Il Volo were one of Italy’s first and most celebrated progressive “supergroups” — a 1974 gathering of seasoned players drawn from some of the country’s best-known bands, assembled by the legendary lyricist Mogol. Polished, melodic and jazz-tinged, their two albums offer a sophisticated, distinctly Italian take on prog from musicians who had already heard, and helped shape, the scene.

The short version

Formed in 1974 around former members of Formula 3 and other notable groups, Il Volo were a studio-based RPI supergroup put together by Mogol and the Numero Uno label. With twin guitars, twin keyboards and a smooth jazz-rock-symphonic blend, they made two well-crafted albums — the song-based “Il Volo” (1974) and the largely instrumental “Essere o Non Essere?” (1975) — before disbanding. Theirs is the sound of veteran players bringing real polish to Italian prog.

1974: an Italian supergroup

Il Volo came together in 1974 on the initiative of Mogol — the famed lyricist behind Lucio Battisti — and his Numero Uno label, essentially as an evolution of Formula 3. When that trio wound down, Mogol brought its guitarist Alberto Radius and keyboardist Gabriele Lorenzi together with four more seasoned musicians: guitarist and singer Mario Lavezzi (of Camaleonti and Flora Fauna e Cemento), keyboardist and composer Vince Tempera, bassist Bob Callero (of Osage Tribe and Duello Madre) and drummer Gianni Dall’Aglio (of I Ribelli). With such pedigrees, Il Volo were a supergroup in the truest sense.

Melodic, jazzy RPI

With two guitarists, two keyboardists and a wealth of studio experience, Il Volo made expertly played, melodic progressive rock shot through with a smooth jazz-rock feel. Radius’s rock guitar met Lorenzi’s classically-minded synths and harpsichord, while Tempera’s jazzy Fender Rhodes and Lavezzi’s pop melodic gift rounded out the blend; over it all came Mogol’s lyrics, tracing the evolution of mankind both outward and inward. The band’s stated aim was to step away from the British prog template and make something purely Italian — and if the results sometimes recall Formula 3 or Battisti, they are always graceful and accomplished.

If this is your scene, the books go deeper →

Two albums

Il Volo released just two albums, both on Numero Uno and both with music by the band and words by Mogol. The self-titled debut, “Il Volo” (1974), is the more song-based of the two — a brief, ornate set of vocal pieces with fusion and symphonic touches, from the instrumental-tinged opener “Come una Zanzara” to the much-loved “Il Canto della Preistoria”. The follow-up, “Essere o Non Essere? Essere, Essere, Essere” (1975), is by contrast almost entirely instrumental, leaning further into jazzy, symphonic territory. Beyond their own records, the group also served as crack session players for Numero Uno, notably backing Lucio Battisti on “Anima Latina”. They split at the end of 1975.

Album by album

Two polished albums of melodic Italian prog. Tap any title for its guide.

The players

Il Volo’s appeal lies in its line-up of accomplished veterans: guitarist Alberto Radius and keyboardist Gabriele Lorenzi from Formula 3, guitarist-singer Mario Lavezzi from Camaleonti and Flora Fauna e Cemento, keyboardist Vince Tempera, bassist Bob Callero from Osage Tribe and Duello Madre, and drummer Gianni Dall’Aglio from I Ribelli. After Il Volo disbanded, these musicians remained central figures in Italian music for decades — as players, songwriters, arrangers and producers — making the band a notable crossroads of the era’s talent.

Where to start

Begin with the self-titled “Il Volo” (1974), the more accessible, song-driven of their two records and the best introduction to their melodic, polished style. From there, the largely instrumental “Essere o Non Essere?” (1975) shows their jazzier, more exploratory side. Both reward anyone who enjoys the smoother, more song-based corner of Italian prog.

Why they still matter

Il Volo matter as one of the earliest and most accomplished of Italy’s prog supergroups — a meeting of seasoned talents who brought polish, melody and a jazzy sophistication to the RPI scene. Though sometimes overshadowed by the genre’s bolder names, their two albums remain a graceful, expertly made pleasure, and a fascinating snapshot of the players who shaped Italian rock and pop in the 1970s. For anyone exploring the melodic side of Italian prog, Il Volo are well worth discovering.

Browse the bookshelf in the footer →