UOMO DI PEZZA

Uomo di Pezza is not only Le Orme's best album, but one of the the undisputed classics of RPI and a cornerstone to any complete prog collection. Building on the momentum from 1971's Collage, Le Orme embody lyrical creativity, technical prowess, and the human condition on Uomo di Pezza in a way rarely matched. Though Felona e Sorona is widely recognized as their masterpiece (and probably is from a conceptual standpoint), I would argue Uomo di Pezza is more coherent and rewarding, and has more broad appeal. Fans of the symphonic greats like Yes and Genesis will immediately recognize the high quality of inventive composition combined with instrumental class. Even those with more sophisticated tastes will not find Uomo di Pezza trite or sentimental, due to its wistful, imaginative nature. Le Orme create the music of dreams on this release, one I would never leave home without.

Like Collage, Uomo di Pezza begins with an opulent organ introduction on "Una Dolcezza Nuova." A more serious tone clearly demonstrates the progress Le Orme has made in one short year, as bass and drums collide to pave the way for a strikingly beautiful piano melody. Aldo Tagliapietra's fragile voice only further adds to the languid atmosphere, before the piano motif turns on itself three minutes in. Tagliapietra's bass amply supports the piano solo as the song takes an uplifting turn and Michi Dei Rossi finally enters with his solid drumming. At a mere five and a half minutes, "Una Dolcezza Nuova" feels like a mini-symphony and provides a commanding start to the album. Orme's biggest hit "Gioco di Bimba" follows, and if you've never heard it before, you are in for quite a treat. "Gioco di Bimba" is the standard by which all Le Orme ballads are judged (none having achieved the same level of simplistic, almost childlike, beauty). "La Porta Chiusa," the longest song on Uomo di Pezza, has drawn ELP comparisons; these are largely generalized and mostly inaccurate. Other than the basic format (bass, drums, organ), Le Orme share little in common with the aggressive and unapologetic persona of that group. And while I greatly respect and acknowledge Emerson, Lake & Palmer's contribution to progressive rock, Le Orme were able to accomplish similar success with less grandiosity.

The otherworldly "Breve Immagine" begins side two, as reverb-laden organ assists Tagliapietra in creating a mythical ambiance. A thunderous cymbal crash abruptly transitions to a powerful chorus and lends weight to the song. The brief Mellotron ending fades out and "Figure Di Cartone," with its acoustic guitar introduction, begins. The following eight minutes, encapsulating both "Figure Di Cartone" and "Aspettando L'Alba," are the best on the album and difficult for me to write about. I nearly cry every single time I hear these two songs, partly for nostalgic reasons but primarily because of the way they concisely convey what it is like to feel human. Any aspersions cast over the previous thirty minutes are completely obliterated as "Alienazione" impresses even the most refined prog fanatics. Uomo di Pezza may not be the best Italian Prog album, but it's certainly among the top five.