COMPENDIUM OF A LIFETIME

If one wishes to seek out some classic yet current symphonic prog of the very highest quality, then look no further than the Rome Pro(g)ject from the supremely talented Roman keyboardist Vincenzo Ricca, whose fifth studio album is the pinnacle of the style. Obviously, when you are able to easily summon some of the "crema della crema" progressive rock icons to join in on the fun, the results can only be celestial. Such luminary names as the venerable Steve Hackett, and his brother John, Tony Levin the master basso profundo, singer Bernardo Lanzetti (PFM, Acqua Fragile, Mangala Vallis) , Nick Magnus on keys and Dave Jackson of VDGG fame on sax are joined by the next generation : bassist Roberto Vitelli (Ellesmere, Tapobran, Areknames, The Samurai of Prog), Frank Carducci on guitar and bass, Ranestrane drummer extraordinaire Daniele Pomo, and the fascinating voice of Tony Patterson (Re-Genesis and solo). If one takes a gander at the ratings on PA for all five albums, you kind of wonder why this project is not on all radars and in most hearts! Especially when taking into consideration that there is a historical theme that should fascinate most inquisitive minds, the once opulent power of the Roman Empire. If ever you travel to the Eternal City (a mesmerizing bucket list event), you would be invariably enveloped into a visually and culturally fascinating city that should capture your heart and mind, often both! It did provide me with numerous sublime anecdotes that seem Fellini-esque in its ingenious playfulness, inflexibly passionate charm and of course, magnificent vistas waiting just around each corner of its numerous streets.

Imagine the sheer audacity of a symph-prog album that starts out with a church organ overture played by Vincenzo, his brother Paolo on electric guitar and Daniele pounding away on his kit, this sounds like a piece off The Six Wives of Henry VIII album. The whopping epic 13 minute+ title track sets the bar real high ASAP, with Jackson's flute and winds uniting with Carducci on 12 string and bass, surely channeling his Rutherford muse, and who else but the graceful Hackett guitar to illuminate the skies, all led by powerful waves of mellotron, organ and synths. While Lanzetti's strangled voice has always been a struggle for some, it gets more comfortable with repeated listens, his throttling vocal cords can be quite effective, theatrically speaking. The passion, the atmosphere, and the melodies (PAM) are front and center, the playing verging on the impossibly sublime, Hackett and Jackson both positively shining on their respective instruments. Steve actually pulls off a noteworthy solo that harkens back to his classic Firth of Fifth days, a flurry of long, extended and excruciatingly gorgeous, sustained notes, all wrapped up in cascades of howling mellotron. Orgasmic.

How about a little volcanic eruption, since Pompeii is not that far from Rome? "Vesuvius" starts off as a moderate rumble, slowly ratchetted up by Paolo Ricca's ornate guitar upsurge, rushing organ imitating lava flows, and the inexorable doom it may represent for the unfortunate populace. On the segueing "The Last Night in the World", the consequences of the eruption are aptly handled by Tony Patterson, who happens to be one hell of a vocal talent, as his long career with ReGenesis and amazing solo albums will attest, his rendering of the iconic Peter Gabriel is the best anywhere. Uncanny, this is better than the lawn-mowing masked wonder himself. With Roberto Vitelli on bass, Nick Magnus on opulent piano, and another sizzling flurry from Hackett, this is a timeless prog piece, drenched in melody and sonic beauty.

The following four tracks form a loose suite, the first part offering no rest with the grandiose "Have Caesar", awash in a harrowing torrent of colossal choir mellotron, Vincenzo shows off some stunning and twirling synth leads that one can really Banks on (excuse the pun), yet always devoted to the mood and the melody. Paolo Ricca spits out a crystalline solo, lush with emotion and feeling. Levin and Pomo keep the Roman army on the march through Rome, heading towards the Colosseum where the gladiators await their fate. "Morituri te Salutant "(Those who will die , salute you) is a proper segue onto the soon to be blood stained sands that will appear on "Gladiators" , a thrilling bombastic showcase underpinned by a wickedly evil bass solo by Levin that proves once and for all his mighty mettle, encouraging romping organ and synths, massive waves of mellotron, John's flute, brother Steve ripping off some blistering runs (note: he can play very fast too, its not always slow and gentle, sentimental) and Pomo thundering away on his skins. A reprise of the main delirious melody that began with "Have Caesar", concludes their epic, cornerstone piece with unimpeachable bravado and gusto (musical Romulus and Remus), a real symphonic prog treat.

As a bonus track a 2021 reworking of the title track from their extraordinary preceding album, Exegi Monumentum (my first purchase of theirs and which I urge anyone to hunt down and possess). It has all those ingredients that make Rome Pro(g)ject such a joy to behold: magnificent arrangements with creative and visibly inspired guest musicians, inventive melodies that will sear one's brain, and a common theme, Rome's eternal history. Some of Steve Hackett's most brilliant playing is to be found among the 5 project albums, arguably more than on his numerous solo albums. Obviously, Steve has the freedom to totally let loose, a liberty given to him by Vincenzo Ricca' s stunning compositions. Nowhere better than on this exquisite finale.

If ever the question arises of what kind of great modern symphonic prog could one suggest: the answer to me is quite clear: "The Rome Pro(g)ject" is the place to go.

5 Legionnaires