P.Poggio su Blow Up)

“A curious collision of sound scenery, a meltin-pot of ideas which enrich an already rich work and fashon it up with the appeal that the old stories have, when they talk about sacrifice, courage and lost” (Federico Zampighi su Sentireascoltare)

“Finally a concrete dialogue, non just theoretical, between Mother Africa’s rhythms and classic european music” (Gianni Valentino su

“Proto-soul in wenge root-wood” (Pier Andrea Canei su L’Internazionale)

“A celebration of the history and the African identity spirit, an anthem to the meeting and the fusion of tradition” (Carlo Bordone su Il Fatto Quotidiano)

“The historical and cultural value of this work goes side by side with the original musical arrangement which blend in a perfect way two ancient musics” (G.M. su Trova Roma di La Repubblica)

“This music has no time, it’s cosmopolite and multicultural in the widest and deepest meaning, a further proof of the fact that through culture and knowledge it’s possible to win the divisions and the fears of the Different. Enormous album” (Lino Brunetti su Buscadero)

“It’s not more just the already precious reinterpretation of the African patterns through concerto’s dynamics but a perfect union of the two realities” (Nicolò Arpinati su Il Mucchio)

“COA manages again to realize an utopy. This Gaze to the past becomes a new demonstration of how music can catalize and armonize geographically distant cultures, languages and sounds” (Elio Bussolino su Rockerilla)


Sidecar/Brutture Moderne/Audioglobe 2017

“Polyphonie trasuda una vitalità contagiosa” (G. Gambacorta su Blow Up)

“La terza prova sulla lunga distanza è ancora un capolavoro… un incanto musicale con pochi uguali” (T. Merolli su Raro!)

“Un lavoro di armonia nel rapporto tra uomo e natura, una polifonia che pare eterna e inesorabile” (A. Pomini su Rumore)

“Un meraviglioso e sorprendente manifesto di musica vera, viva e pulsante” (E. Bussolino su Rockerilla)

“suggestioni assemblate in una affascinante chiave spiritual-ecologica” (S.Fr. su Alias, Manifesto)

“Un repertorio che conquista per la grande fantasia ed il rigore tecnico dell’esecuzione” (R.C. su La Nuova Sardegna)

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