Biography
Reale
Accademia di Musica was a classically styled symphonic progressive
rock band from Rome, which formed in the wake of the break up
of the popular group I Fholks. Joined by ex-Banco del
Mutuo Soccorso guitarist Nicola Agrini, they released their
self-titled debut album in 1972. As a whole, the record
is typical period symphonic rock. In 1974, they collaborated
with, and provided backing music for, singer-songwriter Adriano
Monteduro. This album was to be their final recording.Both
albums have been reissued periodically by Si-Wan Records in
Korea, but may or may not be kept in print for certain lengths
of time. A solid band worthy of the attention of Italian
symphonic collectors.
- Greg Northrup [July 2001]
Source: www.italianprog.com
Reale
Accademia di Musica (1972)
Another
very nice album out of Italy that falls under the more pastoral
and folky sides of the Italian spectrum. The band is compositionally
proficient and capable of extremely haunting, beautiful moments,
though a tad dry and typical at others. Generally melodic
and understated, with an emphasis on piano, acoustic guitar
and almost whispering vocals. The album in general is
subdued, chocked with stately, classically inspired themes,
soft organ and piano, and occasional mellotron. The band
briefly cranks up the intensity with up-tempo portions and biting
electric guitar licks, but these moments are consistently spaced
out, giving them a greater emphasis when they do appear.
As a whole, the album falls into a fairly populous sub-genre
of progressive rock, with bands like Celeste, Alusa Fallax and
Quella Vecchia Locanda treading similar ground. However,
increased listenings to Reale Accademia di Musica will reveal
its own idiosyncrasies. The vocalist in particular tends
to grow on me, with his plaintive, quivering tone, as well as
the general atmosphere of the album, which projects dread and
drama just as often as sublime beauty.
More consistency
could have elevated this album to a real Italian masterpiece.
Opener "Favola" is alright, but unimpressive, ditto with the
up-beat folk of "Oguno Sa". However, the glorious "Il
Mattino" is pretty much a perfect example of great Italian prog.
The cut starts off with a gorgeous, emotive vocal melody, before
building up into an intense, organ led middle section that rocks
very hard. "Padre" is also superb, excellent vocals again,
with some striking electric guitar solos peppered throughout.
Closer "Vertigine" is a monster. Changing up the tone
from the rest of the album, the track adopts a much heavier
feel, with grinding organ riffs and an extremely dramatic and
melancholic vocal delivery. Overall,
this is a very good album, but certainly not a classic of any
kind. Italian prog aficionados will definitely want to
have this album in their collection however, a solid record,
if a tad inconsistent. -
Greg Northrup [August 2001]
Click
Here for Tracklist and Lineup Info
Adriano
Monteduro & Reale Accademia di Musica (1974)
Reale
Accademia Di Musica on Adriano Monteduro have created some
of the most incredibly beautiful symphonic folk music this person
has yet heard to be duplicated within the boundaries of Italian
music. Born from the ashes of a little known group, I Fholks,
with only only one single ("Mi Scorri Nelle Vene"), and the recognition
of Jimi Hendrix in his excursions throughout Italy in 1968 under
their belts, the group disbanded with three remaining members
joining forces to form the Reale Accademia. Joined by Nicola
Agrimi fresh from the first Banco lineup on guitar, and producer
Maurizio Vandelli, they recorded their first album Reale Accademia
Di Musica.
Changing
record labels in 1974 and adding guitarist Adriano Monteduro,
perhaps the motion that put into play the naming of this second
venture, Reale Accademia set about painting the best acoustical
symphonic canvas ever represented by a group of Italian musicians.
Holding true to tradition, Reale Accademia also embellish the
surroundings with hints of PFM as well as a caustic ambiance
of epic beauty, wrapped in rainbows of various colors. There
are moments in here that will recall the boisterous bounty of
Justin Hayward and John Lodge's epic, "Blue Jays", but refrains
from any overtly commercial avenues, choosing to explore moments
of insight, avoiding melodrama, providing one with moments of
extreme pleasures and aural delights. Adrinano Monteduro
works from the same spirit of play that make Locanda Delle Fate
and Maxophone classics of the Italian genre, bringing to the
table a lasting quality of moving and stimulating music that
simply transcends time or place. Vocals are shared by
all together and separate, never harsh, delicate as fine china
and probing and weaving their way through a lush mellotron and
piano canvas.
"Buongiorno
Nel Bosco" starts the album off in a rich duplex acoustical
setting, floating through to "La Favolia Del Guardiano" with
guitar and piano overdubbing right off of Per Un Amico;
building and crescending, giving credence that this is,
indeed, an important work of art at play here. "Mezzogiorno"
brings to my mind the beginnings of "Blackbird" by Paul McCartney,
from the Beatles White Album, but never at any moment
reflects a clear and cohesive duplication, but rather in a quiet
way pays tribute to the beauty that is acoustic color and retention.
One of my favorite tracks, "Preludio A" is rich in vocal interplay,
and the acoustical accompaniment transcends anything in the
Simon & Garfunkel songbook, which, incidentally, may recall
a very slight comparison. Simply stated, Adriano Monteduro
represents some of the most lushly arranged music to have ever
been cast forth from Italian shores. Experience the treasures
that lie in wait with Reale Accademia Di Musica and allow yourself
to behold a little beauty, a little wonderment, after all isn't
that what life is all about?
- Mark Gaines
[July 2002]
