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Still reflecting on the latest venture to the Italian Riviera, ProgBlog looks at the legacy of the port city of Savona: Delirium and Il Cerchio d'Oro who released the rather good Il Fuoco Sotto la Cenere in the autumn

Event '16

By ProgBlog, Oct 30 2016 08:16PM

I’ve just spent an enjoyable couple of days in Genova and the surrounding area, escaping the early morning mist and fog covering the south east of England for the pleasantly warm, sunny skies of the north west of Italy, all in the name of prog.

The idea for an October trip to Genova dates back to a hint by Fabio Zuffanti, shortly after the release of Höstsonaten’s Cupid & Psyche earlier this year that the music would be performed live as a ballet. I made sure the proposed date was clear and began searching the theatre’s web site for tickets but was unable to find any link to the event. Fast forward a few months, not having found evidence for the Höstsonaten performance, I came across a post on twitter directing me to Event ’16, a tribute to the live performance by Area at Milan's Università Statale on October 27th 1976 and released three years later on LP as Event ’76. Being a fan of Area and also wanting a short break from work, I convinced myself that this was probably a gig to replace the Cupid & Psyche show and booked my ticket to Genova.




It’s important to realise that Event ’76 wasn’t a straightforward Area gig, even though the band’s music is always challenging. Ares Tavolazzi and Giulio Capiozzo had temporarily left the band at the time of the concert (though they did return a few months later) so the gig was performed with notable improvising musicians Steve Lacy on saxophone and Paul Lytton on percussion, and represents a cross between a psychedelic event (think Pink Floyd circa 1969 0r 1970) and an extreme RIO performance. The original album contained only two tracks, Caos 2nd part, split between two sides of the original vinyl into a (roughly) 20 minute section and a (roughly) 10 minute section, and the title track, a variation of the track SCUM (Society for Cutting Up Men) from their 1976 concept album Maledetti. For Caos, each musician was given a single word on piece of paper, "sex", "irony", "violence" and had to interpret it for three minutes before changing the sheet of paper. The result varies between outright weirdness and melodic jazzy lines played over the top of weirdness but it’s fair to say that audience reaction in Milan was very favourable.

In an era where classic albums are being recreated by both original bands (not necessarily in the original configuration of the group at the time of the release), and by enthusiastic tribute acts with an appreciation of the cultural significance of the music, it was not unreasonable to recreate the Milan concert almost exactly 40 years after the event. Fabio Zuffanti pieced together a sympathetic ensemble comprised of Luca Giovanardi, sometime member of the band Julie's Haircut on guitar and Theremin effect; drum teacher and performer Beppe Mondini on percussion; multi-instrumentalist Nicola Manzan who has worked with many members of the Italian independent music scene on violin; and Michele Orvieti on piano and radio, the keyboard player for Incident on South Street and contributor to Sex Sleep Eat Drink Dream - The Letters - An Unconventional Italian Guide To King Crimson.

The show was at the Teatro Altrove, down a narrow alley that opened out into the tiny Piazzetta Cambiaso in Genova’s historic centre. Teatro Altrove is situated in the former Palazzo Fattinanti-Cambiasso, overseen by a consortium of seven different artistic associations, each with a longstanding cultural bond to the Maddalena district. Finding the venue in the daylight wasn’t too onerous but when I retraced my steps in the dark I somehow went wrong on more than one occasion and Google Maps wasn’t at all helpful. It wouldn’t have mattered too much if I’d been late because the musicians were somewhat laid back about the 21.30 hrs start time.



Though not a strict musical recreation of Event ’76, the performance was certainly true to the spirit of the Area event; less jazzy and more generally spacey, this recreation was closer to the improvised psychedelia of Pink Floyd, sometimes creating a nice groove with violin drones and aggressive percussion. Zuffanti, who at one stage wore a mask, directed the pieces, counting down the end to sections and rarely using his bass in a conventional manner, but hitting the strings with spoons, utilising a rubber chicken and a pair of small frying pans. The words were placed on Zuffanti’s music stand which came in for a bit of abuse from Manzan during his personal interpretation of ‘Violence’ where he stalked the stage, shouting at the other performers and smashing the frying pans into Mondini’s cymbals which looked very much worse for wear at the end of the performance. Mondini’s drum kit was enhanced with fan blades and beer bottles and Orvieti tuned into a radio that he had to hand. For Event ’16 (as I suppose the final track should be called) Giovanardi controlled his sounds with a hand-held remote device which acted like a D-beam or a Theremin on what was the most coherent track, coming across as improvised space rock.

The band evidently enjoyed themselves and the relatively sparse crowd, who all seemed to know each other from the Genova music scene, was suitably appreciative. This was an intimate event held in a really nice theatre and though undeniably challenging it was a thoroughly enjoyable evening, especially as it’s something that is unlikely to ever be repeated.

No trip to Genova would be complete without a trip to Black Widow Records and I had dutifully set out with an idea of what progressive Italiano I wanted to buy. Unfortunately, I was greeted by closed shutters and was told by the proprietor of the record shop next door (specialising in metal) that Black Widow was to be closed for three weeks. Not to be defeated, I set about a fairly well worn trail to firstly Genova Dischi, which caters more for the classical music market though it did have some promising-looking CDs in the window, including Steven Wilson’s Transience and Marillion’s FEAR, on to Taxi Driver Records (more metal plus a bit of modern psychedelia) and then around the myriad second hand stalls, all without turning up anything I wanted. Back in my hotel I did a Google search for record stores and discovered that there was a large branch of the books and music store La Feltrinelli five minutes’ walk away. I’ve visited stores around Italy before and though their stock isn’t brilliant, there’s always the chance of finding something worth buying, and I knew that they had begun to stock vinyl. This branch was particularly good and I came away with five CDs, having seen an Italian Prog box set and searched for individual discs absent from my collection. I also picked up the new Metamorfosi album, a follow-up to Inferno from 1973, Purgatorio, which I had been hoping to find on vinyl in Black Widow.




I also like to explore the surrounding area and, having previously headed south along the Liguria coast to visit the northern portion of the Cinque Terre, I decided to head inland, to Alessandria in Piedmont, just less than an hour away by train. This sedate, elegant city boasted the fantastic W Dabliu record shop run by the knowledgeable and very helpful Roberto Mocca, which I came across quite by accident, a treasure trove of old and new vinyl in the University district which included some very interesting rarities. I was very tempted by an original copy of PFM’s Storia di un minuto but at €80 I thought I’d hold out for a reissue on 180g vinyl. Needless to say, I came away with a special box set of Area’s Caution Radiation Area containing vinyl and CD versions plus a series of postcards (for thematic continuity), the 2014 live performance of Per un Amico (titled Un Amico) on vinyl with a CD included, plus a copy of Gentle Giant’s eponymous 1970 album.










All in all and despite finding out that I'd missed out on Hostsonaten, it was a successful few days. Looking forward to my 2017 visit...





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