FEDE, SPERANZA, CARITÀ

Little known Italian prog band (that later became a pop band when they changed names, added the drummer from MUSEO ROSENBACH, and a female vocalist) that released a handful of singles, and this album, "Fede, Speranza, Carità". If you're a fan of such bands as MUSEO ROSENBACH, IL BALLETTO DI BRONZO, and SEMIRAMIS, you know what to expect here! Somewhat aggressive prog, with lots of Hammond organ, some Eminent (which is an organ that sounds like a string synth, which SEMIRAMIS used lots of on their album "Dedicato a Frazz"), lots of nice guitar work, and vocals in Italian. The lyrics are said to be of Christian in nature, but since they're in Italian, the lyrics aren't bothering me, since I don't know Italian. The original LP (released on the Durium label) came with a die-cut cover, but has been reissued a few times, like on Vinyl Magic, and Si-Wan in Korea. I have the Si-Wan CD reissue, and it also consists of a couple of bonus cuts, both originally appeared as singles in 1973 (before the band changed names, added new members, and went the Italian pop route). Anyway, nice stuff for the Italian prog fan.

Early heavy Italian progressive rock with enough great hammond, electric guitar and drum courtship to ensure you never sleep well again. J.E.T. were known as a four piece ensemble who performed heavy yet classically influenced guitar and keyboard dominated prog rock. Their music exudes a clever and truly emotional listen never getting to loud or crazy for the listener. Although no shortage of harder rock driven moments, J.E.T. wind out into some simply gorgeous calm and spiritually uplifting melodies throughout. In many ways this is a very complete album reaching a vast range of moods and tempo changes. Vocals are well done with lots of compelling emotion (sung in Italian).

****1/2

J.E.T is 70's Italian heavy progressive and similar to Museo Rosenbach, Biglietto per l'Inferno and Alphataurus. There are some clear hard rock influences, which give a hard edge to this album. The guitars are especially quite distorted. The vocals are also a little bit on the rough side yet emotional and very expressive. They have a certain romantic edge to their music as well just like most other heavy progressive Italian bands. This creates a nice contrast. There is a great balance in the heavy guitar riffs and melodic keyboard themes. Great keyboard and guitar work can be heard throughout the album. Some members of J.E.T (+ a female singer and Museo Rosenbach's amazing drummer) later became a group called Matia Bazar but based on very little I have heard from them it's not similar and not very good either. Very much more pop.

This album starts perfectly with the song "Fede, Speranza, Carita". It's a wonderful track. Some other highlight tracks for me are "Ce' Chi non Ha" and "Sinfonia per un Re". The latter one has a very beautiful instrumental section. The song "Gloria Gloria" is a bit more pop than the rest of the album but it's very good nevertheless. If all pop sounded as fantastic as this song I would be a pop music fan!

A special mention goes to the beautiful LP cover, which has a nice die-cut.

Conclusion: Essential 70's Italian progressive. I find this a little better than Alphataurus.

J.E.T's Fede, Speranza, Carita is certainly a fine italian symphonic progressive rock album! These guys play some fine symphonic tunes which offer a fair share of trippy syntheizers! Not only is their technique good, but their singer has a lovely voice. In a nutshell, I recommend everyone who likes symphonic progressive rock check this great record out!

Hard rock in the Purple, Trolls tradition

J.E.T. is a band from Genova who released this somewhat obscure heavy prog album in 1972. Others have mentioned the connection to the other harder edged Italian bands and I certainly understand. "Fede" reminds me quite a lot of Deep Purple with the heavy organs, raging guitars, and the high pitched Gillan-esque yelping. They will also appeal to New Trolls fans without doubt and though just my opinion, I think this is better material than most Trolls stuff.

The material is quite strong and successfully combines heavy rock, great melodies, and some of the Italian prog feel without sounding like the PFM style Italian. The guitarist is quite nimble and I really like the strong bass presence. The deeper we get into the album, the more varied and interesting the song's arrangements get. While the album may start off with a blast recalling raucous Purple, we are treated to more than Smoke on the Water type jams. There are some quite lovely softer moments too although they are definitely in the minority. This album rocks hard! The rhythm section is pretty solid and some of the backing vocal arrangements arrive nicely at just the right moments. While some of the high-pitched vocals occasionally grate on me, for the most part this is an interesting and enjoyable slice of heavy prog. They do a nice job of alternating piano, organ, and mellotron over various distorted guitar sections, and even drop a bit of cello in one track.

I have read that the lyrics are Christian in nature and while I really abhor proselytizing in music, I somehow doubt it's the less-than-subtle evangelizing you can run into nowadays. The 2005 Japan mini is an outstanding replication of the original album design although no bonus tracks. Recommended for fans of Italian prog, 70s hard rock, dramatic "Child in Time" style Purple.

One of my real Italian favourites, which are often not mentioned when people speak of Italian classics. Maybe, this is heavier than many of the Italian albums of the 70's, with a closely hardrockish flavour. But the music is complex, and especially drummer & keyboardist leaves some really nice hooks. If you are up to heavy italian progg, this is for you ! A masterpiece. Si-Wan edition adds the "Gloria" single, and ork tracking down.

This is another one of those early (1972) hidden gems from Italy. For me the vocals are the best attribute of this band. Strong vocals in the Italian tradition with some very aggressive guitar at times. Organ, bass and drums all play a key roll in what they were trying to accomplish.

"Fede, Speranza,Carita" is kind of cool the way it opens with organ, samples then spoken words. Guitar after 1 1/2 minutes as bass, drums and organ all follow. Vocals before 2 1/2 minutes. I like the instrumental interlude that follows, although the vocals are so good when they return after 5 minutes. Bass, drums and guitar are all outstanding ! Piano 6 1/2 minutes in with vocals returning after 8 minutes. "Il Prete E Il Peccatore" opens with some loud and raw guitar. Drums and organ join in as the tempo shifts. A calm as vocals arrive after 2 minutes. Nice bass before 3 1/2 minutes as vocals get passionate. Sounds like mellotron, or string synths a minute later. The organ is fantastic, then the tempo picks up with piano. Vocals are back ! "Ce Chi Non Ha" is mostly acoustic guitar, fragile vocals and those string synths? before the sound get fuller before 2 1/2 minutes in thankfully.

"Sinfonia Per Un Re" is much better as we get some explosive guitar and organ to open. Vocals a minute in. It calms down with some cello 1 1/2 minutes in. Love the organ that follows. Vocals are back before 5 1/2 minutes. Guitar and organ that follow are absolute highlights ! Vocals are back after 7 minutes. "Sfogo" is uptempo with piano as vocals join in. Great sound. Nice drumming as well. The organ comes ripping in before 2 minutes. The vocal style on this one is a lot of fun. "Gloria Glioria" is more commercial sounding. It's catchy with some synth strings? This one is all about the vocals. "Guarda Col Tuoi Occhi" features acoustic guitar and vocals to opens as it's fairly mellow. It starts to get more passionate and we get some raw guitar 2 minutes in. Some backing vocals too in this one.

I like this one a lot, especially the vocals, guitar and organ. Some variety here as well.

01. Fede, Speranza, Carità The body starts using biblical (as cover), some birds, I would be a prayer. The riff of guitar (which is soon followed by other instruments) comes to fear, because you an Italian Progressive Rock band is very little unusual to use this kind of timbre. When the voice of Carlo Marrale (great by the way) to enter into a crazy guitar riff continues. A battery of Pucci Coach is a hit from start to finish. After a short and interesting passage of the low ground of Aldo Stellita to enter into a guitar solo almost jazz. A series of fund also appears to vocalizations, the emphasis is low throughout the second part. Following is the turn of Piero Cassano drop your fingers on the keys. A range of instrumental and found plenty of breaks in rhythm. But with excellent melodies. In the end the theme back to its killer riff and vocal.

02. Il Prete E Il Peccatore Again the guitar is Killer, is lovely to hear Progressive Rock with broken guitars and labored. The keyboard that follows is full of effects. The voice is embedded into a soft fingering at the keyboard, and here the vocals are split between Carlo and Aldo, there is even a quote from the Phantom of the Opera and another one back. Are the beautiful voice that we heard back from one another and do not know of who are not already found a more detailed fact sheet, but were very interesting, the track has a special air, a very nice melody. Are essential to the guitar riffs (which recheiam the whole disc) and the line of great piano! What emotional end, as every good band has to be Italian. Pass the exam Italian Symphonic (laughter).

03. C'e 'Chi Non Ha The synthesizer is about to start the disk in more advanced in 5 years. The fingering guitar carries the song with beautiful passages. And of course! Do not forget the wonderful voice. I can speak without fear that is the most emotional, with a melody to skip the heart of the mouth.

04. Sinfonia Per Un Re Again the guitar impresses. We have some passages of violin here too. The pianos have a very beautiful melody and always accompanied by low. Nearly one instrumental track (not to be the voice that sings the name of the song incessantly), full of timbre and good soils, especially in the guitar.

05. Sfogo The trilogy begins with shorter here, a walking bass is the monitoring of the underworld here, a piano 'texas' and voice' shouted ', which range bacana. The passages of battery is without equal. But the highlight is the same vocalization. Genial!

06. Gloria, Gloria Low battery and a riff 'weird', and a climate means The Doors (but with the guitar). Full of vocal everywhere singing the name of the song. The vocals are sung again so superb.

07. Guard Coi tuoi Occhi These guitars are very cool folded. But the most haunting is the excellent way as all the vocal discs that are built, and this track is not the thing behind. With some excellent passages of orchestra and vocalizations.

This disc is another finding Italian, and I was surprised.

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Fede, Speranza, Carita is a fairly heavy Italian symphonic prog album from 1972. The original release featured only five songs, with three of these being in excess of 8 minutes in length. The album begins with the title track, in subdued mood with organ accompanied by some effects of rain and thunder. Piano and spoken words join the Hammond, and as this gains volume the guitars take over. The lead guitar plays a blistering riff supported by the rhythm section and Hammond, then there is an explosive drum fill that leads into the main song. Thereafter the song goes through numerous changes in tempo and mood; from dreamy, with acoustic guitar and string effects, to aggressive, with intense vocals and ripping guitar solos. After further guitar and Hammond exchanges, a short drum fill leads back to the recapitulation of the main theme. The song concludes with some falsetto vocals, sung over a riff that is reminiscent of Lord Of This World from Black Sabbath's Master Of reality album. Outstanding first track.

Track 2, Il Prete E Il Peccatore, continues in similar vein with numerous distinct sections. It starts off with raw fuzz guitar and bass, before being joined by the drums and Hammond. Mellow sections with spacey organ, strings and vocals are interspersed by some more spoken words. The tempo then picks up again with some choppy guitar undercutting a piano solo. Another great song. One very minor complaint I have is that some of the organ on this and the following track has a decidedly cinema-organ sound! it doesn't really spoil my enjoyment of the songs though.

Next up is C'e Chi Non Ha, a romantic sounding ballad with lovely acoustic guitar and rumbling drum rolls. There is a nice stereo effect here with the sound of the drums moving from one speaker to the other. This song also features piano and typically passionate Italian vocals. Very nice. I only wish they had used a Mellotron instead of that tacky organ timbre.

Sinfonia Per Un Re begins with an aggressive riff leading to more alternating dreamy and heavy sections, with cello joining the ubiquitous guitar and Hammond. The title track is reprised within this song, here played on piano. This reprise gives the impression of the album being a single work, rather than a collection of separate songs. Unfortunately I don't know any Italian language so I can't say if there's any concept on the album.

The final track, Sfogo, is a major disappointment at the end of an otherwise great album. It's an up-tempo jazzy piece featuring scat-singing. It sounds out of place and is undoubtedly the weakest track here, though fortunately it is also the shortest.

In summary, this is a great symphonic album featuring bucketloads of blistering guitar, swirling Hammond and dramatic Italian vocals. I would recommend it highly to fans of RPI and heavy prog. I would have awarded it 5 stars but for that last track... shame

As much a rock album as it is progressive this little known diamond in the rough is one blistering contempary Italian progressive album. Released in 1972 and with a sound more reminiscent of Il Balletto di Bronzo which was released the same year but seems to have attained more recognition throughout out time than "Fede Speranza Carita" ( Faith,Hope,Charity) both contained a more heavy sound than usual for this genre of music in the early seventies, The band was a four piece and consisted of "Carlo Marrale" guitar,vocals,"Piero Cassano",keyboards,"Aldo Stellita",bass,vocals,"Renzo (Pucci) Cochis",drums and was produced by Piero Palmieri on the Durium label with a typical wonderful cover on the album of a Chalice with a cut out,(Gatefold). Italian Progressive bands created some of the most stunning and distinctive album covers which are still beautiful today and have not aged with time and this one is another.

Despite keyboards being the dominant sound used throughout this album the guitar gets a thrashing which is evident in the the first track "Fede Speranza Carita" with its keyboard intro which is quickly joined by the guitar before the vocals. Full credit must be given to the drummer who leads with the time changes throughout and fabulous patterns he plays.Backing vocals are used throughout with the vocalist to good effect and that guitar comes in for one fab solo. Just under eleven minutes in length and all the band get a crack at it throughout this driving composition. Progressive bliss with one hell of a rocker.The following tune is "Il Prete E Il Peccatore" and runs for the same time approx as the first track and is another hard rocking number and is opened with one crunchy guitar intro and keyboards are driving this along with that guitar while that drummer is right up their you know what. Things quieten down while the vocalist begins his section of the tune which creeps higher in tone before launching back into that heavy sound the band has. Awesome stuff and with even a narrative within this tune and the backing vocals give the tune one exquisite sound as the vocalist hits his notes.The third track is the softer piece on the album " C'e Chi Non Ha" and really although not a bad song it is the low point but does serve to give the album a break before it launches back into the last two compositions which are more reminiscent of that hard sound from the first two songs.Track four "Sinfonia Per Un Re" has some great violin and guitar and is another high point and must be mentioned.

Sometimes throughout the vocalist can be a little rough but everything is not perfect and in that flaw it does give the album character.One of my favourite albums from this genre's period with the first two tracks being the high point and with the predominate heavy sound it is one great little listen. The album is gold nugget in the middle of nowhere and disappeared back there but if you like it heavy this is for you.

Another 70's Italian group with a short career, good enough to earn credits among the famous Prog acts from the country.J.E.T. were found in Genova in early-70's by guitarist/singer Carlo Marrale, keyboardist Piero Cassano, bassist/singer Aldo Stellita and drummer Renzo "Pucci" Cochis.The three first singles of the group show a band performing a melodic Pop Rock style with a nice sound, albeit far from progressive, however their sole 1972 full-length album ''Fede, Speranza, Carita'' shows a real turn in terms of style.This work was released on the Durium label.

The first side of the original LP contains two long tracks, over 10 minutes each, which are good examples of the new style J.E.T. had chosen.Featuring a powerful Hard Progressive Rock with obvious Classical and less evident Jazz influences, the group shows some incredible energy with passionate vocals and rich musicianship, characterized by strong grooves ala BIGLIETO PER L'INFERNO and dynamic breaks and complex chord progressions in the style of MUSEO ROSENBACH.The music is driven by the haunting organ of Cassano, tha hard riffs of Marrale and the solid rhythm section always with evident symphonic textures and a few synths added for good measure.Only negative point are some dull multi-vocal choirs.The second side is not that complex, still quite entertaining.''Sinfonia per un Re'' is actually the closest track to the previous style, powerful Hard Prog with tremendous organ moves, light piano, sensitive vocals and strings, somewhere across the lines of NEW TROLLS and MUSEO ROSENBACH.''C'e' chi non ha'' is a mysterious Psych Rock ballad with excellent vocals and a very dark mood overall, while ''Sfogo'' lies somewhere between Rock, Fusion and Jazz with good piano paces, nice organ breaks and bluesy guitars to go along with theatrical vocals, definitely a piece out of the group's main style.

After some more singles the group was joined by female singer Antonella Ruggiero and new drummer Giancarlo Golzi from Museo Rosenbach, changed the name to Matia Bazar and had a long and prolific career in the field of Pop Rock music.

While not an absolute classic of the 70's Italian Prog scene, ''Fede, Speranza, Carita'' contains all the basic components of this particular European scene to be appreciated.Long, elaborate tracks, symphonic tendencies, complex parts and a rockin' attitude.Warmly recommended.

Rock progressivo italiano is a very dear thing to me, though not always to my taste. As in any other genre there are highlights and then there's not. When I got my hands on J.E.T's album from 1972 I found myself treated with a record filled with almost everything I love with RPI and prog in general.

The main thing about J.E.T. is the diversity within the hard rock concept. The album is extremely hard and could well be compared with (certain aspects of) Purple, Heep and Tull. Maybe even Sabbath. Within the RPI genre I find they could be compared to bands like Museo Rosenbach Or Campo di Marte. There is, like I've already stated, hard rock elements in a bundle but there are also clear evidence of folk, jazz, classical and certainly alot more influences I cannot think of right now.

Keyboards and guitars, alongside amazing drumming and overall tight musicianship combined with excellent and complex yet accessible songwriting makes J.E.T.'s album a gem when it comes to prog. If you like heavy prog this is for you. Great album!

J.E.T.'s greatest wish must have been to remain a well-kept secret, connoisseurs only, something they achieved with considerable success. With a band-name that's neither here nor there, releasing their only worthwhile offering at a time when great RPI records were 10 a dozen, and with a cover artwork that's decidedly cheapskate (that's a nice cup, by all means, but no matter how posh your granny is, a photo of her silverware isn't going to sell your record), the band seem to positively beg you to leave this record alone. The CD reissue (at least the one I have -- ther could be others) does nothing to change this, since all useful information is given in Japanese only.

By overlooking "Fede, Speranza, Carita", however you would be making a big mistake. This is right up there with the best RPI albums while standing out from the crowd in several mistakes. The music is a little heavier and more guitar driven than most of their Italian contemporaries, often with heavy hammonds and thunderous bass lines to create a powerful sound. Add the superb power and range of singer Aldo Stelita, another one of these Italian prog vocalists that leave you with your jaw in your lap wondering how one country could hold so many marvellous tenor voices. There are classical influences, especially in the quieter passages, but equally frequently heavy riffs a la Deep Purple give way to big horn sections. Melody plays an important role throughout, and dissonance is used sparingly, unlike such bands as Il Balletto di Bronzo, who otherwise have a similar sound.

No RPI collection is complete without this obscure gem of an album. Even if J.E.T. seem to want to be forgotten, we should not allow them.

One of the many prog bands that jumped on the bandwagon in the early 1970s following the cue of The New Trolls, the Genova based J.E.T. (also known as simply JET) started out like most Italian rock bands as a mere pop rock band that was stuck in the 1960s still aiming for hits singles but once the band members caught the prog bug developed a highly accomplished skill set of crafting one of the era's most memorable albeit rare albums of the early 70s. While the band would release a series of singles all the way from 1971 to 1973, the band's sole album FEDE, SPERANZA, CARITÀ (Faith, Hope, Charity) was a full blown prog release in the same romantically delivered symphonic rock style that was en voguer only amplified with more abrasive moments of hard rock and pompous virtuosic heft.

J.E.T.'s sole album featured five complex tracks that was one of the rare examples of Christian rock going prog in the early years of the Italian scene while other bands were more obsessed with political protest or esoteric references to the occult. J.E.T. was one of those bands that featured exquisitely talented virtuoso musicians with a lineup that included Carlo Marrale (guitar, vocals), Piero Cassano (keyboards), Aldo Stellita (bass, vocals) and Renzo Cochis (drums), who together could change in a millisecond from lush tender moments of balladry to outrageous outbursts of knotty time signature rich progressive gymnastics and back again. The original album is one of those highly collectible items as it is quite rare with original Durium editions selling for many hundreds of U.S. dollars.

The album starts off with one of the peak performances of all Italian prog with the dynamic title track that perfectly delivers a veritable mix of symphonic and heavy prog motifs that blend together to craft a musical performance elevated to the levels of top performers such as PFM or Banco. With brilliantly designed compositions performed with technical precision and melodic sophistication, J.E.T. featured not only a top notch vocalist with Aldo Stellita but showcased an impeccable symphonic prog sound that found the perfect contrast with heavy guitar riffing and frenzied outbursts of prog gymnastics. While featuring the usual guitar, bass, drums and keyboards, the band also added moments of marimba, cello and vibraphone to the mix offering a warm and vibrant variety of instrumentation and a brilliant use of dynamics.

The second track "Il Prete E Il Peccatore" offers the same contrasts delivered with the same precision and prestige while "C'e' Chi Non Ha" features a more chilled out ballad bordering on a touch of cheesiness with the heavy symphonic backing but kept under control by Stellita's strong vocal control. "Sinfonia Per Un Re" sort of skirts both sides of the fence with a heavy opening and alternating with slower tempos but ultimately delivers some of the most dynamic time signature tradeoffs and vocal harmonies of several members. It's an odd track with an odd rhythmic beat and honestly could use more heavier moments but still pretty cool. "Sfogo" ends with a more upbeat bouncy rockin' vibe but due to its short length is more of a standard rocker with only a few proggy moments thrown in for good measure. Still though catchy and the piano rolls and feisty organ sizzle adds that prog icing to the cake.

While the album is often criticized as not being as evenly delivered as it could be due to the opening perfection sort of tapering off into a random collection of stylistic approaches (which admittedly keep it from masterpiece status), the album actually holds up pretty well especially for a band that was primarily based in pop music and would continue to release pop singles after this prog album. In fact many band members would also go on to form the progressive pop band Matia Bazar after J.E.T. called it a day. While not as perfectly constructed from beginning to end as many of us would like it to be, J.E.T.'s sole prog contribution is actually really, really good with many moments on the extremely excellent side of things. It's too bad these guys didn't continue because a second coming might've delivered the perfect album of the era. Regardless, J.E.T. would go down as yet another one and done Italian prog band that showcased the sheer talent this nation delivered in its prime. It's an endless wellspring!