IL VOLO

- Mauro Lavezzi (ex-Flora Fauna Cemento, on guitar) - Alberto Radius (Formula 3, guitar) - Vince Tempera (ex-I Giganti, keyboards) - Gabriele Lorenzi (Formula 3, keyboards) - Bob Callero (ex-Osage Tribe, bass) - Gianni Dall'Agio (ex-Ribelli, drums)

The group released only two albums, both of which were excellent. Mogol wrote all the lyrics, while the others composed the music separately. This resulted in excellent songs with a simple and direct style, deeply rooted in the Mediterranean style but with highly melodic passages connected to unexpected eruptions. The intelligent use of studio effects on guitars and vocals produced a unique sound that, while reminiscent of Formula Tre's music, leaned slightly more towards jazz-rock. Lavezzi's voice was a distinguishing element that set Il Volo apart from its predecessor.

"Come Una Zanzara" transitions from mesmerizing sounds to powerful demonstrations of the band's musical prowess. It features expressive melodies, tension-building bass and guitar interplay, and a sitar element that adds depth to the composition.

"La Mia Rivoluzione" - Starting with beautiful acoustic guitar melodies and soulful vocals, this song gradually builds momentum with a shuffle rhythm and shining keyboard arrangements. The interplay between the keyboard, sitar, and vocals adds richness to the emotional depth of the track.

"Il Calore Umano" - Bass and keyboard elements intertwine seamlessly with the guitar, creating a cohesive sound that drives the song forward. The consistent expression of emotions through the chorus and the energetic guitar riffs add layers to the overall energy of the track.

"Il Canto Della Preistoria" - Beginning with an intriguing narration, this track evolves into a gentle folk-inspired progression. The soft chord progressions and vocal harmonies contribute to its unique atmosphere, with well-crafted solos and synthesizer elements enhancing the song's quality.

"I Primi Respiri" - This song explores a waltz-like atmosphere with a three-beat rhythm, showcasing the band's versatility in musical expression. The melody and harmony processing highlight the band's ability to capture the essence of 1970s Italian music.

"La Canzone Del Nostro Tempo" features a mix of dark atmospheres and explosive grooves, exemplifying the band's compositional prowess. The dynamic shifts in rhythm and melody create a compelling listening experience, with a memorable arrangement in the closing section.

"Sonno" - A beautiful blend of acoustic guitar and keyboard arrangements sets the tone for this track. The gentle progression and vocal melodies, including falsetto, showcase the band's composition skills and emotive delivery.

"Sinfonia Delle Scarpe Da Tennis" - This song starts with a solemn organ melody accompanied by a shuffle rhythm, gradually expanding into a brighter, hopeful composition. Using percussion and bright keyboard melodies adds depth to the album's overall composition.

Despite the impressive pedigree of its members and the high expectations they generated, the group disbanded after releasing their second album, which was entirely instrumental and did not achieve the commercial success of the first. Lavezzi and Radius pursued solo careers, while the others became highly successful session musicians. Il Volo's active presence may have been brief, but their impact as part of Italy's prog-rock history remains significant, showcasing their prowess as musicians and innovators within the genre.

Opener Come Una Zanzara is reminiscent of latin era Return to Forever with vocals-this album is much closer to 1974 anglicized prog and jazz fusion sounds than most of their brethren (though by 1974, other Italian prog bands were starting to turn towards slicker sounding Jazz fusion). Given the combined industry experience of those involved (including lyricist to the stars, industry heavyweight Mogol), one could see they had a larger world view than most of their contemporaries.

La Mia Rivoluzione starts with acoustic guitar and vocals before heading into a slick Santana guitar break. More commercial than the opener. Il Calore Umano sports some wordless vocal choir work straight from an Italian 70's Morricone film. before hitting a decent guitar solo that almost cuts loose. This one sounds like a bunch of neo prog bands from decades in the future. You can tell that a larger amount of money was devoted to this project as it is audibly superior in recording techniques than most albums of the era. Il Canto della Preistoria starts with a spoken introduction gives us a little PFM lite. A warped bass(?) synth (?) demented little solo on top of something that sounds like Camel in their later commercial days is a nice juxtaposition-my favorite moment on side one. So far the album is a little polite for my liking as they straddle obvious commercial aspirations with obvious talent.

Side two starts with I Primi Respiri, a song that has some nice reverb tank vocals with whispering underneath that show some promise for weirdness. Bass dominates this song and it seems like its about to take off when they veer into a lazy bit of Southern California soft rock but let the final riff build until...the song stops. La Canzone del Nostro Tempo is the first burst of genuine RPI and most satisfying song on the album. A little bit of seventies Funkadelic era guitar perks things up in a fairly high energy ending. Sonno features falsetto vocals, with acoustic guitar driven piano symphonic with a polite Rothery-ish solo. Last song Sinfonia Delle Scarpe da Tennis has some great ELP stylings with barrelhouse piano and a quirky italian jig with vocals that is just too short at under three minutes.

Overall, it is odd that though there aren't any really great songs on here it still hangs together pretty well. Very well played and recorded, but a little too slick for its own good, Il Volo would be a good one to slip in for UK prog and fusion fans to try their first tastes of RPI. In a way, these guys were ahead of their time as it was another 3-4 years at least until a ton of bands started to sound like this. Perhaps this is an early example of what happened to Asia: put a bunch of amazing musicians from great bands into a room and hit 'record' on the reel to reel. The sum of the parts isn't always the miracle we'd hoped for.

3 stars

I have a German original pressing on ariola, and it is an impressive high quality recording with deep bass and crystalline treble. Do wish it was the gatefold version though.

So into the intimate reality of RPI in 1974 a "gang" of important musicians coming from several bands has created a group really impressive. There were Alberto Radius and Gabriele Lorenzi from Formula 3, Roberto "Bob Olov" from Osage Tribe and Duello Madre, Gianni dall'Aglio from I Ribelli (the same origin group of Demetrio Stratos), Mario Lavezzi from Flora Fauna e Cemento and Cmaleonti, Vince Tempera great composer and "maestro" from Pleasure Machine and as lyricist the great Mogol, fellow historian of adventure of more known Lucio Battisti. Nothing else to say, but surely there are many expectations.

The opening song is so exciting full of a verve, at the same level of Banco or New Trolls. "Come Una Zanzara In Africa" ( As A Mosquito In Africa) sounds as if you can really imagine a mosquito that is dancing around an unknown scene, before it starts a more powerful piece in typical RPI style. For a moment you can forget all Great RPI bands! Fantastic. I try to think about how much enthusiasm there was in 1974 at first listening, a year far from the wonder productions of 1973! All is assembled perfectly. A fantastic rhythmic session that sometimes remember me Reale Accademia Di Musica "Vertigine", a variety of perfect elements arranged with taste in music and with the great guitar of Alberto Radius. In fact the first part of album is unbelievable, characterized by a groove line bass that gives at the album a good rhythm. On the same line is composed "La Mia Rivoluzione" (My Revolution), very interesting song.

With the third song "Il Calore Umano" (Warmth) is possible to appreciate Alberto Radius ability on guitar with a memorable solo. From here the album presents a series of song (the next 3) with more slow tones and interesting elements. "I Primi Respiri" (First Breaths) and "La Canzone Del Nostro Tempo" (Our time Song) sound like one the continuation of the other, as a very little suite. Personally I think nothing really special, but there are some good ideas. With the song "Sonno" (Sleep) they retake again the previous sound with a singing intermezzo that remember a classic Lucio Battisti period, with an evident participation of Mogol in sung piece. The album ends with a strange musical choice for this kind of music, or however because I have much expectations. "Sinfonia Delle Scarpe Da Tennis" (Symphony Of Sneakers) sounds as a careless song, so simple in its structure, but we say it's ok!

This album marks a middle age in Italian pop music but especially in RPI. It is a watershed between the Golden Age of experimentation when was born the Great creations, and experimentation more jazz oriented after 1974, with bands such as Arti e Mestieri, Agorà, Il Baricentro, Nova, etc? It sounds as an echo of past times, far from the previous creativity and maybe results a little bit boring in sung parts, remembering Italian pop of those years. Anyhow it is a "place to visit" at least one time in lifetime, surely to know and appreciate in some of their musical parts. In other words not their best but only a foretaste of what will be their next album "Essere O Non Essere: Essere Essere Essere", in which they certainly let us to know their real musical power.

3,5 Stars ? A lot of good moments but something does not convince.

While ''Il volo'' was a song-based light Symphonic Rock album, the Italian six-piece supergroup really turned the corner with ''Essere o Non Essere?'', offering an album of Symphonic/Jazz- Rock, where vocals are limited and music plays the first role.Actually only one track (''Essere'') features vocals, though there is some wordless singing in most oof them, and the work is almost exclusively based on a new instrumental approach.The guitars of Alberto Radius and Mario Lavezzi have now a very jazzy still strongly rock-oriented feeling and they are nicely blended with the Fusion-esque moog synth efforts of Vince Tempera and Gabriele Lorenzi and the deep bass work of Callero.Among these Prog/Jazz-Rock arrangements the listener will detect a number of Ethnic inspirations, greatly adapted by the musicians participating.Still the Italian romantic symphonicism is not gone and can be easily traced in the melodic guitar solos, opening intros and dominant organ parts (when present).

Afte the second Il Volo album Bob Callero left the group and he was replaced for a very short time by Era Di Acquario's Michele Seffer, though he did not record anything with the band as Il Volo split up a little later.

The sophomore release of Il Volo presented a group, which could easily transform the music from melodic to intricate passages, though the main absence of vocals and true dynamics hardly makes the album a masterpice.Still it belongs among the very good pieces of 70's Italian Prog and comes strongly recommended...3.5 stars.

MEDIO ORIENTE 249000 TUTTO COMPRESO has something of an Arabic flavour with its synth-sax intro, scat vocals and surging groove. This segues seamlessly with CANTO DI LAVORO, and its wailing vocals, percussion and electric sitar prolong the Eastern vibe to good effect. ESSERE is the only track with lyrics and it begins as a romantic-sounding ballad but finishes in fiery mood. ALCUNE SCENE is arguably Il Volo's most diverse and interesting piece with its many shifts of atmosphere, from impressionistic sounds to funk jams to dramatic crescendos. A strong Santana influence permeates SVEGLIANDOMI CON TE ALLE 6 DEL MATTINO, although the more experimental CANTI E SUONI, with its waspish synthesizer and strange treated vocalisations, also displays a Latin influence. Overall, Essere O Non Essere? represents a superb balance of experimentation and immediacy. 4 stars, easily.

The fusion influence is most apparent in the forceful funk and Santana-influenced licks of COME UNA ZANZARA, and the biting guitar and free-flowing electric piano of LA CANZONE DEL NOSTRO TEMPO. The ultra-catchy LA MIA RIVOLUZIONE is basically a shuffle, spiced with Alberto Radius' electric sitar and a graceful guitar solo towards the end of the song. There's some nice work on the toms from drummer Gianni Dall'Aglio on the sedate IL CALORE UMANO. The closing section features the sunny effect of wordless vocals sung over another velvet-toned guitar solo. Throughout the album, keyboards are used together with the rhythm section as building blocks for the guitarists to lay down their solos. However, the main focus is always on the songs and after a brief spoken word intro, IL CANTO DELLA PREISTORIA develops into a beautiful acoustic ballad. SONNO is equally romantic with its tension-filled falsetto vocals. I PRIMI RESPIRI is a quirky little ditty that features Mario Larezzi's electric mandolin and more of that electric sitar. This and SINFONIA DELLE SCARPE DA TENNIS, which contains honky tonk piano, both sound like '60s psychedelic-pop throwbacks and they tend to make the album sound a bit dated. The first half of this album contains some wonderfully melodic songs. The second half is not quite as good, but is still a very pleasant listen. However, herein lies a slight problem. This album is just a little too easy; essentially, it's a pop-based album. There's no denying Il Volo's musical prowess or ability to write warm and endearing melodies, but I'd recommend their more dynamic second album over this release.

The theme that "Numero Uno" had might have worked on the account with a very reformative part when a situation at that time was considered. The flow not related to sales of the music of the music the movie the main current of each recording label at that time and the canzone, etc. might have challenged the field of new music as a flow with originality. The work of Numero Uno to be established of the success and the main current to some degree for emphasizing the part of Rock works extremely out work with the band with the technology with high all qualities with a worldwide success of PFM. The music character that derived in the latter half of the 60's with the flow of Beat Rock and psychedelic is enumerated and the second stage will be able to enumerate the existence of the band that gives priority to the improvement of a more progressive element, the reformation, and the performance power with the first stage if it counts. PFM, Banco, and Osanna. Or, there might have been time when this Il Volo appeared in the flow that the music character of the band with high quality such as New Trolls appears as a flow of the market of the music of Italy of the 70's exactly at reformative time. Of course, it has the experience that members who were related to this Il Volo also were doing important work in the flow of Prog Rock of Italy. This band might have been very special exactly existence in the band of Prog Rock of Italy at that time. Therefore, it was existence to which the role of Super Band was played.

The band that should call the antecedent of this band as a well-known fact might be "Formula Tre". Formula Tre that led Alberto Radius said that it received a large influence to Cream and Jimi Hendrix attracted attention as a band with a novel music character in the early the 70's. Formula Tre connects first establishment Numero Uno with the contract by Lucio Battisti. "Dies Irae" is announced in 1970. And, "Formula 3" is announced in 1971. The work of production by Lucio Battisti informed them of their names by "La Folle Corsa". The music character of Formula Tre had been established enough from continuing "Sognando E Risognando" to "La Grade Cosa" in a market at that time. The band faces the revolution further in 1974 after musical diffusion and development are accomplished. Guitar player's Alberto Radius and keyboard player's Gabriele Lorenzi are exactly centered and Formula Tre has developed into this Il Volo. The composition etc. that appointed the part, the guitar, and the keyboard that appointed a musician who was active with other I Camaleonti and Duello Madre, etc. to the member of the band respectively by two people and arranged it will have been reformative parts. Existence as the band that was able to draw out the possibility of the music character enough might have been exactly shown enough. It is music that splendidly united exactly an original music character of work and this band of Nemero Uno and was expressed.

"Come Una Zanzara" shifts from the flow of the sound with the anacatesthesia to the part where overwhelming power of the band is demonstrated. Melody with expression of feelings. Sound of Bass and guitar that continues tension. Melody of sitar in close relation to decorated sound. Element of song and Groove in close relation to progress of original Chord. Done consistent expression of feelings and tension are pulled by a complete melody of the guitar. The originality of Prog Rock of Italy is demonstrated enough.

"La Mia Rivoluzione" starts by the melody with good beautiful acoustic guitar and song. The rhythm of the shuffle twines round the sound of the shining keyboard. Obbligati of keyboard and sitar in close relation to song with expression of feelings. The tune reaches the peak gradually. The tune will be pulled before long with Bass and the guitar. Solo of the guitar to make the melody of "Come Una Zanzara" appear has a good sense again.

Bass and the keyboard twine round "Il Calore Umano" all together with a good guitar. The chorus consistently continues expression of feelings. After a glossy guitar pulls the tune, the melody of a good song decides the impression of the tune. The tune opens complete energy by the obbligati of Riff and the keyboard of the guitar.

As for "Il Canto Della Preistoria", the narration appears in the sound of the guitar that flows quietly. It progresses with a good flow of Folk. The progress of gentle Chord with originality has good atmosphere. The chorus has the impression of the tune decided with the song. And, the part of Solo with a vocal impression and the obbligati of the synthesizer also raise the quality of the tune.

"I Primi Respiri" might be a tune with one expression of feelings that the band challenged from another angle. It is a tune with the atmosphere of the waltz that multiuses the rhythm of three. The melody completely types out originality. This expression of feelings and the processing of harmony might be the good atmosphere that Italy of the 70's completely had.

"La Canzone Del Nostro Tempo" accompanies Grrove that explodes because of the part of dark atmosphere. The composition of the rhythm and the melody with the tension might be splendid. The tune shifts to the part with a complete, transparent feeling suddenly. And, energy is discharged again toward the top. The arrangement of the part of Coda is also splendid.

The arrangement of a beautiful acoustic guitar and the keyboard of "Sonno" is splendid. The progress of Chord advanced as elements of a few ballade are taken has succeeded completely as a tune. Gentle melody of song and arrangement of guitar. Melody of song to make good use of falsetto. Composition power of tune that puts fast and slow. The band runs about the space in union. Especially, the melody of the song is perfect.

"Sinfonia Delle Scarpe Da Tennis" progresses from the melody of a solemn organ attended with the rhythm of the shuffle. The melody of a usage of the percussion instrument and a bright song will expand the width of the composition of this album. A bright performance of the melody and the keyboard that gives hope might have an interesting part as a composition.

Time when Il Volo had been taken an active part was very a short span of time. The existence of the band might be valuable Music who showed enough existence as one of the histories of Prog Rock of Italy surely.

The form accomplishes the revolution further. The band that performs as a flow to which individuality and the culture are taken from the part of Rock appears gradually by the band's in Italy carrying everything before one of the market. The flow that derives from the part of Beat Rock and psychedelic is multiplied from in the early the 70's to middle term and strengthens further. The band to be confident of the performance appears one after another and the part of Beat Rock and psychedelic has the flow that shifts to the next stage. And, the flow and the directionality of the band in Italy had the flow that gave priority to a performance and a progressive part further. The activity of the band in Italy that became a main current in the market and the chart rushes into from the dawn to the time of the expansion temporarily. In the flow, the activity of this Il Volo might have shown the existence as a band that represented the music of Italy of the 70's.

The existence of guitar player's Alberto Radius and keyboard player's Gabriele Lorenzi might be important in the background of details continued with shape that "Formula Tre" that is not the exaggeration to say the antecedent of this band develops. And, following work with Numero Uno accomplishes advancement and the revolution further in this Il Volo.

Their debut albums were produced in March, 1974. The flow that the tune of the member of the band unites splendidly in the part of poetry by Mogol might have had the flow developed while exactly following the music character of Formula Tre.

The music character of this band develops greatly further in 1975. Alberto Radius and Gabriele Lorenzi are related to a lot of tunes. The song has shifted as a content of this album in the form to emphasize the part of the performance further. Music with diversity to make the listener listen with 1st Album might evolve further by this album. Their original expression of feelings and performance have been digested in a good direction.

"Gente In Amore" produces the atmosphere of symphonic for you may accompany the dash feeling from the sound with the anacatesthesia. Melody of acoustic guitar in close relation to melody with expression of feelings. Sound of decoration that twines while continuing anacatesthesia and part of scat. Their expression of feelings is splendidly expressed. The performance where the part and the dash feeling in which the rhythm of Latin is taken overflow is splendid.

"Medio Oriente 249000 Tutto Compreso-Canto Di Lavoro" progresses with the flow of good symphonic from the melody that is reminiscent of the element of the Middle East. Rhythm and melody developed one after another. Chorus who had good atmosphere. Progress of Chord that has both anacatesthesia and expression of feelings. The tune accompanies the melody with an enchantment chorus while being dash before long in the space. Solo of the Electric sitar by Alberto Radius also decides the atmosphere of the tune.

"Essere" flows quietly with the progress of a good keyboard. It might be a good material for the band that this band is characterized and two people exist the guitar player and the keyboard player. It is symphonic with complete expression of feelings. It produces complete ensemble as Groove. The progress of original expression of feelings that the band in Italy at that time had and peculiar Chord is completely expressed.

"Alcune Scene" produces quiet power to flow incessantly. Rhythm that multiuses rhythm of six. The part where the melody that was it was taken while putting fast and slow might be splendid. The tune dashes on the top.

"Svegliandomi Con Te Alle Sei Del Mattino" is a tune that the melody of the synthesizer unites with a good anacatesthesia in the rhythm of gentle Latin. Solo in which the guitar is glossy is splendid. The sound and the obbligati of the shining keyboard are complete. The tune heads gradually for the top. This arrangement might be also splendid.

In "Canti e Suoni", the sound of a gentle song and a peculiar keyboard is features. An original arrangement and the progress of Chord have good atmosphere. The idea of the song processed by the effect acts on the tune well. The zeal of ensemble and the band might be splendidly reflected in the tune.

The music that this Il Volo did including the age and the music character when thinking about Prog Rock of Italy of the 70's and existence might be indispensable.

As everyone here already says, IL VOLO is indeed one of the most wonderful Rock Progressivo Italiano bands, but sadly each of their works is too short to make our stomach full. King Record, famous label for European progressive collection in Japan, has released a compilation album with their two works. This album could notify me, without any knowledge about IL VOLO, that I should feel the album was their one work with two parts of a story on each LP side. The total time is about one hour, that we can hear at one gulp(!).

Exactly, each work is so terrific.

Their first work Il Volo has two faces, one is heavy and strict, and another gentle and rich. Especially, in my humble opinion, the most important stuff on this 'part' is bass sound by 'OLOV'. (Although we tend to think Alberto and Gabriele are the hot points...) Listen to the first track Come Una Zanzara and feel how aggressive, strict and unique they are. And the 'part' has some beautiful songs, Il Canto Della Preistoria, Sonno, and so on.

Second Essere O Non Essere? is not on the commercialism (and in those days quite a few fans can't understand its greatness), and has more Oriental and progressive flavour. Of course, I consider one of the important facts is exotic percussion by Gianni. Essere! This bulky mass can attack and blow us perfectly. Let me say this song should be their masterpiece.

It's quite regretful I suggest IL VOLO couldn't keep the activity and progressiveness and was broken out. But surely we all RPI fans should keep their fantastic play in mind...forever!