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3 Apr 2017

Arti & Mestieri” “Tilt Immagini Per Un Orecchio” 1974 Italy Prog Jazz Fusion









Arti & Mestieri” “Tilt  Immagini Per Un Orecchio” 1974 Italy Prog Jazz Fusion one of the best  Italian albums on prog scene in 70`s  highly reccomended…!
full
A lost classic of the 70s golden era 
Arti E Mestieri are an obscure band from Italy who focus on jazz rock fusion unlike many other Italian prog artists. Their debut primarily is an instrumental with moments of Italian singing. The title of the album is “Tilt: Immagini Per Un Orecchio”, and this is translated as “Images For An Ear” which seems profoundly appropriate. The tracks blend together beautifully in places, such as the stunning ‘Strips’, 'Corrosione’ and 'Positivo / Negativo’, and jump wildly about with odd time sigs and virtuoso musicianship. At other times, on tracks like 'In Cammino’ the sound becomes rather subdued and tranquil. 

The band are consummate professionals at their craft consisting of Furio Chirico on drums, Beppe Crovella on acoustic and electric pianos, synths, mellotron, Hammond organ, Marco Gallesi on bass, Gigi Venegoni on guitar, synthetizers, Giovanni Vigliar on violin and Arturo Vitale on soprano and baritone saxes, clarinets, and vibraphone. Vitale’s sax work on 'In Cammino’ is an incredible tour de force and of note also is the guitar lead break of Venegoni. This track is a definitive highlight along with the spine tingling opener 'Gravità 9,81’. 

'Articolazioni’, the mini epic that takes up most of side 2, features vocals along with 'Strips’, the only occasions, and these are rather a nice break from all the musicality. This track features stunning clarinet and some very heavy passages mixed with moments of peaceful serenity. These dark and light sections are balanced perfectly with the amazing drumming skills of Chirico. The time sigs are everchanging and it even locks into a 6/8 rhythm and beautiful vibraphones are heard from Vitale. Vigliar’s violin is absolutely gorgeous and sings sweetly in the melancholy soundscape. This really is a masterpiece track with some of the finest musical structures in the 70s golden era of prog. 

Overall, Arti E Mestieri’s debut is a lost classic in Italian prog and really deserves more recognition. The music is similar to Mahavishnu Orchestra and at times just as astonishing in terms of virtuosity. There is never a dull moment and it is packed solid with inventive musicianship and creativity………..by AtomicCrimsonRush …………..

Excellent debut album, whose re-mastered version earns a lot, in comparison to the original issue. It’s a fusion progressive, with some music elements already included within a few albums by some jazz progressive bands such as PERIGEO and AREA, but these latter are often more experimental or harsh,sometimes less pleasant too, in a lot of circumstances… The use of the violin is very clever as well as balanced, in the whole production of ARTI & MESTIERI!! The new re-mastered version is highly recommended!!…by lor68 ………
“Tilt” is the amazing debut album by a band whose members were not newbies at all. The six musicians’ combined former experiences had led them to the roads of jazz and prog rock (even the very young, masterful drummer Furio Chirico had played in The Trip’s last two albums) for some time, so their expertise was quite obvious and quite impressive as well by the time “Tilt” introduced Arti + Mestieri to the eyes of the world. The jazz-rock oriented sound delivered by the band serves as an appropriate field for the expression of every individual’s skill, while the compositions and arrangements are cleverly ordained in order to create an “orchestral” feel that keeps all individuals united in a fluid rapport with each other. It is precisely that “orchestral” feel which allows their sound not to be restricted by the habitual standards of regular jazz rock, but makes the band draw a bit closer to that special sensibility, that typical mix of baroque and Mediterranean folk so frequent in Italian symphonic prog. Some of this magic is expressed by the mellotron layers, the classically oriented lines that the violin and wind instruments indulge in at times, and the “suite-like” sequence of the linked tracks (1-4, 7-8). Given the immense diversity of the instrumentation (saxes, clarinets, violin and vibes join the usual ensemble of guitar-bass-keys-drums), it can be easy to rely on some extremely free stuff and go with a chaotic flow, but these guys prefer to act similarly as a small orchestra, giving every part for each instrument a proper place in the sonic landscape exhibited on each number. But again, Chirico’s superb (which some may consider over-played, but I simply label as genius) drumming, Venegoni’s cadence on his guitar leads and picks, and Crovella’s subtle use of his piano/electric piano parts (a times complemented by the vibes, occasional courtesy of saxophonist/clarinetist Vitale), keep the listener well reminded of the jazzy essence of Arti + Mestieri’s overall sound. That’s where Vitale and Vigliar get some space to expand themselves on - in both the prog and jazz sides of the band’s sound, the violinist and the wind player play almost all leading roles. As for drummer Chirico, he clearly relies on Gallesi’s precise bass playing so he can beat and roll endlessly and become the other leading man. The weird title track closes down the album with a disturbing touch of dissonant layers of mellotron and ARP synth, occasionally accompanied by a few ad-libitum parts on bass clarinet and violin: this is AM emulating Area, which should not come as such a big surprise, since Area’s guitarist Paolo Tofani (together with Venegoni) produces the album. I actually like this Cage/Stockhausen-inspired stuff, but I feel that it would have found a more suitable place in the middle, as a curious rarity, instead of the closure, which eventually kills the captivating splendour displayed in the final section of 'Articolazioni’. Apart from that, let me tell you that it’s hard for me to pick a particular fave in a mostly homogeneously great repertoire; anyway, I will mention tracks 1-4 and the 13-minute long 'Articolazioni’ as the most impressive and significant examples of what this band is all about. All in all, I regard “Tilt” as a masterpiece of 70s Italian prog…..by Cesar Inca ………..
A great album, to be sure. I just wish that someone would have given the drummer some downers before each recording session. And that’s coming from someone who played LOUD drums in several rock bands before I took up electronic music. He’s a wonderful, gifted drummer, but his “fill every nook and cranny with a loud sound” philosophy distracts the listener away from what the other musicians are doing, and from the music itself. Furio obviously doesn’t know the meaning of the words “nuance, subtlety and delicacy”. And the other musicians DO, which is what makes it an issue. I bought the LP when it came out, and boy, what a crappy press!! I went through two or three copies, and they were all scratchy, though obviously new. So, although I don’t have a remastered copy of the CD, I’m “contented”…..by soundsweird …….
Compared to their Italian progressive rock contemporaries PFM and American based groups like MAHAVISHNU ORCHESTRA, ARTI & MESTIERI were an excellent but overlooked band. These Italian purveyors of prog-rock deserve further consideration as Tilt proves to be an archetypal interpretation of a sound that was still in the developmental stages at the time. 
In very small-italicized print underneath the album’s bold title are the words “Immagini Per Un Orecchio”, translated it means “Images For An Ear.” I find that very insightful as I am always saying how good instrumental music has the ability to create images inside my head, thus eliminating the need for vocals. 

This was the group’s first release in 1974. For a maiden voyage into the world of recorded music, they faired quite well. Although they use vocals sparingly, they really did not need them at all. Their music was very visually stimulating. By using all of their talents to their fullest capacity, a pleasing mixture of keyboards, guitars, bass, percussion, violins, saxophone, clarinet, and vibraphone became part of their final creation. Because they used so many different instruments, their music gradually pushed itself to another level of complexity, in so doing it transformed their compositions into progressive quests that were a captivating treat for your ears and mind. 

As per usual, the 180-Gram vinyl LP format never lacks for sound and quality….. by Muzikman ……..
“It seems there’s no time to wait for science and for losing doubts. It needs too much patience…” (excerpt from “Articolazioni”). 
I’m not really a jazz-rock sub-genre’s great amateur. Probably I’ve never been and I’ll never be that! Despite this, I enjoy to listen to Arti & Mestieri’s 1974 musical debut in its fresh (and always excellent) Akarma re-issue! 

I have to admit Tilt is a strong release wisely builded up by jazz, classic symphonic prog and mixed with a folkish delicate taste. Musicianship offers enough pleasure to the exigent ears of any prog-lovers! Violin, clarinet, guitar, mellotron and hammond organ are the most relevant instruments. All the band’s members are talented musicians and played live supporting other historic bands as Premiata Forneria Marconi and Gentle Giant. 

Vocals are very sparse and feature in only two songs: “Strips” and the memorable long track “Articolazioni” (13,41 mns), the best of the album in my opinion. Close second is the instrumental opener “Gravità 9,81” (only 4,06 mns). 

Another excellent album from the vast and deep ocean of the seventies’ impressive italian prog scene………..by Andrea Cortese ……..
Arti+Mestieri’s debut album titled “Tilt” was Italy’s answer to the Mahavishnu Orchestra. Layer on top of an album full of high energy and high creative explosions the masterful drumming of Furio Chirico and you have a recipe for great success. With varing styles and major tempo and mood swing this band unleash a truely wonderful album that will light the ital-prog veins in you! I should also mention that there is a good dose of Mellotron work here too. The addition of Saxes, piano, and vibraphone also give this album a stong polarity into the jazz genre. The violin wok of this album (Giovanni Vigliar) reminds me very much of Jean Luc Ponty and when combined with the band in full sounds truely majestic. Strongly recommend this album to all fans of Fusion and Ital-prog genres……by loserboy ……….
The Italian jazz-rock scene is a solid subsection of the famed Prog tradition, with numerous bands of extraordinary virtuosity, none more so than the undisputed leader of the pack, Arti+Mestieri. Unquestioningly led by the dazzling (an appropriately named) Furio Chirico, one of the greatest stick “n skins men ever and revered by many prog drummers, the band kicks some serious butt, a fast-paced, intense prog-fusion that rivals anything by anyone in the same genre. At times quite symphonic due to Beppe Crovella’s sweeping keyboards, shouldered by some frenetic fretting provided by Gigi Venegoni and the wild sax ramblings of Arturo Vitale , doubling on violin and flute, the main focus remains on the overpowering and hyperactive Furio, leaving one to wonder about his propulsion pack (first nuclear drummer?) . Neil Peart is not unique, dear Rush fans! This is not just all technique, the material is original, distinctive and highly infectious.. No wonder this album retains a hallowed place in many a Prog collection and deservedly so. 4 furious drumsticks….by tszirmay …………
This is the best album that i’ve heard in a while. They remind me of MAHAVISHNU ORCHESTRA at times, but during the mellow sections I think of PFM. Lots of mellotron too, and a drummer who reminds me of Peart and Cobham the way he is so fluid and powerful. Lots of sax and violin as well. This was apparently co-produced by AREA’s guitarist Paolo Tofani. 
"Gravita 9,81” opens with a blast of horns before it settles with mellotron, clarinet and violin. Amazing sound when the keys and drums come in. Gorgeous. I like the violin that follows.The bass and drums sound fantastic after 2 minutes as mellotron then sax comes in. The violin returns late. What a song ! My favourite off the album. “Strips” opens with keys as a brief guitar melody comes in. Check out the drumming and mellotron that follows. Violin, sax then vocals 1 ½ minutes in. This reminds me of PFM, the gentle vocals and acoustic guitar. Beautiful. Mellotron before 3 minutes and violin follows. 

“Corrosione” opens with mellotron as keys, drums and sax follow. A short but good instrumental. “Positivo / Negativo” opens with strummed guitar as violin comes in. Drums, bass, piano and vibes join in. It kicks into gear before 2 minutes with drums and violin leading the way. Guitar then comes in ripping it up. Nice. “In Cammino” opens with mellow sax lines. Electric piano, drums and violin 2 minutes in as the tempo picks up.The violin starts to rip it up. Mellotron before 3 minutes. Love the drumming and piano after 4 minutes. Guitar 4 ½ minutes in is killer as the bass throbs. “Farenheit” is the only track without mellotron but then it’s only 1:15 long. Piano opens before clarinet, drums and a fuller sound follows. 

“Articolazioni” is almost 13 ½ minutes long and it’s a ride. It’s led early by piano before violin and drums become prominant. Fantastic drumming here ! Nice bass too. Sax starts to lead. It settles before 3 minutes as sax and mellotron take over. Vocals follow. The drumming is so impressive before 5 minutes then it settles with mellotron. The tempo picks up as vocals return. Violin follows then a powerful section after 6 ½ minutes comes in. It settles briefly with mellotron then kicks back in. Guitar, vocals and mellotron 8 ½ minutes. Tempo picks up again. A great flood of mellotron 10 minutes in then it turns jazzy. Love the vocals 11 minutes in as it turns mellow. Mellotron is back. “Tilt” is the 2 ½ minute closer. It’s experimental with some dissonance but check out the mellotron ! 

Nothing less than 5 stars will do for this fantastic recording……by Mellotron Storm ………………
Arti & Mestieri are one of the best known Italian prog bands and have been active since 1973. They come from Turin and were formed on the initiative of Furio Chirico (former drummer of The Trip) who met with keyboardist Beppe Crovella (former member of a band called The Mystics) and four musicians coming out from a jazz rock band called Il Sogno di Archimede, Gigi Venegoni (guitar), Giovanni Vigliar (violin, vocals), Marco Gallesi (bass) and Arturo Vitale (sax, vibraphone). In 1974 they released their debut album for the independent label Cramps, “Tilt ? Immagini per un orecchio” (Tilt ? Imagines for an ear), a brilliant mix of rock, jazz, classical, Mediterranean influences and melodic passages. The art cover by Gianni Sassi, featuring a flying funnel in a blue sky among white clouds, in some way describes the overall sound of this work where many influences floating in the air are caught and channelled through this conical utensil having a narrow tube at the apex to be blended and conveyed on the tracks of the album. 
The title of instrumental opener “Gravità 9,81” (Gravity 9,81) is inspired by the law of gravity formula. Ignoring air resistance, an object falling freely near the Earth’s surface increases its velocity with 9.81 m/s (32.2 ft/s or 22 mph) for each second of its descent. As gravitation causes dispersed matter to coalesce, on this track the creativity of the band perfectly blends the Mediterranean touches of colour evoked by the violin with a pulsing rhythm section and a jazzy sax solo. This piece is an authentic trademark of the band by now. 

Next comes “Strips”, where the dreamy and romantic mood of the music contrasts with the bitter disenchantment of lyrics condemning a reality of empty conventions, of absurdities filling your head, of languid songs and artists whispering useless words, of faded stories about planets, wizards and gods… 

“Corrosione” (Corrosion) is a kind of short bridge leading to the beautiful instrumental “Positivo / Negativo” (Positive/Negative) where a first solar and dreamy part, featuring acoustic guitar and violin, gives way to a second part full of energy, featuring a great rhythm section and a good electric guitar work. 

“In cammino” (On walk) is another excellent instrumental that opens with a melancholic sax introduction, then rhythm takes off and melancholy melts in joyful passages where the members of the band showcase their musicianship. On the original LP it was the last track of side A. 

Next comes the short instrumental “Farenheit”, where the rhythm goes slowly up like the temperature of a thermometer introducing “le plat de resistance” of the album, the long and complex suite “Articolazione” (Articulation), a piece about the necessity to live the present facing the reality. There’s no time you can waste waiting dreaming for better days while the Death is leading into the grave all her dear lovers… “It’s not because you think to have understood / That your future is going to change / In the mirror you must see / What is harder seeing…”. 

The experimental “Tilt”, almost an example of concrete music, concludes an excellent album where music flows away without weak moments. A must for every Italianprog lover!…… by andrea …………
Like their Cramps label-mates Area, Arti e Mestieri are a Zappa-influenced Italian fusion group, but they distinguish themselves from the other band by having less influence from avant-garde rock and chamber music and more influence from sources such as the early Mahavishnu Orchestra albums. Tilt is an electrifying fusion masterpiece played at breakneck pace by the band, with exceptional musicianship displayed throughout - Giovanni Vigliar’s violin playing being, to my mind, a particular highlight. Composed and performed with amazing confidence for a debut album, Tilt is a fusion classic which sets the band apart from the rest of the Italian progressive rock scene of the era………by Warthur ………
I don’t hear a masterpiece here. I perceive this record as an excellent piece of jazz-rock fusion from Europe that has some American influence in its compositions. The violin crescendos and fast-paced guitar explorations hint at a strong Mahavishnu Orchestra influence, this aspect of their sound immediately reminds me the zeuhl band Potemkine from France, which had the same core approach. I believe there could be some subtle Zappa vibes here as well - some of these harmonies and sudden melodic undertakings feel kinda kinky(e.g.“Positivo / Negativo”). 

The paradox about Arti & Mestieri is that they don’t go nearly as over the edge as Mahavishnu used to do with its excessive self-indulgent soloing, there’s a certain focus or even restraint in these arrangements, but at times it works well and at other sections it’s a bit unnecessary imo. I’m not the biggest fan of some of these slow acoustic parts with vocals in the beginning of the album(“Strips”). My absolute favorite from the album is the elegant “In cammino”, that displays the atmospheric sensuality of the likes of Passport(just listen to that sax) and the early Weather Report keyboard wizardry of Joe Zawinul combined with the breaks and grooves of this talented band. The only problem with the track is that these outstanding melodies should’ve been longer, since they get lost in the frenetic rhythmic endeavours. Their drummer(Furio Chirico) is a really furious(!) player - listen to"Articolazioni", which is my second favorite from the record, and you’ll hear how he carries these various instruments into a seriously action packed odd-time signature territory with his insane fills. 

A demonstration of superb musicianship that synthesizes American jazz, European classical and Italian symphonic traditions together. Jazz-Fusion with mellotrons, how can that be a bad thing?…..by…King_Insano ………….
“Tilt” is the amazing debut album by a band whose members were not newbies at all. The six musicians’ combined former experiences had led them to the roads of jazz and prog rock (even the very young, masterful drummer Furio Chirico had played in The Trip’s last two albums) for some time, so their expertise was quite obvious and quite impressive as well by the time “Tilt” introduced Arti + Mestieri to the eyes of the world. The jazz-rock oriented sound delivered by the band serves as an appropriate field for the expression of every individual’s skill, while the compositions and arrangements are cleverly ordained in order to create an “orchestral” feel that keeps all individuals united in a fluid rapport with each other. It is precisely that “orchestral” feel which allows their sound not to be restricted by the habitual standards of regular jazz rock, but makes the band draw a bit closer to that special sensibility, that typical mix of baroque and Mediterranean folk so frequent in Italian symphonic prog. Some of this magic is expressed by the mellotron layers, the classically oriented lines that the violin and wind instruments indulge in at times, and the “suite-like” sequence of the linked tracks (1-4, 7-8). Given the immense diversity of the instrumentation (saxes, clarinets, violin and vibes join the usual ensemble of guitar-bass-keys-drums), it can be easy to rely on some extremely free stuff and go with a chaotic flow, but these guys prefer to act similarly as a small orchestra, giving every part for each instrument a proper place in the sonic landscape exhibited on each number. But again, Chirico’s superb (which some may consider over-played, but I simply label as genius) drumming, Venegoni’s cadence on his guitar leads and picks, and Crovella’s subtle use of his piano/electric piano parts (a times complemented by the vibes, occasional courtesy of saxophonist/clarinetist Vitale), keep the listener well reminded of the jazzy essence of Arti + Mestieri’s overall sound. That’s where Vitale and Vigliar get some space to expand themselves on - in both the prog and jazz sides of the band’s sound, the violinist and the wind player play almost all leading roles. As for drummer Chirico, he clearly relies on Gallesi’s precise bass playing so he can beat and roll endlessly and become the other leading man. The weird title track closes down the album with a disturbing touch of dissonant layers of mellotron and ARP synth, occasionally accompanied by a few ad-libitum parts on bass clarinet and violin: this is AM emulating Area, which should not come as such a big surprise, since Area’s guitarist Paolo Tofani (together with Venegoni) produces the album. I actually like this Cage/Stockhausen-inspired stuff, but I feel that it would have found a more suitable place in the middle, as a curious rarity, instead of the closure, which eventually kills the captivating splendour displayed in the final section of 'Articolazioni’. Apart from that, let me tell you that it’s hard for me to pick a particular fave in a mostly homogeneously great repertoire; anyway, I will mention tracks 1-4 and the 13-minute long 'Articolazioni’ as the most impressive and significant examples of what this band is all about. All in all, I regard “Tilt” as a masterpiece of 70s Italian prog….by….César Inca……….

Compared to their Italian progressive rock contemporaries PFM and American based groups like MAHAVISHNU ORCHESTRA, ARTI & MESTIERI were an excellent but overlooked band. These Italian purveyors of prog-rock deserve further consideration as Tilt proves to be an archetypal interpretation of a sound that was still in the developmental stages at the time. 

In very small-italicized print underneath the album’s bold title are the words “Immagini Per Un Orecchio”, translated it means “Images For An Ear.” I find that very insightful as I am always saying how good instrumental music has the ability to create images inside my head, thus eliminating the need for vocals. 
This was the group’s first release in 1974. For a maiden voyage into the world of recorded music, they faired quite well. Although they use vocals sparingly, they really did not need them at all. Their music was very visually stimulating. By using all of their talents to their fullest capacity, a pleasing mixture of keyboards, guitars, bass, percussion, violins, saxophone, clarinet, and vibraphone became part of their final creation. Because they used so many different instruments, their music gradually pushed itself to another level of complexity, in so doing it transformed their compositions into progressive quests that were a captivating treat for your ears and mind. 
As per usual, the 180-Gram vinyl LP format never lacks for sound and quality…..by….Keith Hannaleck ………..

The Italian jazz-rock scene is a solid subsection of the famed Prog tradition, with numerous bands of extraordinary virtuosity, none more so than the undisputed leader of the pack, Arti+Mestieri. Unquestioningly led by the dazzling (an appropriately named) Furio Chirico, one of the greatest stick “n skins men ever and revered by many prog drummers, the band kicks some serious butt, a fast-paced, intense prog-fusion that rivals anything by anyone in the same genre. At times quite symphonic due to Beppe Crovella’s sweeping keyboards, shouldered by some frenetic fretting provided by Gigi Venegoni and the wild sax ramblings of Arturo Vitale , doubling on violin and flute, the main focus remains on the overpowering and hyperactive Furio, leaving one to wonder about his propulsion pack (first nuclear drummer?) . Neil Peart is not unique, dear Rush fans! This is not just all technique, the material is original, distinctive and highly infectious.. No wonder this album retains a hallowed place in many a Prog collection and deservedly so. 4 furious drumsticks….Thomas Szirmay ……..
Arti & Mestieri are one of the best known Italian prog bands and have been active since 1973. They come from Turin and were formed on the initiative of Furio Chirico (former drummer of The Trip) who met with keyboardist Beppe Crovella (former member of a band called The Mystics) and four musicians coming out from a jazz rock band called Il Sogno di Archimede, Gigi Venegoni (guitar), Giovanni Vigliar (violin, vocals), Marco Gallesi (bass) and Arturo Vitale (sax, vibraphone). In 1974 they released their debut album for the independent label Cramps, "Tilt ? Immagini per un orecchio” (Tilt ? Imagines for an ear), a brilliant mix of rock, jazz, classical, Mediterranean influences and melodic passages. The art cover by Gianni Sassi, featuring a flying funnel in a blue sky among white clouds, in some way describes the overall sound of this work where many influences floating in the air are caught and channelled through this conical utensil having a narrow tube at the apex to be blended and conveyed on the tracks of the album. 
The title of instrumental opener “Gravità 9,81” (Gravity 9,81) is inspired by the law of gravity formula. Ignoring air resistance, an object falling freely near the Earth’s surface increases its velocity with 9.81 m/s (32.2 ft/s or 22 mph) for each second of its descent. As gravitation causes dispersed matter to coalesce, on this track the creativity of the band perfectly blends the Mediterranean touches of colour evoked by the violin with a pulsing rhythm section and a jazzy sax solo. This piece is an authentic trademark of the band by now. 
Next comes “Strips”, where the dreamy and romantic mood of the music contrasts with the bitter disenchantment of lyrics condemning a reality of empty conventions, of absurdities filling your head, of languid songs and artists whispering useless words, of faded stories about planets, wizards and gods… 
“Corrosione” (Corrosion) is a kind of short bridge leading to the beautiful instrumental “Positivo / Negativo” (Positive/Negative) where a first solar and dreamy part, featuring acoustic guitar and violin, gives way to a second part full of energy, featuring a great rhythm section and a good electric guitar work. 
“In cammino” (On walk) is another excellent instrumental that opens with a melancholic sax introduction, then rhythm takes off and melancholy melts in joyful passages where the members of the band showcase their musicianship. On the original LP it was the last track of side A. 
Next comes the short instrumental “Farenheit”, where the rhythm goes slowly up like the temperature of a thermometer introducing “le plat de resistance” of the album, the long and complex suite “Articolazione” (Articulation), a piece about the necessity to live the present facing the reality. There’s no time you can waste waiting dreaming for better days while the Death is leading into the grave all her dear lovers… “It’s not because you think to have understood / That your future is going to change / In the mirror you must see / What is harder seeing…”. 
The experimental “Tilt”, almost an example of concrete music, concludes an excellent album where music flows away without weak moments. A must for every Italianprog lover!…Andrea Parentin…………
 Like Area and Perigeo, Arti e Mestieri blended jazz rock and fusion elements with traditional symphonic flair. Tilt may be the best representation of this movement, and along with the debut albums by Etna and Il Volo, one of my favorite fusion albums of all time. Anyone familiar with Mahavishu Orchestra will have a frame of reference here, but Arti e Mestieri takes the concept one step further by not just integrating jazz music with rock instrumentation, but also western classical and Mediterranean influences as well. A near-perfect listen from start to finish, a masterpiece of the genre, and necessity for any Prog collection. 
“Gravita 9, 81” starts the album off with an attention-grabbing motif that fades quickly to a deceptively melancholy intro…the combination of clarinet, violin and synth here is celestial. Then after the electric piano kicks in and sets the tempo, the world is introduced to Furio Chirico. Italian prog stalwarts will recognize the drummer from The Trip, but to the uninitiated, hearing Furio play drums the first time is like your first kiss - a little scary at first, somewhat sloppy, and WAY TOO FAST. But then you get that feeling; that warm buzz in your stomach like hot chocolate on a winter day. It courses through your veins and fills your entire nervous system with dopamine. That’s what Furio Chirico’s drumming is like. Bill Bruford will always have a special place in my heart, but if I had to pick one drummer as the “best,” it would be Chirico. 
Nowhere is his mastery of the drum kit more evident than in “Strips.” An absolute monster beat, so carefully and thoughfully composed to accentuate (not overstate) the arrangement. “Corrosione” gives us our first taste of Mellotron, and again the woodwinds playing against violin is a combination of sheer brilliance. Nothing groundbreaking, but usually intonation suffers between these two particular instruments - not here. Giovanni Vigliar and Arturo Vitale play in perfect unision, often switching instruments not just mid-song but mid-phrase! A real show of virtuosity but also restraint. We then segue into Positivo/Negativo, another amazing showcase for what the band has to offer. “In Cammino” solemnly rounds out the first side. 
“Fahrenheit/Articolazioni” is one of those songs that, once you hear it, is like a part of you. I will seriously just be sitting in traffic and it pops into my head, and get goose bumps every time. The first two-thirds of the suite is structured much like the rest of the album, but the third act is where the symphonic influences really take over…an orchestral feast for the ears that tugs at your heart strings and doesn’t let go. I always get a little sad at this point because I know the album is almost over. A case for quality over quantity if there ever was one. Arti e Mestieri would go on to record many albums, but none as fine as this one…..by……coasterzombie…….
 Excellent crossover prog……… or whatever you want to call this music. 
Fusion/Jazz it is then. Truth to be told, it is fusion, with both feet firmly grounded on Planet Jazz. But the rest of the body is all over the place. Italian Symphonic Prog, Canterbury Scene, Folk Prog etc etc. Arti E Mestieri has really created something special here. Most of all a very playful album with some very good nods towards the likes of National Health and Hatfield & The North. Some Soft Machine flirting can also be found here. Not to mention Return To Forever which is a good reference point. The songs are strong and based on various instruments. The drumming is excellent. The various instruments I refer to is both violins, guitars (electric and accoustic) and all sorts of classic tangents like moog and hammond. The result is a very warm sound. This is pretty much underlined by the lush, inviting vocals. This makes it a surprisingly poetic and pastorial album. But the music are still firmly rooted in jazz. Which makes this a very lush album and a true gem. It is also a unique album and I have never heard anything like it in my life. 
It would be unfair to single out a special song here. I regard this as one single piece of music and I recommend this album. 
4.25/5 stars…..by……toroddfuglesteg……………
 
Much ink has been spilled about the drumming of Furio Chirico and for good reason: the guy is phenomenal. He is all over the place using all available musical space yet is never bombastic or overbearing. The music on Tilt and Giro di Valzer per Domani is generally pretty similar, though there are some differences. For the most part, I’m reminded of Ponty-era Mahavishnu Orchestra with violin and guitar trading licks against the non-stop riffing of Chirico. The guitar player, Gigi Venegoni, shows some nice McLaughlin influences with fiery guitar runs burning up the tune while the soaring violin adds more fuel to the flame. Add in some saxophone to round out the sound, the style perhaps a bit reminiscent of Elton Dean’s playing with Soft Machine or Wayne Shorter from Miles Davis and Weather Report. Tilt has a slightly more symphonic edge, though still very much fusion, because the keyboard work is featured a bit more. The keys lean toward the lush end of the spectrum, hence the symphonic edge. Vocals are found on a few songs on each album; though a full-time singer is found on Giro…, he can be heard only on approximately one-third of the songs. Highly recommended to all fusion fans………by Mike Taylor…………
I was about to write that there aren’t too many debuts as powerful as this title by Italians Arti e Mesteri but then I realized I had just written about Änglagård and Area. Anyway, I’ve sort of gotten used to thinking of AeM as a jazz rock or fusion group because if you look at their long discography it really does seem to be their ballpark even on the live material where they dip back into this one. Tilt was in many ways a symphonic progressive rock album played by jazz musicians. It didn’t introduce drummer Furio Chirico (I believe you’d have to go back to The Trip for that), but it did solidify his place as one of the world’s truly great practitioners, a man who attacks his kit like a whirlwind and could have easily been as well known as Billy Cobham or Lenny White in an alternate universe. Tilt has such swing to it with a soaring, positive sense of melody provided by guitar, keys, violin, and sax that provided a really diverse range of moods. It’s also a pretty solid Mellotron album and there is an atmosphere and depth to it that the later albums had lost. It definitely has to be considered one of the high points of the Italian progressive rock genre in the 70s……..by Mike McLatchey,…………… 
 
- Furio Chirico / drums and percussion 
- Beppe Crovella / acoustic & electric pianos, ARP2600 & Eminent synthesizers, Mellotron, Hammond organ 
- Marco Gallesi / bass 
- Gigi Venegoni / electric & acoustic guitars, ARP2600 synthesizer 
- Giovanni Vigliar / violin, vocals, percussion 
- Arturo Vitale / soprano & baritone saxes, clarinet & bass clarinet, vibraphone

Tracklist 
Gravità 9,81 4:05 
Strips 4:39 
Corrosione 1:37 
Positivo/Negativo 3:29 
In Cammino 5:36 
Farenheit 1:15 
Articolazioni 13:24 
Tilt 2:29

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