ARTI E MESTIERI

After producing one of the best proggy instrumental Jazz-Rock Fusion albums of all-time in Tilt, they decide to add vocals and try more melodic, and more funky tune constructions along with their usual Mahavishnu-like Power Fusion.

1. "Valzer Per Domani" (2:12) swinging a bit like some hap-sappy melody-laden Broadway overture (sounding a bit like a variation on "My Favorite Things"). It's pretty and very catchy but something feels a bit off: as if the band is a bit off, a bit out of sync (especially the drummer) and as if they're having to dig into other people's ideas and melodies for material. (4.375/5)

2. "Mirafiori" (5:55) the drummer is way too busy: as if he's either coked up or really feeling Ego-full of himself. Nice to hear that Gigi Venegoni and Giovanni Vigliar are still very much in sync with one another (on guitar and violin, respectively). Giovanni impresses in the second and third minutes while Furio Chirico's frantic KEITH MOON-like busy- ness almost fits in! Gigi Venegoni's following John McLAUGHLIN-like solo is also impressive. The ensuing section with its rather crazy effected-soprano sax solo makes the band sound like the upcoming NOVA albums with Corrado Rustici and Elio D'Anna. Obviously Mahavishnu Orchestra is the inspiration for both bands, so no use arguing about which came first. (8.875/10)

3. "Saper Sentire" (4:40) another really odd mélange of seemingly disparate styles (and sounds)--with vocals! Singer Gianfranco Gaza sounds like a 1970s version of LA COSCIENZO DI ZENO/NOT A GOOD SIGN lead singer Alessio Calendriello. (8.6667/10)

4. "Nove Lune Prima" (0:55) with this and the next three songs the band seem to be trying to reach back to a couple of years into the history of power Jazz-Rock Fusion. (4.5/5) 5. "Mescal" (5:16) as if right from The Inner Mounting Flame, we get to see/hear this band return to the realm of serious Jazz-Rock Fusion--with drummer Furio Chirico finally feeling as if he is in his comfort zone: channeling his inner Billy Cobham. (9.333/10) 6. "Mescalero" (0:35) a pretty, poignant bridge between "Mescal" and "Nove Lune Dopo". (4.75/5) 7. "Nove Lune Dopo" (2:39) great J-R Fusion using Jean-Luc Ponty-like melodies over Mahavishnu-like fire. Great drumming and bass play. (9.25/10) 8. "Dimensione Terra" (1:30) What sounds like the completion to the Mahavishnu-like suite of "Nove Lune Prima" through "Nove Lune Dopo". (4.5/5)

9. "Aria Pesante" (3:53) a vocal-centric song that has components that remind me of Wayne Shorter-led Weather Report as well as Broadway stage hippie music (the bouncing piano chord progressions). The instrumentalists on top are still performing as if they're a jazz rock ensemble--though here more in the Jean-Luc Ponty vein than the earlier Mahavishnu styles. (8.875/10)

10. "Consapevolezza Parte 1a" (3:22) more melodic JEAN-LUC PONTY-like Jazz-Rock Fusion; very high quality but also very melodic. Furio Chirico is a madman! (9.3333/10)

11. "Sagra" (3:06) this one sounds like a jazzified variation on the orchestral part of "MacArthur Park" or Caravan's "L'auberge du Sanglier/A hunting we shall go/Pengola/Backwards/A hunting we shall go (reprise)". Towards the end of the song, Luigi "Gigi" Venegoni goes JAN AKKERMAN/TODD RUNDGREN bat [&*!#]-crazy: spitting watermelon seeds from his machine gun axe over the high-speed race of the band beneath him. Impressive if a little odd and disjointed in its mix and stylistic commitments. (9.125/10)

12. "Consapevolezza Parte 2a" (1:12) drums, bass, and vibraphone make a light, airy little ditty that guitar, keys, and violin join. Beautiful! (5/5)

13. "Rinuncia" (2:48) another pop-oriented tune that sounds quite Americanophilic, even crossing over into Southern Rock (and pop RPI)-like territory with the second half. Odd assortment of vocal performances scattered throughout. Nice bouncy bass and clavinet work supporting the Southern-Rock guitar soloing. (9.25/10)

14. "Marilyn" (2:40) contemplative piano play that sounds as if Beppe Crovella is just playing around are eventually give way to frenetic drums, smooth clavinet chord play, and jazzy-Elio D'Anna/Jan Garbarek-like soprano sax play. An interesting étude-like mélange. I really like Beppe's piano instincts. (4.5/5)

15. "Terminal" (2:20) sustained vibraphone chords joined by bass and drums before Mahavishnu-like guitar and violin burst in with piano chord support. The two motifs alternate three times before the engineer executes the big fade. (4.625/5)

Total time 38:16

This album is so scattered--and it panders more to the pop/radio friendly world than the previous album but the ideas, sounds, performances, and experiments are all top notch/of the highest quality.

A-/five stars; a minor masterpiece of more broad-spectrum pop-considerate Jazz-Rock Fusion. Not as good as Tilt but nothing to be ashamed of.

I first heard ARTI E MESTIERI's debut "Tilt" back in 2009 and was promptly blown away. I had never heard a drummer who was so over the top as Furio Chirico. Well, these days Marco Minnemann is that drummer who doesn't know when to let up, and he has nothing on Furio. "Tilt" is a five star masterpiece that combines RPI and Jazz/Fusion perfectly. Their second album is incredible as well, just a notch down. I sort of lost track of this band after that, although they kept fairly active into the eighties before going dormant until the 2000's when we got some new music and some live events.

"Universi Paralleli" might be their final release considering this was released over 40 years after "Tilt". The guys are getting up there in age. Mind you only three original members are on this latest, plus some young guys. One of the original guys is sax player Arturo Vitale but he just plays on one track as a guest. The other two mainstays are of course our drummer Furio, plus multi-instrumentalist Gigi Venegoni who also mastered and mixed this album. It sounds amazing. Mel Collins of KING CRIMSON fame adds sax on two tracks as a guest. We get vocals in Italian on four tracks and they are okay. I can take or leave them but lean towards the latter.

So counting the vocalist we have a seven piece band here. This album comes across as a violin led, RPI/ Jazz Fusion affair. The violin dominates as much as Furio dominated on "Tilt". The symphonic output is high on this record. So yes a different flavour than what we heard from that debut from some 40 years earlier, big surprise. I don't love this album but for sure this is a four star recording. The musicianship is worth the price of admission. Check out that eleventh track where we get a 2 1/2 minute drum solo. Nice. And thanks Furio.

A marked step down from previous efforts, although not exactly a sellout: even though the band followed the tradition of their American fusion contemporaries by moving towards a more commerciably viable funk-influenced sound, it's not exactly radio-friendly material and even the three relatively accessible vocal numbers ("Arterio", "D'Essay" and the title track) all have a solid foundation in traditional mid-70s jazz fusion. This doesn't change the fact however that these three particular songs are the weakest points on the album by a distance: not only do they all kinda sound the same anyway, but they also all share the misfortune of being "graced" by guest singer Rudi Passuello's raspy voice that sounds very out of place and quickly gets on one's nerves.

The instrumentals are better, but betray a band gradually running out of steam and out of ideas, starting with the captivating, energetic "Vicolo" (proving that funkiness does not nullify a menacing quality to fusion, in case you really needed proof of that) but ending with a lifeless and uninspired jam ("Arti") and finally with a brass-driven conclusion which I think tries to go for a celestial atmosphere but just falls flat and peters out. Four years having passed since one's last album and only being able to stretch out a disappointing middle-of-the-road effort like this to just over 30 minutes is not the sign of a healthy career.

Listening diary 28th March, 2022: Arti & Mestieri - Tilt (progressive jazz rock, 1974)

My relationship with this one comes and goes. There are days where it absolutely hits the spot, as arguably my favourite thing to come out of Italian progressive rock, but I'll admit that sometimes it has passed me by without much effect. A lot of it is down to the drumming - it carries the music to the degree where if you're not focused, you might miss just how good this is. Like a distant precursor to The Mars Volta, Arti & Mestieri create organised chaos by taking parts of genres both simplistic and detailed. There's a lot of jazz-rock rhythm in here, accentuated by the saxophones and clarinets, but there's also a punk-rock aggression that pulls it all together. The whole thing feels like an angsty musical workout, and on days where intensity is something I'm craving, few albums of this era do it better.

7.6 (7th listen)

Part of my listening diary from my facebook music blog - www.facebook.com/TheExoskeletalJunction

"Quinto Stato" is the third studio album by Arti e Mestieri and was released in 1979 on the independent label Cramps Records with a renewed line up featuring Furio Chirico (drums), Marco Gallesi (bass), Marco Cimino (piano, synth, clavinet, Moog - former member of bands such as Errata Corrige and Esagono), Claudio Monafia (guitar, flute, vocals) plus the contribute of the guests Gigi Venegoni (guitar), Rudy Passuello (lead vocals, bassoon), Arturo Vitale (sax), Gigi Fregapane (vocals), Gino Torni (vocals) and Flavio Boltro (trumpet). The overall sound is more straightforward than in the past blending jazz-rock and committed lyrics and every now and again this work could recall the seventies albums released on the Cramps label by artists such as Eugenio Finardi or Alberto Camerini...

The caustic opener 'Quinto Stato (emarginato)' (Fifth State ' Outcast) tells the misadventures of a musician falling into marginalisation in a time of ideological crisis, called in Italy "riflusso", characterized by the betrayal of the ideals of the seventies, swept up by problems such as drug addiction, unemployment, corruption or criminality... The title refers to a famous tableau by Giuseppe Pellizza da Volpedo, made in 1901 and representing the Fourth State assuming class awareness and marching together, a well-known symbol for progressive and socialist causes. In this sense, the Fifth State of the title is located on a lower level and the protagonist feels like an outcast without hope...

Next comes 'Vicolo' (Alley), a nice instrumental track featuring slapping bass lines and soaring synth melodies that leads to the following 'Arterio (sclerosi)', a venomous ranting against the Italian political class of the time, here described as an incompetent gerontocracy clinging on power and crowded with hunchbacks and dwarves...

Next comes 'Torino nella mente' (Turin in the mind) that closes the first side of the LP. It's a calm piece that could recall Perigeo with a good flute work that contrasts with the pulsing rhythm section. It paints with its notes the hazy urban landscape of an industrial, busy city that is not without charm and beauty...

Side B opens with 'Mercato' (Market), a beautiful track with a vein of suffused melancholy and a pinch of exoticism. Here vocals are used just as an instrument and the relaxed atmosphere could be the perfect background for some scenes from a seventies film shot in the streets of an Italian city...

Then it's the turn of 'D'essay', an ironic track that tells of a police raid in an art-house cinema... A genial film about alienation and social crises, ten spectators in all for the premiere. When the police arrive all of them are searched, one hides a joint and complains... Well, it's just another ordinary evening of urban commitment!

Then the short, dynamic 'Arti' (Arts) leads to the last track, 'Sui tetti' (On the roofs). Here vocals are used as an instrument again to give colour to a relaxed jazzy piece where melancholic sax notes seem flying over a sleeping city that wants to dream on...

On the whole, a good album performed by a skilled group of musicians but not an outstanding one.

Just beautiful.

In the opening track "Gravità 9,81" everything happens! You can tell it's a sextet already from here. The song starts with an interesting degree of madness, with a fluttering saxophone that then quiets down and is accompanied by the violins, which soon takes over along with the synthesizers. The riff gives some power to the violins and the bass which does some interesting scales as well. It sounds a bit like medieval music, and being Italian progressive it's a fantastic mix!

"Strips" is attractive. The riff of this song is the main character at the beginning and it sounds a bit electronic. It also plays between keyboards and violins. Here the voice appears (the violinist sings) to recite a couple of free verses about empty poetry and banal lyrics. It's a nice song that follows the vibe and concept of the album... Almost the same format. "Corrosione" is a nice interlude with the saxophone playing twice a lovely solo accompanied by a correct instrumentation. For its length there's not much to say.

In the extravagant song "Positive / Negative" it all falls apart again (in the flattering sense of the word). The beginnings of the songs on this album almost always belong to the violin. This time with percussion arrangements. The madness returns in the middle of the song, when the tempo breaks to 7/8 with gladiatorial drums and a guitar solo that gets straight to the point! The hammond ends the song nicely... All this eruption of madness and violins crashing against organs reminds me a lot of Gentle Giant.

"In Cammino" is probably the most intimate song on the album. A few seconds into the song, a private atmosphere of secrecy and sensuality has already been created. As the song grows, the Jazz Fusion elements become clearer than ever! Typical scales in the wind instruments, although the keyboard seems to be more of a secondary than a main protagonist. The saxophone and bass largely dominate the atmosphere of wit and virtuosity.

"Farenheit" brings another interlude to us. A short piano melody is played, which is gradually accompanied by all the other instruments. The shortest song of the album to introduce the longest one, which starts frantically and without paying attention to its introduction.

"Articolazioni" is a masterpiece. From the start it promises to be the masterpiece of the album! A universe of suspense between keyboards and a terrified violin has been created! Also the role of Furio Chirico needs to be highlighted as it is obvious that he is a great musician and the drumming is here and at all times great. Shortly before the 3 minute mark, the direction of the song takes a turn into undefined places, with an 8/8 full of experimentation on Furio's part. At 4 minutes Giovanni Vigliar appears again (and after so long) to sing one of the phrases I like the most: "Sembra che non ci sia tempo per aspettare la scienza (It seems that there is no time to wait for science)". The clarinet is perhaps the least important thing on the album... Here it plays a very humble role in small moments. I think this track is definitely carried by the rhythmic breaks and the constant euphoria of the drums. He seems to be immersed in a sea of rage and revenge! The lyrics of this song are profound and point towards existential reflection focusing on the human being as an individual and not as a society. The ending is simply epic and original. I will say that if it wasn't for the superb percussion, it wouldn't get the 5 stars for me.

And then, the sweet "Tilt" comes to us. A little mellotronesque mess with violin and vocal arrangements to end the album wouldn't go amiss!

OK, it's a complex album to analyse. There are many instruments at play and each one wants to shine at all times: it seems to be a war between them all. The progressions sometimes simply don't follow the rules of music (none of them) and everything is left to the subjectivity of the musicians and the listener. As a conceptual work it is excellent. These are orbits of futurism and sounds that do not follow nature. I feel that I still need several listens to squeeze all its creativity out of it, but it is clearly a great album.

One of the latecomers to the Italian prog scene, the Turin based ARTI E MESTIERI (Arts & Trades) didn't even get started until 1974 when the entire RPI scene was starting to wind down but entered the crowded prog world with a bang when it unleashed its competent debut TILT ( IMMAGINI PER ORECCHIO ) "Pictures For The Ear." Founded by drummer Furio Chirico formerly of The Trip and I Ragazzi del Sole along with Arturo Vitale (saxophone, vibraphone), Gigi Venegoni (guitars), Giovanni Vigliar (violin, vocals) and Marco Gallesi (bass), this band stepped outside of the usual symphonic prog stylistic approach of the mainstream Italian prog acts and married the style with heavy doses of jazz-fusion.

Considered one of the most important of the jazz-rock prog bands that emerged from Italy, ARTI E MESTIERI rightfully landed on the legendary Cramps label with fellow countrymen Area and the lesser known Electric Frankenstein. What perhaps made ARTI E MESTIERI stand out from the burgeoning crowded house of Italian prog even in the late year of 1974 was the fact that the band intricately bridged the gap between the Premiata Forneria Marconi symphonic prog style and the Mahavishnu Orchestra derived version of jazz-fusion courtesy of the similar approach of incorporating a violin. The band got its big break right away when it performed at the Lambro Park festival which was is considered Italy's version of Woodstock.

It didn't hurt that the band toured with PFM in front of an audience of 45,000 and received excellent reviews from both critics and fans alike. Despite making a big splash in its homeland, ARTI E MESTIERI needed a few more decades to catch on with the rest of the world. TILT, the debut album is notorious for being a wild ride filled to the brim with diverse dynamics alternating between sizzling jazz-rock virtuosity to slower passionate displays of vocal oriented symphonic prog. The team of six musicians on board provided some of the most competent workouts in Italian prog in addition to the clever craftsmanship that went into the compositional process.

"Gravità 9,81" starts off with a bang instantly reminding of early Mahavishnu Orchestra with knotty instrumental gymnastics that find the violin and guitar in a violent uproar but just as quickly as Mt Vesuvius erupts, it calms down to a dark almost Univers Zero-like form of chamber prog. The shifts continue and the tracks flow together quite well as long bouts of jazz-fusion cede to tender moments of vocal oriented symphonic prog. While mostly instrumental, the vocals do emerge when least expected and are every bit as competent as one would expect from a high class Italian prog band of the era.

While the majority of tracks are on the shorter side, the album's highlight is the outstanding near 14-minute "Articolazioni" which displays a huge range of tricks and trinkets that straddles many aspects of the Italian prog scene with uncanny instrumental interplay, excellent transitions and fine-tuned finesse. TILT doesn't let up even with the final short 2 1/2 minute title track which closes the album with a series of progressive electronic sounds adding a whole other dimension to the album's breadth. While many bands existed for a fleeting moment in time during the big bang of Italian prog in the early 70s, ARTI E MESTIERI has intermittently reformed over the years and remains one of those early acts still active however for my money this debut was their finest moment with one brilliant track after another despite sporting one of the ugliest and uninspiring album covers of the entire Italian prog world. Oh well, it's the music that counts!

Is it RPI? Is it jazz fusion? Sitting somewhere halfway in between is Arti E Mestieri's masterpiece debut album, Tilt. Labelmates with Cramps stars Area, they produced two classics of RPI before disbanding after three more middling fusion albums starting in 1979 -- a four year gap from their second release. (They did reform like many of their contemporaries in the 21st century)

This album is definitely one that RPI fans should seek out quickly after getting a few of the big Italian prog classics under their belts. Featuring some stellar keyboard work from Beppe Crovella but more importantly the brain expanding drumming of Furio Chirico, one of the busiest drummers in all of prog rock. (he'd give Bruford a run for his money). He can quietly drum solo throughout a whole song without ever losing the pulse of the beat, not an easy trick. This album ticks the boxes for most RPI needs: mellotron, violin and complex instrumentals in abundance.

The album opens Mahavishnu style with a burst of energy that instantly subsides into an oboe and mellotron intro to one of their classic songs: Gravita 9.81 (metric version of gravitational acceleration on Earth). Aptly titled, we tumble free falling as Chirico gives us his first introduction to his drum clinic on this one. Soprano sax from Arturo Vitale is first a calming then consonant force in tandem with the drums. Synthesizer (ARP this time, not Moog) is powerful here and takes the song into another mellotron prog direction as the violin dances on top. Picture Jean Luc Ponty growing up in Italy and composing with an Italian background for this section. Vocals show up on song 2, Strips. Gentle acoustic guitars, mellotron and vibraphone drive this midtempo song. Corrosione, Positivo/Negativo and In Cammino blend together as one suite to end side one, a furious blast of jamming with some impressive guitar work from Venegoni and violin from Giovanni Vigliar.

Side two starts with a gentle piano and synthesizer duet in Farenheit, a short one minute song that bleeds straight into the second real masterpiece: Articolazione, a 13.5 minute tour through all of the strengths the band has. Violins create tension and calm simultaneously. Synths trigger lightning-like bursts from the drums (Chrico never saw a drum fill he didn't like). Bass creates a stable riff for the players to ground themselves as soprano sax draws the momentum further onward. Sections come effortlessly until our next encounter with vocals. This time they sound a bit more on the slick side than RPI stylings on side one, and some have noticed this as a flaw. The second pass through on vocals here reverts to a more traditional RPI style, and this song will be the best place to start for Italian prog fans wondering what this band is about, with its symphonic edges and some early Fripp style guitar work. Some uncredited flute makes its first and only appearance here. This song is a stone cold RPI masterwork. The title track, Tilt, finishes the album with a short piece of ARP 2600 synths burbling away randomly like R2D2 while mellotron plays a frightening Watcher of the Skies styled outro. Amazing.

This band often opened for Area back in the day. Now that would be a dizzying one two punch I'd like to have seen.

Just found an original first pressing vinyl on Cramps which is far superior to the Akarma vinyl reissue, which I thought was a little tinny in sound reproduction. The original lp sounds better than the 80's and 90's CD versions as well.

Impeccable musicianship, complex arrangements, and one of the more gifted bands in the whole Italian prog scene. Fans of Ponty and Mahavishnu for non RPI followers would love this. RPI fans though? Go get this immediately. Terry Bozzio or Bill Bruford fans will ideally already have this one just for Chirico.

4.75 stars

(I'd advocate this album is more a classic in the RPI canon than fusion as their full on jazz fusion era came in 1979.)

The sound has not changed much in comparison to the previous album but it is slightly less raw and vocals prevent from getting much focus on instrumental prowess. Arguably there is less space for brass instrument and more vocalized sections. Drums are usually more aggressive and fast then on the debut album which might attrack additional listeners.

"Valzer per domani" is an elegant waltz with violin and plenty of drum variety. "Mifafori" reveals the devilish fusion speed behind the drums unmatched by most other fusion acts.

This part reminds of Mahavishnu Orchestra also because of aggressive guitar and violin duel. The third track "Saper sentire" is a modernized track with funky keyboards and plenty of good vocals.

"Mescal" is very close to Mahavishnu Orchestra sound especially where violin dominates. Excellent furious drumming is evident here, too. This is a high quality track with many changes in its 5 minutes. Nice organ and piano contributions are in the short "Nove lune dopo". "Dimensione terra" has a great Canterbury feeling and reveals an optimistic feeling.

The tenth with the long name finally features a typical light fusion guitar a la Larry Coryell and drums are kept less dominant.

The most expressive drumming monemt comes with "Sagra" with drums running around at wild pace are contrast to normal paced piano and keyboards. "Rinuncia" is more reminiscent of typical Italian progressive rock and less of fusion. "Marilyn" has asynchronous drums with clavinet/spinet and synth layers. "Terminal" goes again back to a reference manual by Mahavishnu Orchestra.

One of the best fusion albums from Italy of the 70's. Musicianship is excellent and inspired, players do not try showing off all the time. The most dominant player, in my opinion, is the drummer, who is very profilic and provides also some unnecessary fill-ins. Violin and synths + ARP2600 are also sound trademarks of Arti e Mestieri.

The first composition is pretty much THE trademark signature of the band with its typical fusion melody, complex drums and focus on keyboards and violin. Saxophones and clarinet push the sound to another fusion league. The interesting contrast is very jazzy saxophone feeling soloing over more rocking drums.

The second composition introduces good Italian vocals that have warm emotions. "Positivo/negativo" is balancing between going left and right as heard by violin. Calming vibraphone is deceiving since abruptly furious drumming comparable only to Cobham/Mouzon legendary intensity enters the stage. Agressive guitar duels this very well and is finally to be heard. After a sudden stop, a new calm saxophone start leads us into "In Cammino" - a welcome break from intensive drums. However, soon the time signature is changed into third-based that make one want to dance. One of the most dynamic moment is with wild saxophone solo seconded by drums and bass guitar. "Farenheit" is a pleasant change to hear piano with clarinet and the composition evokes good old times. "Articolazioni" offers many changes including Canterbury-like vocals.

The last track is experimental synth/Mellotron noodling and has nothing to do with the album's context.

A highly recommended album for fusion and Italiano Rock Progressivo fans.