Samadhi were a kind of Italian prog supergroup — assembled from the wreckage of Raccomandata Ricevuta Ritorno and a clutch of other Roman bands — who made a single, melodic album in 1974 and then quietly disappeared. Sophisticated, symphonic and touched with jazz, it has become one of the more sought-after rarities of the Italian scene.

The short version

Formed in 1973 by members of Raccomandata Ricevuta Ritorno and other bands, Samadhi made just one self-titled album, a melodic and symphonic prog record with jazz and even pop touches. Ignored by their label and overlooked by press and public alike, the band split almost immediately, but “Samadhi” (1974) has since become a prized collectors’ item — and a fine, if little-known, example of classic RPI.

A supergroup from the ashes of RRR

When the Roman band Raccomandata Ricevuta Ritorno fell apart after a single album, its singer Luciano Regoli and guitarist Nanni Civitenga set out to build something entirely new. They gathered a strong cast around them — keyboardist Stefano Sabatini, of Free Love and Kaleidon; bassist Aldo Bellanova of I Teoremi; drummer Sandro Conti; percussionist Ruggero Stefani of L’Uovo di Colombo; and saxophonist and flautist Stevo Saradzic — making Samadhi a genuine, if low-key, supergroup. Taking their name from the Sanskrit term for a state of deep meditative calm, they recorded their album in Turin in the autumn of 1973, set to beautiful lyrics by the poet Enrico Lazzareschi, for the Fonit label.

Melodic, symphonic, jazz-touched

Samadhi’s music is melodic, sophisticated symphonic prog, shot through with jazz and the occasional touch of pop. Luciano Regoli’s high, soaring voice — a love-it-or-hate-it instrument, as on his earlier records — leads the way, while Stefano Sabatini’s keyboards range elegantly between jazz and the symphonic, and the sax and flute of Stevo Saradzic add colour and counterpoint, alongside brass and strings. By turns bright, exploratory and lush, recalling at moments PFM, Quella Vecchia Locanda and the brighter end of Yes, it is a varied, generous record — if one that, by common consent, prizes adventure over cohesion.

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Samadhi

The band’s sole album, “Samadhi” (1974), gathers seven songs of melodic, symphonic prog. Among its highlights are the lovely “L’Angelo”, the strikingly modern “Passaggio di Via Arpino” — an urban portrait, brass to the fore, that anticipated the city poetry of Napoli Centrale by some years — and, above all, the closing “L’Ultima Spiaggia”, an eight-minute piece of pure symphonic beauty that builds, on a religious text, to a soaring, choral crescendo. It is the album’s crowning moment. Sadly, the record was barely promoted: Fonit chose to push the Osanna offshoot Uno instead, and “Samadhi” met near-total indifference from press and public. The band split shortly after, leaving behind a single album now treasured by collectors precisely for its rarity.

Album by album

A single album — a melodic, symphonic RPI rarity. Tap the title for its guide.

The players and afterwards

Samadhi were Luciano Regoli, Nanni Civitenga, Stefano Sabatini, Stevo Saradzic, Aldo Bellanova, Sandro Conti and Ruggero Stefani — a line-up rich in pedigree, drawn from across the Roman scene. The band dissolved soon after their album sank without trace; keyboardist Sabatini and drummer Stefani went on to form Mediterraneo, while singer Luciano Regoli would, decades later, revive his old band Raccomandata Ricevuta Ritorno. But Samadhi’s single album remains their legacy — and a quietly rewarding one.

Where to start

There is only one place to start — the self-titled “Samadhi” (1974), the band’s lone album and a melodic, symphonic gem. Begin with the magnificent closer “L’Ultima Spiaggia”, then explore the rest; for symphonic-prog fans willing to forgive a little unevenness, it offers real rewards, and stands as one of the more pleasant surprises among the deeper cuts of RPI.

Why they still matter

Samadhi matter as a reminder of the sheer depth of talent in 1970s Italian prog — a supergroup of seasoned players who, even as the scene grew crowded, made a record of real craft and beauty. Overlooked in its day and rare ever since, “Samadhi” has slowly found the audience it deserved, treasured by those who dig beneath the famous names. For anyone exploring the rich seam of one-album RPI bands, it is well worth seeking out.

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