Quella Vecchia Locanda — “That Old Inn” — are among the most beloved bands of Italian progressive rock, a Rome group who made just two albums of exquisite, classically-infused prog. Built on flute and electric violin and steeped in the spirit of Vivaldi, their music is some of the most beautiful and melodic the scene ever produced.

The short version

Formed in Rome around 1970 by a circle of classically-trained musicians, Quella Vecchia Locanda fused rock with Baroque and classical music more thoroughly than almost anyone in the scene, with flute and violin always to the fore. Their two albums — the self-titled debut (1972) and “Il Tempo della Gioia” (1974) — are both treasured classics of RPI. The band split soon after, leaving behind a small but near-perfect body of work.

Rome, 1970: classical hearts

Quella Vecchia Locanda came together in the Monteverde district of Rome around 1970, taking their evocative name — “That Old Inn” — from the abandoned inn where they first rehearsed. All were classically trained, with a deep love of Baroque composers, Vivaldi, Bach and Brahms above all. Singer and flautist Giorgio Giorgi wrote the songs with keyboardist Massimo Roselli and guitarist Raimondo Maria Cocco, completed by bassist Romualdo Coletta and drummer Patrick Traina. Soon they were joined by a remarkable American violinist, Don Lax — a Conservatory-trained virtuoso who turned to wild improvisation — and after an acclaimed debut at Rome’s Villa Pamphili pop festival, the band signed to the small Help! label.

Violin, flute and Vivaldi

Where others reached for the Mellotron, Quella Vecchia Locanda reached for the violin and the flute. Theirs is among the most classical of all Italian prog — a graceful fusion of rock with Baroque and neoclassical music, full of Vivaldi-like duets between piano and voice, soaring flute in the manner of Jethro Tull, and the singing electric violin that became their signature. Melodic, dreamy and richly arranged, touched at times by the darkness of King Crimson and the elegance of PFM, it is music of real beauty — and, on the debut especially, of surprising power.

If this is your scene, the books go deeper →

Two albums, two gems

The self-titled “Quella Vecchia Locanda” (1972) is a bold, idea-packed debut — a concept album in a splendid cover, ranging from delicate, fairy-tale passages to harder, bombastic prog, with the wild violin of Don Lax a constant thrill. Widely held to be one of the finest Italian albums of its kind, it made the band’s name. Before the second album, Lax and bassist Coletta departed, replaced by violinist Claudio Filice and bassist Massimo Giorgi (formerly of Il Ritratto di Dorian Gray). The result, “Il Tempo della Gioia” (1974), is gentler and more refined — mellower, more classical and chamber-like, its melodious piano to the fore — and many love it just as much, especially for its gorgeous title track. The two records make a perfect pair; sadly, in a crowded market, the band split soon after the second.

Album by album

Two classic albums of violin-and-flute-led Italian prog. Tap any title for its guide.

The players and afterwards

At their height Quella Vecchia Locanda were Giorgio Giorgi, Raimondo Maria Cocco, Massimo Roselli, Don Lax, Romualdo Coletta and Patrick Traina, with Claudio Filice and Massimo Giorgi stepping in for the second album. The group disbanded not long after “Il Tempo della Gioia”, unable to carve out lasting space in the crowded Italian scene, and went their separate ways — violinist Don Lax later playing with American bands including Camper van Beethoven. Two rare and beautiful albums are all they left, but few bands left finer.

Where to start

Either album makes a wonderful introduction, but the self-titled debut “Quella Vecchia Locanda” (1972) is the bolder and more thrilling of the two — the ideal place to meet Don Lax’s violin and the band at full flight. From there, “Il Tempo della Gioia” (1974) offers their gentler, more classical side. Heard together, they are among the great pleasures of RPI.

Why they still matter

Quella Vecchia Locanda matter as one of the most purely beautiful bands of the Italian scene — a group who took the love of Vivaldi and the Baroque and made it sing through flute, violin and rock. In just two albums they created music of grace, drama and lasting charm, treasured by collectors and beloved by anyone who knows them. For lovers of the classical, melodic heart of Italian prog, they are essential.

Browse the bookshelf in the footer →