Nova -

Nova was an Italian jazz-rock band that released four albums between 1975 and 1978 on Arista. They formed around saxophonist Elio D’Anna and guitarist Corrado Rustici, blending rock instrumentation with jazz and fusion textures.

After a debut that emphasized technical interplay, the band expanded into more polished, keyboard-driven arrangements with international session players. Wings of Love and Sun City marked their final phase, incorporating funk, layered vocals, and expanded instrumentation before the group disbanded.

Members: Corrado Rustici (guitar, vocals), Danilo Rustici (guitar, 1975), Elio D’Anna (saxophone, flute), Luciano Milanese (bass, 1975), Franco “Dede” Lo Previte (drums, 1975), Renato Rosset (keyboards, 1976-78), Barry “SunJon” Johnson (bass, 1977-78), Ric Parnell (drums, 1977-78)

Background

Nova formed in 1975 in London after the breakup of Uno, a short-lived project by ex-Osanna members Elio D’Anna (saxophone, flute) and Danilo Rustici (guitar). The pair remained in England and regrouped with Danilo’s younger brother, guitarist–vocalist Corrado Rustici, who had led the Naples band Cervello at age seventeen. They onboarded jazz bassist Luciano Milanese and ex-Circus 2000 drummer Franco Lo Previte, who cut a recent album with Duello Madre.

Nova worked mainly abroad, recording their debut in London before lineup changes introduced new members.

Blink

Nova released their debut album, Blink, in 1975 on Arista (UK, Netherlands), Ariston (Italy), and Les Disques Motors (France).

Blink features reedist Elio D’Anna and guitarists Danilo and Corrado Rustici with bassist Luciano Milanese and drummer Franco “Dede” Lo Previte. Corrado took lead vocals while D’Anna’s saxophones dominate the arrangements, offset by dual-guitar interplay and a rhythm section rooted in both rock and jazz. Suntreader percussionist Morris Pert plays an auxiliary role. Four tracks feature lyrics by poet Nick J. Sedgwick.

Nova wrote the six numbers as multi-part suites, each split into two sections. “Tailor Made” opens the album with alternating vocal passages and driving instrumentals. “Something Inside Keeps You Down” builds from acoustic guitar and flute into a layered piece with alto sax runs and dueling guitars. The instrumental “Nova” places wah-wah guitar against elastic bass lines and horn flurries.

Side B opens with “Used to Be Easy,” where Corrado’s vocals are framed by surging sax and rapid-fire ensemble exchanges. “Toy” is a short instrumental with percussive guitar figures and funk undercurrents. The closing track, “Stroll On,” stretches past ten minutes with extended instrumental interplay and shifting dynamics.

A1. “Taylor Made (Part1, Part2)” (5:08) – opens with a funky rhythm that shifts into driving blues-rock once Corrado enters with vocals, while the instrumental breaks display charged jazz-rock fusion. Saxophonist Elio D’Anna and the rhythm section assert themselves with fiery, temperamental lines.
A2. “Something Inside Keeps You Down (Part1, Part2)” (6:10) – begins as a wandering, exploratory passage before Corrado’s high falsetto introduces vocals. The band then folds into a heavy rock motif anchored by deep bass and dynamic drumming from Franco Lo Previte, blending brooding intensity with precision.
A3. “Nova (Part1, Part2)” (7:07) – launches with rhythm guitar and standout drum work from Franco, over which the ensemble negotiates lead and rhythm roles. Elio’s multi-instrumental sax leads emerge alongside the Rustici brothers’ contrasting styles—Danilo blues-rooted, Corrado Mahavishnu-influenced—culminating in a fiery, machine-gun finale.

B1. “Used to Be Easy (Part1, Part2)” (5:11) – layers picked and strummed electric guitar chords beneath Corrado’s high vibrato vocals. The foundation remains blues-rock, but hints of the band’s evolving direction surface through the interplay of guitar and sax against the anchored rhythm section.
B2. “Toy (Part1, Part2)” (4:20) – fuses semi-funky rock with jazzy touches from rhythm guitar, sax, and drums, evolving into instrumental passages where solos emerge naturally within the flowing pace. The rhythmic propulsion deepens the song’s immersive quality over its four-minute span.
B3. “Stroll on (Part1, Part2)” (10:30) – drives with blistering, near-metal blues-rock energy, accented by Corrado’s coarse vocals. The first half races forward while the band negotiates high-speed interplay; later, space opens for measured solos, culminating in tightly synchronized melodic lines between Elio and Corrado during the final two minutes.

Sessions occurred in August–September 1975 at Pete Townshend’s Eel Pie Studios with producer Rupert Hine, an erstwhile solo artist, Quantum Jump co-founder, and recent Kevin Ayers soundman.

Blink was engineered by Richard “Dick” Hayes with mixing by Denny Bridges (assisted by Steve Prestage) and mastering by George “Porky” Peckham. John Dyer handled art direction and Bob Searles designed the full-glossy cover. The sleeve thanks Townshend for use of his facilities.

After this album, Milanese, Lo Previte, and Danilo Rustici returned to Italy.

Vimana

Nova released their second album, Vimana, in late 1976 on Arista.

Vimana features a reshuffled lineup with saxophonist Elio D’Anna, guitarist Corrado Rustici, and ex–New Trolls keyboardist Renato Rosset. Corrado Rustici sings lead and plays electric/acoustic guitar and marimba. He composed the first five tracks, collaborating on the odd-numbered entries with Rosset, whose arsenal includes mini Moog, Clavinet, ARP Solina string ensemble, and Fender Rhodes electric piano.

Musical guests include Genesis drummer Phil Collins (on sundry percussion) and his Brand X bandmate, bassist Percy Jones. Mahavishnu Orchestra alumnus Narada Michael Walden drums throughout and plays keyboard on his closing composition, “Princess and the Frog,” joined by Shakti conguero Zakir Hussain. Nick Sedgwick added lyrics to “Night Games,” “Thru the Silence,” and “Driftwood.”

Vimana opens with the title track, which alternates swirling keyboard passages with ensemble runs driven by Walden’s drumming. “Night Games” builds from Corrado’s twelve-string guitar into an expansive, near-ten-minute suite that layers saxophone, flute, and shifting electric textures. “Poesia (To a Brother Gone)” is a reflective number where flute, acoustic piano, and interlaced guitars set a lighter, pastoral tone.

Side B begins with “Thru the Silence,” a brisk piece propelled by Walden and Jones beneath Corrado’s vocals. “Driftwood” extends across ten minutes with contrapuntal saxophone, keyboards, and shifting guitar figures. Vimana closes with “Princess and the Frog,” where Hussain’s congas and D’Anna’s wind synthesizer frame a funk-tinged rhythm highlighted by Narada’s Rhodes piano.

A1. “Vimana” (7:18) – The title refers to a mythological flying palace in Hindu texts. It opens with a resonant 12-string guitar that establishes the track’s angular contours. Flute soars above a bubbling bass and intricate percussion, while layered keyboards color the mix. Corrado Rustici’s electric runs dominate the instrumental palette, creating bursts of intensity that punctuate the otherwise spacious framework.
A2. “Night Games” (9:37) – Begins with an acoustic guitar motif over floating Fender Rhodes chords, gradually joined by bass, subtle cymbals, and intermittent percussion. Soprano sax asserts the melodic line, mirrored by Corrado’s electric guitar. Keyboard arpeggios pace the piece until a climactic seven-minute return of treated vocals and machine-gun guitar lines, with drums, bass, and sax interweaving dynamically.
A3. “Poesia (To a Brother Gone)” (5:11) – Fully acoustic arrangement featuring steel-string guitar, flute, and piano. The instruments interlace with speed and precision, maintaining a reflective, pastoral atmosphere while showcasing technical fluency.

B1. “Thru the Silence” (5:43) – Opens with drums and fast-picked guitar chords over funk-inflected bass and clavinet. Percussion and sax punctuate a brief Latinized section before returning to a driving instrumental interplay. The final passages highlight tight coordination between bass, drums, keyboards, and guitar lines.
B2. “Driftwood” (10:03) – Opens with atmospheric, volume-pedaled guitar and sporadic cymbals, synths, and sax. Corrado’s vocals enter over flanged acoustic guitar, escalating into a climactic section with saxophone and guitar converging in dense interplay. A short whole-band cacophony resolves into a spacious, ambiguous close.
B3. “Princess and the Frog” (7:44) – Built around recurring sections in straightforward time, with piano chords underpinning guitar, drums, and Minimoog textures. Midway, birdsong and Rhodes arpeggios introduce a gentle, airy motif that weaves with guitar and synth lines, highlighting the contrast between energetic bursts and delicate passages.

Sessions took place in July–August 1976 at Trident Studios, London, where Brand X keyboardist Robin Lumley produced and co-mixed the album with engineer Jerry Smith, a soundman on Lumley’s interrelated Marscape project with Jack Lancaster, plus contemporary titles by Mallard, Supercharge, and the Spiders From Mars. John Dyer handled art direction with sleeve design by Ad Design.

As Vimana hit shelves, Walden launched his solo career with the November 1976 Atlantic release Garden of Love Light. Months earlier, he appeared on Black Market by Weather Report, which almost hired him in place of Chester Thompson, the subsequent Genesis touring drummer.

Wings of Love

Nova released their third album, Wings of Love, in late 1977 on Arista.

The album marks Nova’s shift into funk-leaning fusion with fuller vocals and a brighter rhythmic profile. Corrado Rustici, Elio D’Anna, and Renato Rosset remained the core, joined by American bassist Barry Johnson and English drummer Rick Parnell (ex-Atomic Rooster, Ibis).

Rustici dominates the writing, with Johnson, Rosset, and Parnell contributing “Inner Star.” Nick Sedgwick supplied lyrics to “Loveliness About You,” while Parnell penned words for “Blue Lake.” Johnson takes lead vocals on “You Are Light” and “Inner Star.”

The program balances extended instrumentals and vocal pieces. “You Are Light” sets funk-paced rhythms under Johnson’s voice. “Marshall Dillon” showcases the band’s technical edge with rapid instrumental interplay, while “Blue Lake” stretches into mystical textures shaped by Parnell’s words. “Beauty Dream – Beauty Flame” unfolds as a chamber-like fantasy for acoustic guitar, flute, and keys, lifted briefly by the Nectar Smile Choir.

Side B pushes outward with the progressive funk of “Golden Sky Boat,” followed by the Sedgwick-lyric ballad “Loveliness About You.” “Inner Star” blends the newer members’ input into a smoother, vocal-driven piece. “Last Silence” closes the album as a wordless jazz vignette with romantic contours.

A1. “You Are Light” (6:19) – Fender Rhodes and clavinet interplay with fluid rhythms, while Corrado’s guitar lines weave subtly through the ensemble, creating a bright, expansive soundscape.
A2. “Marshall Dillon” (3:53) – drives with funk-inflected patterns reminiscent of Earth, Wind & Fire and Kool & the Gang. Corrado’s processed guitar emerges atop a disciplined foundation from Barry Johnson, Renato Rosset, and Ric Parnell, giving the track energetic propulsion .
A3. “Blue Lake” (6:50) – overlays rain, river, and boat sounds with angelic vocals from Corrado and the choir. Elio D’Anna’s heavily treated sax threads through the atmosphere, while Renato’s keyboard textures unify the sonic layers. Corrado’s restrained guitar enters only at the close, emphasizing the track’s ambient and pastoral qualities.
A4. “Beauty Dream – Beauty Flame” (6:22) – unfolds as a pastoral piece where acoustic piano, guitar, and flute intertwine with the Nectar Smile Choir. Subtle chordal shifts and flowing motifs create intricate, delicate textures

B1. “Golden Sky Boat” (6:09) – opens with jazzy-rock phrasing before Corrado’s vocals emerge. Bass and keyboards anchor the dense arrangement, while the guitar power chords remain restrained relative to the ensemble’s high-speed interplay.
B2. “Loveliness About You” (5:53) – explores romantic, airy textures, blending smooth, lyrical keyboard lines with softly undulating bass and drums. The composition leans toward the sensual and polished, favoring gentle pacing over complex improvisation.
B3. “Inner Star” (6:31) – channels American country-rock influences through rock instrumentation. The rhythm section provides steady, nuanced movement while the ensemble navigates contrasting instrumental voices, producing a cohesive, exploratory track.
B4. “Last Silence” (5:11) – drifts on fluid fretless bass and floating Fender Rhodes. Delicate keyboard layers and Barry Johnson’s sinuous lines create a dreamlike, spacious environment that foregrounds texture over momentum, illustrating Corrado Rustici’s sensitivity as both performer and arranger.

Sessions occurred at Trident Studios, London, in June–July 1977 with producer Narada Michael Walden and engineer Jerry Smith. Ray Staff handled mastering.

Wings of Love features cover art by Paul Maxwell with art direction by John Dyer and photography by Jonathan Malcolm-Green.

Arista lifted “You Are Light” as a two-sided US promo single.

Sun City

Nova released their fourth album, Sun City, in 1978 on Arista.

The lineup for Sun City retained the core trio of Corrado Rustici (lead vocals, electric and acoustic guitars), Elio D’Anna (saxophones and flute), and Renato Rosset (keyboards, synthesizers, organ), while integrating American bassist and vocalist Barry SunJon and veteran drummer Ric Parnell. The ensemble also included supplementary contributions from Stasha Qamar on finger cymbals, Jesse Ehrlich on cello, and the Betty and John Joyce Choir providing backing vocals.

Corrado Rustici composed the majority of the material, collaborating with Parnell and Rosset on select tracks, while SunJon contributed one composition. Lyrics were primarily by Parnell, with additional words by SunJon and Nick Sedgwick. Instrumentation is rich and varied, featuring multiple saxophones, Lyricon solos, clavinet, Fender Rhodes and acoustic pianos, Mini Moog and ARP Omni synthesizers, Hammond B-3 organ, marimba, glockenspiel, tambourine, and a range of percussive textures. The arrangements also incorporate strings, providing layered harmonic depth throughout the album.

A1. “Morning Flight” (6:04)
A2. “Modern Living” (4:09)
A3. “Illusion” (3:30)
A4. “Light Were My Years” (4:51)
B1. “Sailors” (3:45)
B2. “Fantasies” (3:33)
B3. “Lean On Me” (4:00)
B4. “All You Have (Is What You Are)” (3:00)
B5. “Starchild” (4:00)

Sessions occurred at Sound City Studios in Los Angeles, California, during July–August 1978 with producer John Ryan and engineer Bill Drescher, assisted by Doug Pakes. Mastering took place at Capitol Mastering, overseen by Wally. Art direction and design were handled by Ria Lewerke, with photography by Armando Gallo. Strings were arranged by Richard Helm, and overall management direction was provided by Amos Levy Management, Inc.

Discography: