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Five days of progressive rock, dedicated to musicians and friends who have died since the last event, divided between historic and new bands, symphonic prog and jazz rock, the avant-garde and a tribute to an important story. Along with the desire to share music together, the event is only held thanks to the effort of all those who work for free: artists, organisers, hosts and helpers. The Progressivamente Festival is a display of dedication, comradeship and great music

By ProgBlog, Jul 23 2017 12:25PM

The port in Genoa, overlooking the Mediterranean Sea, is over 1000 years old but has been reinvented during the last 20, thanks in large part to local starchitect Renzo Piano. The facilities, a mixture of new build and renovated historic buildings include an aquarium, harbour offices, a viewing platform known as the Bigo and a 20m diameter crystal sphere, the Bolla (‘Bubble’) on a floating platform containing the largest collection of ferns in the world. The matrix of steel poles which support the Bigo, inspired by the cranes on the old wharfs, also support the membrane above a performance space, the Piazza delle Feste which is where the Porto Antico Prog Fest is held.


Piazza delle Feste from the Bigo (Daryl Page)
Piazza delle Feste from the Bigo (Daryl Page)

It may be entirely by accident but the reinvention of the old port has parallels with progressive rock. In the early 70s before the redevelopment of the harbour area, Genoa was home to some of the well-known names in progressivo Italiano: I New Trolls; Delirium; Gleemen; Garybaldi; Latte e Miele; Osage Tribe; Nuova Idea, and the recent resurgence in the genre has some very strong Genovese connections, from the Fabio Zuffanti projects including Maschera di Cera, Finisterre and Höstsonaten to other now well-established acts like Ancient Veil, Il Tempio delle Clessidre and La Coscienza di Zeno.

The second Porto Antico Prog Fest, organised by local record label and record shop Black Widow, was held over the weekend of 15th – 17th July, with live performances on the Friday and Saturday and, alongside famous artists, featured some of the emerging or less well-known but nevertheless incredible local talent, including Melting Clock on Friday and Panther & C. on Saturday.


Melting Clock was something of a revelation. Fronted by amazing vocalist Emanuela Vedana, the group who also comprise Sandro Amadei on keyboards, Stefano Amadei on guitar, Alessandro Bosca on bass, Simone Caffè on guitar and Francesco Fiorito on drums, have not yet released a record but they performed some wonderful, highly accomplished symphonic progressivo Italiano with a nice full, well-balanced sound. The stand-out track for me was a piece called Antares with Mellotron strings and harmony vocals and plenty of musical drama, although the entire set was thoroughly enjoyable. They may have concluded with an excellent rendition of Firth of Fifth but their music doesn’t seem to be directly influenced by the UK prog scene, it’s seeped in the expressive, lyrical style of RPI. It’s well worth checking out their music at https://www.youtube.com/channel/UCu4J-y-P_JnFFXtHiu2kPfw


Melting Clock
Melting Clock

Mad Fellaz hail from Bassano del Grappa in the Veneto and though they say they were influenced by classic UK and Italian prog bands along with more recent exponents of the genre, the octet (Luca Brighi, vocals; Enrico Brunelli, keyboards; Marco Busatto, drums; Paolo Busatto, guitar; Ruggero Burigo, guitar; Carlo Passuello, bass; Lorenzo Todesco, percussion; and Rudy Zilio, flute, clarinet, keyboards) played complex tunes which came across as a blend of Zappa and Canterbury. It certainly wasn’t music that you could fall asleep to, with unpredictable twists and turns somehow all fitting together brilliantly. I was reminded of some of the bands I’d seen at Prog Résiste in Soignies in 2014 which seemed to specialise in RIO acts – uncompromising, challenging and really enjoyable.


Il Cerchio d’Oro were around in the 70s but never managed to release an album of original material until reforming in the 00s. I was looking forward to this appearance because I’d read some good things about Il Viaggio di Colombo (2008) and Dedalo e Icaro (2013) and there is another album in the pipeline. For this version of the band, the original members Gino (drums) and Giuseppe Terribile (bass) and Franco Piccolini (keyboards) were augmented by Massimo Cesare (guitar), Piuccio Pradal (acoustic guitar, vocals) and Simone Piccolini (keyboards), with guest vocalist Pino Ballarini (ex-Il Rovescio della Medaglia) and guest drummer Paolo Siani (ex-Nuova Idea.) The compositions were well structured but I felt there was less complexity than there might have been – some of the singles they released in the 70s weren’t actually prog. It was still an enjoyable performance and the appearance of the two guest musicians was warmly appreciated by the crowd.



One of the main reasons for attending was seeing Delirium on the bill, another local band who formed in 1970 and whose debut Dolce Acqua (1971) and third album Delirium III – Viaggio Negli Arcipelaghi del Tempo (1974) are considered classics of the genre; the first album is largely acoustic with an Italian folk influence and features Ivano Fossati on flute and vocals and the set at the Prog Fest contained a number of songs from this release; Delirium III is highly regarded and full-on symphonic prog though despite the absence of Fossati, who left to pursue a solo career before the second, less successful record to be replaced by Englishman Martin Grice on flute and sax, there are obvious sonic comparisons between III and Dolce Acqua, especially on opening track Il Dono. Grice has performed with Fabio Zuffanti in the Z Band and I’ve seen him at a number of gigs in the city. The present line-up, reconvened in 2015 after a hiatus of six years for the album L’Era della Menzogna features Grice, Fabio Chigini on bass, Alessandro Corvaglia on vocals (another Zuffanti connection, La Maschera di Cera), Michele Cusato on guitar, Alfredo Vandresi on drums and original member Ettore Vigo on keyboards. A very enjoyable set.


Delirium IPG
Delirium IPG

It’s pertinent that he headline act on Friday, Gens de la Lune, followed Delirium on stage because they feature Francis Décamps, formerly of French prog superstars Ange, and Ange’s crowning glory was Au-Delà Du Délire (Beyond Delirium, 1974.) I started collecting Ange CDs whilst on holiday in August 2004 from what is now Bazoom BD Musique in Auray and, not knowing which best represented their output, decided that Le Cimetière Des Arlequins was most suitable based on its year of release (1973.) I was really pleased that I detected Aujourd'Hui C'Est La Fête Chez L'Apprenti Sorcier during the Ange medley because despite the stop-start expressionist nature of the music and the theatrical delivery of Décamps (in grease paint and long leather coat, performing some serious tongue flicking) and vocalist Jean Philippe Suzan who wore a Venetian plague mask and bowler hat during one song, there wasn’t too much of Ange in evidence. Though touching on prog metal at times where the ensemble got very heavy, the music was pretty varied with more gentle moments such as guitarist Damien Chopard performing an acoustic guitar solo, and the use of a theremin and a Haken Continuum Fingerboard by Décamps. One of the highlights was an unusual percussion duet with Suzan and drummer Cédric Mells. Bassist Mathieu Desbarats was really solid throughout. They were a very good way to end the first day, finishing their set at nearly half past midnight.


The second day began with Panther & C. performing a very accomplished set of melodic symphonic prog. Their latest album Il Giusto Equilibrio was reviewed on ProgBlog earlier this month http://progblog.co.uk/the-blogs/4583484660/Panther-C./11189638 and as I’d only streamed that album and listened to their debut release L’Epoca di un Altro on YouTube, I thought I ought to do the decent thing and buy both CDs from the Black Widow stand.



Mr Punch
Mr Punch

I didn’t get to see the full Mr Punch performance and saw none of The Mugshots because I’d booked a table at a local restaurant, Le Rune. What I did see of Mr Punch, a Marillion tribute act, was pretty good as they played through Misplaced Childhood. Featuring Alessandro Corvaglia for the second time that weekend, delivering a fairly convincing Fish vocal and barefoot, just for the shooting stars, he was joined on stage by another link to Fabio Zuffanti, Luca Scherani (who plays keyboards with La Coscienza di Zeno and Höstsonaten), plus Marcella Arganese (guitar), Roberto Leoni (drums) and Guglielmo Mariotti Pirovano (bass.) I returned after dinner to see the Arabs in Aspic set and was impressed by their brand of prog which tended towards the heavy end of the spectrum but which contained sufficient melody, variation and surprises to suit someone more accustomed to symphonic prog. The Norwegian quartet sang and communicated to the crowd in excellent English, reminding us that we were united by progressive rock and when they’d finished, I was a little bemused that they weren’t helped by a group of roadies to clear their equipment. In fact, guitarist Jostein Smeby stood in the shadows stage left and began to tune one of his instruments because along with the rest of the band (Erik Paulsen, bass; Eskil Nyhus, drums; Stig Arve Jorgenson, keyboards) he was part of the backing group for Saturday headliner and space-rock legend Nik Turner.

I have to admit I didn’t stay for the whole of Turner’s performance but I did watch them tick off old Hawkwind favourites Motorhead, Silver Machine and Master of the Universe. My Hawkwind collection is limited to Space Ritual, Silver Machine and Quark Strangeness and Charm (the latter bought from Black Widow Records earlier this year) and though I’d never call them prog, there are moments when it’s appropriate to turn up the amplifier and blast out some driving riff tracks like Brainstorm and Orgone Accumulator or the electronics and spoken-word Sonic Attack. I think Quark Strangeness and Charm is a much more coherent effort than preceding albums but I do feel Nik Turner’s contribution to the early material (he left the band after Astounding Sounds, Amazing Music in 1976) is a key part of the attraction of their music and it was a real pleasure to see him on-stage, backed by a group of exceptional musicians.


The success of the festival was due to a combination of factors but the organisational nous of Massimo Gasperini and the Black Widow team and the international network of gifted musicians associated with the Black Widow roster were vitally important. It helped too, that the weather was amazing and the Piazza delle Feste provides a really good performance space. My one minor gripe was an over-zealous security guard but that was swiftly resolved by the organising team.

From the old bands to the new, Genoa is the centre of progressivo Italiano; I can’t wait to go back.









By ProgBlog, May 21 2017 08:21PM

Yes, another trip to Genoa. The weekend had to be carefully planned: on call on the Thursday hastily rearranged; gig on Friday; Crystal Palace playing their last home game of the season with kick off at noon on Sunday...

My wife and I left on the 07.10 flight from Gatwick on Thursday morning and returned on the 13:25 flight on Saturday. It was a bit of a whirlwind stay but rather successful. Susan doesn’t come to the gigs so we spend as much of the remaining time getting around. Ideally we’d have been able to leave on the Sunday but the importance of the football match, with both Palace and opponents Hull involved in a relegation scrap, it was a game I was not prepared to miss.

After checking in at the hotel, the first stop was for coffee in a local bar, Caffé del Sivori before moving on for a bite to eat. We were then able to wander into the historical centre where, among the narrow lanes and small piazza, you can find the second-hand record, CD and book stalls. This was where I bought the 1997 Ulisse and the 2000 Serendipity CDs by PFM, along with Anthony Phillip’s Wise after the Event. The main shopping attraction however, was the small but perfectly formed Black Widow record shop in Via del Campo; specialising in progressive rock, psychedelia, heavy rock, ‘dark’ prog and folk. It turns out that the founders of the shop Massimo Gasperini, Pino Pintabona and Alberto Santamaria, used to come to Beanos in Croydon to buy stock and that the reputation of the store within the prog community is really high; the Prog Archives website published an interview with Massimo in 2010, remarking that he’s a friendly guy and I concur - I’ve had lengthy chats with both Massimo and Alberto on the occasions I’ve visited and can honestly say that their generosity, knowledge and graciousness are boundless. It’s easy to form a connection when you share a passion for the same kind of music, despite my lack of Italian.



You might wonder why such a small shop has such a big influence but part of the reason is because Genoa is at the heart of the current prog scene in Italy, with the emergence of a number of new bands seeped in the traditions of 70s progressivo Italiano, plus a renewed interest in the original bands, some of the most influential of which were based in Genoa (New Trolls, Delirium, Latte e Miele, Nuovo Idea, Garybaldi.) This historic connection must have influenced the foundation of the Centro Studi per il Progressive Italiano (in Genoa’s Pontedecimo district) who aim to create a comprehensive archive of material relating to Italian prog and build a complete database of material, but also study the material at a musicological level. The other part of the explanation is that Black Widow also operates as a record label, promoting new talent and, where possible, reissuing old classics. They play an important role in the live music scene, being instrumental in the Fiera della Musica which had been held in Genoa until the area, with buildings by local architect Renzo Piano, was scheduled for redevelopment. (Susan and I visited an exhibition of competitors for this redevelopment and, rather to my delight, one entrant included the cover of Atom Heart Mother in their presentation.)



Black Widow were putting on a Metal festival that weekend, though I was far more interested in their Prog Festival to be held in the old harbour from 14th – 16th July, featuring local and nearby acts Delirium and Il Cerchio d’Oro, prog from France and Norway and Nik Turner, formerly of Hawkwind, headlining on the Saturday.



I walked away from the shop with a selection of British and Italian prog on vinyl: The first Saint Just album (rereleased by AMS on green vinyl); Inferno by Metamorfosi, Acquiring the Taste by Gentle Giant, Future Legends by Fruupp, plus a second-hand copy of Quark, Strangeness and Charm by Hawkwind.


Daytime on Friday was spent in Alessandria, visiting the UNESCO World Heritage listed Cittadella, the most important hexagonal fort in Europe due the integrity of the site, though our access was restricted because there seemed to be some event being set up. We visited the W Dabliu record store but I didn’t buy anything there, however I did come across the first three editions of Prog Italia, bundled into one, for €12.99 which I had to buy, having spent the last three trips to Italy looking for copies of the magazine.

It’s become increasingly obvious to me that Friday night is the time for prog in this part of the country because the excursion had been organised to see a couple of bands, playing on a Friday, at la Claque; Finisterre and Ancient Veil.



I’d seen Finisterre as recently as the 31st March at the Z Fest in Milan, but I enjoyed this performance more. Maybe it was the theatre itself, with tables organised like a club rather than crowding the stage at Milan’s Legend Club (and where the space on stage was divided by supporting columns), or maybe it was that the recent exposure to the band had made me more aware of the material. Despite coming from Genova and performing around the world, Finisterre hadn’t played in their home city since 2004, so it must have been a rather emotional return. Their set list comprised of material from three of their four albums Finisterre, In Ogni Luogo and La Meccanica Naturale: Tempi Moderni, Anaporaz; La Maleducazione; Macinaaqua, Macinaluna; La Perfezione; Ninive, In Ogni Luogo and Coro Elettrico performed as a mini-suite with Edmondo Romano from Ancient Veil as guest; Ode al Mare; La Fine; Incipit; Phaedra; with chat, announcements and introductions made alternatively by Sefano Marelli and Fabio Zuffanti. The musicianship was sublime and despite the absence of anything from In Limine, my favourite Finisterre album, the set was perfect. If I had to make any complaint, it would be that from where I was seated, fairly close to the front and centre, I couldn’t hear Boris Valle’s keyboards too well but the overall sound was clear.

There was a poignant moment when Zuffanti introduced Davide Laricchia, the original vocalist for the band, to perform Macinaacqua, for which he wrote the words but left before he could appear on the first album. This track encapsulates the experimental approach of the group, interspersing classical motifs into some riff-driven prog, Marelli guitar effects and Agostino Macor electronics. The delivery was over-the-top theatrics along the lines of Alex Harvey, though the melodic denouement hinted at 70s The Enid, coalescing into classic Zuffanti material; Macor even used a xylophone on this piece. Their superb set ended with a medley of prog classics; a little bit of Interstellar Overdrive, 21st Century Schizoid Man and the Hackett-friendly portion of Firth of Fifth.



I first came across Ancient Veil after seeing an article about Eris Pluvia, and received Rings of Earthly Light as a Christmas present in 2012. Released in 1991, six years after the band formed, this is an uplifting piece of neo-prog which at times, thanks to the woodwind and reeds of Edmondo Romano, borders on prog-folk. The upbeat lyrics, all in English, and the calm, warm voice of guitarist Alessandro Serri help to give it an almost New Age feel but there are odd time signatures and sudden changes that would suit the most ardent of prog fans. Eris Pluvia disbanded in 1992 and Ancient Veil was formed by Alessandro Serri, Romano, with Fabio Serri on keyboards and they released one eponymous record in 1995, with music very much in the same vein as Eris Pluvia. Ancient Veil reappeared this year with bassist Massimo Palermo and drummer Marco Fuliano and the CD I am Changing. Remarkably, this presentation of their new album was the band’s first ever live performance and though there were a couple of hitches, technical and human, the audience was understandably forgiving. The material was set out in three blocks, commencing with The Ancient Veil, followed by Rings of Earthly Light and concluding with I am Changing but the material flowed seamlessly. I bought a copy of the CD during the interval between bands so I had not heard any of the new songs; I’d also not been able to lay my hands on a copy of The Ancient Veil but it would not be unfair to say that the composers have a distinctive style. Maybe their most recent material contains a hint of wistfulness? They also introduced a guest from the past, Valeria Caucino, who sang on Eris Pluvia’s Sell My Feelings and also appears on the new album, on the song Chime of the Times. And, just as Romano had accompanied Finisterre on stage, Zuffanti and Marelli returned the favour during In the Rising Mist, making four acoustic guitarists (along with Serri and drummer Fuliano); this summed up the camaraderie of not only the musicians gracing the stage that evening, but the Italian progressive rock community as a whole.



What made the evening special was a combination of great music and a sense of history; the return of Finisterre to Genoa after a considerable absence, and the first gig by a band who have long been praised in prog circles – a remarkable double bill and immensely enjoyable. I’m already preparing for my next trip...
What made the evening special was a combination of great music and a sense of history; the return of Finisterre to Genoa after a considerable absence, and the first gig by a band who have long been praised in prog circles – a remarkable double bill and immensely enjoyable. I’m already preparing for my next trip...

Postscript

Palace beat Hull 4-0 on an afternoon basked in sunlight, securing their tenure in the Premier Leaguue for another season. What a fantastic few days












By ProgBlog, Apr 9 2017 09:47PM

It’s just after 8.30 pm on Friday 31st March and the taxi driver is suggesting that I’ve given him the wrong address. He’s driven me somewhere well outside the centre of Milan (a taxi was much quicker than public transport) and I have to assure him that there really is a gig at the night club he’s just pulled up outside, Milan’s Legend 54.



It’s a slightly strange looking venue from the kerbside, with an array of pop-up food stalls and not much else, though there was music blaring from one stall. The woman at the cash bar stand informed me that tickets for the Z-Fest could be bought ‘inside’ only I had no idea how to get inside. It was obvious I had arrived at the right place because the improvised musical equipment storage rooms, made of the sort of tents that fit onto motor vehicles, contained not just the odd drum kit but also the organiser and bassist with the headline act, Fabio Zuffanti. By the time I’d circumnavigated the building a queue had formed at the entrance: €8 for three bands and three hours of quality music.

Going back a couple of months following an awful day at work in Whitechapel, I arrived home to search the internet for a weekend break. Realistically, I couldn’t have gone away the next weekend, so I calmed down and checked to see if there was anything prog-related coming up in the next few weeks that I could include in a short city break with my wife. Milan, 31st March to 2nd April, coinciding with the Zuffanti-organised Z-Fest and, with cheap flights at good times and a four star hotel with cheap rooms, was something I couldn’t resist.



Jumping forward again to last weekend, we ate an early evening meal overlooking the duomo from the terrace of the Obicà Mozzarella restaurant at the top of the Rinascente before making our way to a guided tour of Leonardo’s The Last Supper (in the former refectory of the convent attached to the Church of Santa Maria delle Grazie) – an exceptionally pleasing attraction made all the better by our knowledgeable and irrepressible local guide. I escorted my wife back to our hotel before getting in the taxi...



When the gig was originally announced, the line-up included Cellar Noise, Christadoro, and Finisterre. The promo video for the 2017 Cellar Noise debut album Alight, an album produced by Zuffanti, was very promising and rather than import a copy, I had already decided to buy the CD (or LP, if available) at the show. The Christadoro album, another 2017 release, featured well-known Italian songs given a progressive rock makeover, not unlike the way Yes treated Simon and Garfunkel’s America. Fabio Zuffanti was involved with the concept and played bass with the band. I’d already bought the album on vinyl before reading the group were on the bill but later Facebook posts suggested they wouldn’t appear and that they had been replaced by experimental jazz-prog quintet Zaal. The Zaal connection with Zuffanti was via keyboard player Agostino Macor, an integral member of Maschera di Cera and other Zuffanti projects, though I’d never heard any music by them, unlike headliners Finisterre, as I own all their studio releases.

The evening conformed to what I’d come to expect from an Italian prog festival; it was running slightly late, there were interviews with luminaries including Stefano Agnini and Mox Christadoro during set changes, and the music was incredible. The club was pretty full and for almost all of the Cellar Noise performance I found myself standing next to drummer Paolo Tixi (Fabio Zuffanti’s Z-Band, Il Tempio delle Clessidre.) Cellar Noise were very, very good. Their live sound is heavier than on record but they played symphonic prog of the highest order, despite a couple of early technical hitches, taking us through their entire debut album and even appending a quotation from Höstsonaten’s Rainsuite to the track Monument, a nice gesture to Zuffanti, before delivering a magnificent encore of The Knife. It’s hardly surprising then, that Niccolò Gallani should come out with some Tony Banks-like synthesizer runs during their original material, or that Alessandro Palmisano should don a mask, and his between-song explanations could have been Peter Gabriel stories, especially as Alight is linked to the back cover story on Genesis Live via the London Underground. The Gabriel flute solo was covered by keyboard, with Palmisano sitting on the stage, miming the action of a flautist. Together with brothers Loris and Eric Bersan (bass and drums respectively) and guitarist Francesco Lovari, based on their excellent first album and the transfer to a live performance, there’s a bright future for this quintet.


Zaal played some challenging music and I suspect that since the original album La lama sottile, described on progarchives.com as a ‘delicately colourful type of progressive-oriented jazz-rock, highly melodic and yet mysterious’.they have become a little more hard-core, featuring some nice electric piano with a hefty dose of electronica. I have an enduring vision of Macor reaching over his Roland to a sequencer, the keyboard player forever moving, never staying still. I was reminded of circa Third Soft Machine with sax provided by Francesco Mascardi and trumpet by Mario Martini (El Trompeta), powered by the driving rhythms of Pietro Martinelli on bass and Andrea Orlando on drums (who would subsequently also play alongside Macor again for the Finisterre set); though at times they played some mesmerising jazzy space-rock grooves. I’ll be checking out their two albums on Mellow Records.



Finisterre have undergone many personnel changes over 25 years, behaving more like a musical collective than a band, although Zuffanti, Stefano Marelli (guitars) and Boris Valle (keyboards) remain core members. Tonight they were joined by Macor (who has a long history with the band) and Orlando, and the music was again heavier than on the albums. Tracks segued into each other so I found it a bit hard to follow but the musical trickery and alchemy between the members was remarkable. During an interview at Prog Résiste in 2014, Zuffanti dismissed his bass guitar skills, suggesting he was the least accomplished musician in his band (the Z-Band.) Up close, his work rate and dexterity reveal he was being too modest; his song-writing and his ability to pick amazing colleagues for his projects was never in any doubt.



The whole evening went very smoothly and it was amazing to witness such prodigious talent squeezed into 3 hours of performance, ranging from classic symphonic Italian prog to radical jazz-prog. I can’t wait to see next year’s line-up.


I got back to my hotel room in the early hours of the next morning, having failed to understand the message on a taxi firm answerphone and making my way across Milan by late-running public transport and a taxi from the Piazza del Duomo, but I didn’t get much sleep because we had to catch the 09:25 train to Como. The purpose of this day out was to assess the suitability of the lakes as a base for a longer family holiday, and Como. Only 47 minutes from Milano Central, seemed like a good place to start.

We were both suitably impressed by the architecture and the scenery but, I was once again amazed by the presence of really good record stores – every town we visit in Italy has somewhere that sells CDs and vinyl. First up was Frigerio Dischi on Via Garibaldi, before we’d seen anything of Como, where I spent some quality time going through the comprehensive Italiano section, picking out two CDs by Alphataurus (Attosecondo and Live in Bloom), a couple by Area (Maledetti and Event ’76, inspired by my attendance at Event ’16 in Genoa last October), Clowns by Nuovo Idea, La Via Della Seta by Le Orme, and PFM’s first album Storia di un Minuto on vinyl.


I could probably have bought more but travelling on Easyjet, with their cabin luggage restrictions, made me a bit wary. After an early lunch, sitting between the duomo and the rationalist Terragni Palace (the latter a modernist masterpiece, unfortunately once used as the Fascist Party headquarters but now the base for the Guardia di Finanza) we walked towards the waterfront and had to stop in Alta Fedità to browse through the vinyl, though Susan wasn’t at all impressed by the cover version of a Dead Kennedys song being played... The shop contained some rarities and some cheap, second-hand records, but there was nothing really which caught my eye, apart from a Support Your Local Record Store T-shirt.



We flew back on the Sunday, but not after a deviation for an architectural masterpiece (Torre Velasca) and a rummage through the extensive CD and vinyl in the branch of Feltrinelli in Galleria Vittorio Emanuele II; I emerged with a copy of Il Rovescio della Medaglia’s English language version of Contaminazione, (Contamination) on vinyl.


The break was successful. Getting away from work had been a high priority, but combined with the opportunity to see some amazing music made it especially worthwhile.

It’s becoming ever more evident to me that the north west of Italy, Genoa and Milan, is the crucible of much of modern progressivo Italiano. My love affair with Italian music, architecture and scenery continues. I’ll be back











By ProgBlog, Mar 5 2017 11:00PM

ProgBlog wasn’t posted last week due to the annual skiing holiday, this year undertaken by only two Pages, father and son. Booking a skiing trip inevitably involves a degree of chance, including will the weather be good for skiing and will there be sufficient snow to last the full week. There are other unknowns, too, such as the quality of the accommodation if, like us, you resort hop from year-to-year to experience different places.

Planning the trip normally relies on synchronising three diaries and taking into account Crystal Palace FC home fixtures, gig bookings and avoiding both UK and French/Italian/Austrian school holidays and everything has to be completed before the end of the financial year – for one of us working in local government finance.

We used to drive to the French Alps but for the last 10 years or so we’ve booked with a high street tour operator. Driving was fun. You could take whatever you needed and, as the family has similar musical tastes, turn the journey into one long progressive rock show. I downsized my car in 2008 and went without a car between 2012 and 2013 before getting an even smaller car which has effectively ruled out self-drive. Also, even when we set out on a Friday evening and stayed overnight at a budget hotel in northern France, the section of road approaching the Geneva turn-off first became a crawl and then a solid line of steel and aluminium, so now we fly.

Given the good-natured family relationship, built on a love of prog and a love of skiing, choosing a suitable destination ought to be easy but we do tend to book fairly late. With Google searches notching up the price of a holiday (unless you delete your Chrome browsing history) the choice is facilitated through a multitude of browsing tabs directed to different tour operators and TripAdvisor reviews. The range of reviews on offer needs to be carefully dissected and put into context. Some people like to ski and party and therefore just need somewhere basic to rest; some like home comforts and will criticise the noise from the street outside as revellers (see above) return to their rooms at 3am. We like something large enough to spread out a little and though we’re used to self-catering, we’re equally happy to be catered for... ...as long as it’s not a chalet!

This year I went back to Val d’Isère, having been there previously in 2003. This was my son’s first visit but I knew that he’d find enough skiing because the area is huge. We had been tempted by the cheaper Tignes as a lift pass combines both Tignes and Val d’Isère, at least partly because of the architecture but the accommodation was some way down the valley and was therefore a less attractive proposition. We booked an apartment in Alpina Lodge, very close to the central lift hub of the village, and were pleased to find it a good-sized suite intended to accommodate 6-8 people. I don't know if this was a post- EU referendum effect associated with the devaluation of Sterling compared to the Euro but Val d’Isère is a resort traditionally associated with the British and though English probably remained the dominant language in resort, the flight out from Gatwick was not full. However, I was quite happy to be put up in a space big enough for eight and I'd never been in self-catering accommodation of this standard before; there was a mezzanine bedroom, there were two bathrooms and even the cooker had four rings! Whereas I'm used to packing out my ski bag with cleaning materials and toilet rolls, Alpina Lodge was run on hotel lines with a mid-week clean, a plentiful supply of towels and complimentary toiletries. Luxury!

The wifi in the rooms was not brilliant but we were able to download films onto a tablet to watch after cooking and eating. We ate out on two nights; the first was at Flash Pizza, a recommendation by the Crystal rep. You'd expect ski reps to know the cheapest places to drink in resort but you might not be interested in their choice of restaurant. However, Flash Pizza turned out to be a tiny, cosy and friendly restaurant with a good choice of pizzas and though it would have been best to book, we managed to get seats at the bar after having to wait only 5 minutes. I had a Bailletta (tomato, mozzarella, goat’s cheese, walnuts and honey) which came perfectly baked; a thin crust on the well-done part of the spectrum and at €13 for a pizza 33cm diameter, the price for Val d'Isère was very reasonable. The ultimate recommendation came from the chef at one of the more established restaurants in the village – our intended destination for the last evening - who arrived to pick up his takeaway on his night off and stayed for a glass of wine and a chat. We didn’t get to eat at the Taverna d’Alsace because once again, we failed to book a table. Not booking a restaurant for the final evening of a skiing trip is madness, something we’ve done (or not done) on other trips. Fortunately, we could see another restaurant from the front door and made our way through the snow to La Casserole. A board outside indicated there was no break in service so fitting in two people at 6pm was not a problem.

La Casserole served local fare and the specialities, not surprisingly, were casseroles. The beef in my casserole, cooked in a local red wine, was presented in large chunks which melted in your mouth; genuinely lovely, filling home-cooked food. We also chose to indulge in dessert, both choosing a massive crème brûleé flavoured with vanilla, a hint of lime and bourbon and served in a special dish: A dessert to die for.



The first two days of skiing we undertaken in excellent conditions – clear blue skies and the occasional cloud and firm snow. Sadly, conditions on days 3, 4 and 5 included some of the worst mountain weather I’ve experienced where blizzards and flat light made progress very difficult. My poor eyesight means I’ve been known to fall over backwards from standing still when I’ve not been able to see features on the piste. We did manage to do some skiing on each of those days but in my case it was a genuine struggle.


Day 6 dawned bright and we set off for the furthest point in the area, the Aiguilles Percee beyond Tignes. This is a rock wall with needle-like features and an amazing quirk of geology, a natural arch in the rock which looks like some sort of cosmic space-time portal, accessible with a minor off-piste excursion. A full day ended with reduced light and strong winds, blowing away powder from the ungroomed pistes; a successful venture despite the reduced time on the slopes.



Downtime during the day when we were unable to get onto the mountains was spent preparing a postcard story, listening to music on my mp3 player, and going in search of coffee. The spread of independent coffee shops in the UK is taken for granted but, outside of Italy, mainland Europe is lagging behind and for those of us who rely on a good roast bean nicely prepared, the alternatives are rarely worth bothering with.

Fortunately for us, we found Arctic Cafe which does mountain energy foods, smoothies and organic coffee which was as good as anything you'd get in Shoreditch; a really well prepared espresso shot that we sought out every day and twice during the morning we were waiting for our transfer out of resort.


Ski playlist:

A Saucerful of Secrets – Pink Floyd

Fragile – Yes

In ogni luogo – Finisterre

Equatorial Array – Gareth Page

Invention of Knowledge – Anderson-Stolt

La Coscienza di Zeno - La Coscienza di Zeno

Meddle – Pink Floyd

Red - King Crimson










By ProgBlog, Feb 12 2017 10:27PM

The acceptance of and concordant renewed interest in progressive rock has allowed the development of a support industry that uses the reach of the internet for marketing. Prog was niche at the beginning of the 90s, subsumed by a massive music industry singularly interested in shareholder return, leaving the artist a small cog in a very big machine. Prog survived by utilising the available technology, aided by fans with a working knowledge of the internet and who were often an integral part of this technological revolution, who helped to set up some of the earliest band websites and fan forums.

I was fortunate to have an academic email account before the roll-out of commercial hosts and dutifully signed up to the amazing Elephant Talk and a somewhat more earnest Gentle Giant forum. The first mention of Notes from the Edge, the Yes-related internet newsletter run by Mike Tiano and Jeff Hunnicutt and YesWorld, the online Yes resource, was in the booklet for Keys to Ascension (1996) but one major development was the beginning of a dedicated progressive rock / art-rock mail order business. Not only had I begun to pick up Voiceprint newsletters at John Wetton gigs, Discpline Global Mobile (DGM) was reinventing the role of the record label with an innovative, ethical business strategy. Utilising the online presence of these sites, I was able to access some fantastic music, both recorded and as exclusive pre-release playbacks in the presence of the artists themselves.


The Epitaph playback
The Epitaph playback

If we leap forward to the present, I have become much less reliant on Amazon and way more enamoured with Burning Shed and Italy’s BTF and I’ve also started to use Bandcamp, the latter having the advantage of providing a download in addition to the physical medium. I know that Amazon provides this service but with Bandcamp you are able, should you wish, communicate directly with the musicians but whether you do or not, there’s a feeling of better connecting with the artists and consequently, as you’re not simply getting a product, a sense of reward. You're also avoiding tax avoiders


Post-Christmas has been a relatively busy period for acquisition of music for me. A trip into Croydon HMV saw me return home with sale-price vinyl copies of Wish You Were Here and Animals (just in time for its 40th anniversary) though if I’d ever imagined a return of the LP, I’d have never traded-in my original copies.



HMV shopping trip
HMV shopping trip

Browsing the progressive rock suggestions on Bandcamp I came across Awake & Dreaming the 2006 release by The Gift and, having seen them perform at the Resonance Festival in 2014 and been suitably impressed by both the music and the message, I thought that was a worthy addition to my collection. A couple of weeks after that I engaged in a Twitter conversation with Lorenzo Gervasi (Lorenzo Vas) who was the keyboards player with Milan-based Lethe. Their only album release, Nymphae (1994) is available as a download from Mellow Records via Bandcamp and proved to be another Italian prog gem. I subscribe to the BTF newsletter and I frequently get seduced into buying some of the old classics I’ve not been able to pick up on my travels around Italy. The most recent of these purchases was Vietato ai minori di 18 anni? The 1973 release from Jumbo which had been on my radar since seeing vocalist/guitarist Alvaro Fella on stage with CAP in Genova in 2014. This album leaves behind the blues influences that remained on DNA (1972) and is a more mature effort including some avant garde styling.


Awake & Dreaming by The Gift
Awake & Dreaming by The Gift

An awful week at work in January made me think about dropping everything and going on a weekend jaunt to Italy but I fought off the initial impulse and decided to plan something more sensible. There are lots of progressive rock-themed events around Italy throughout the year but a Facebook link took me to Fabio Zuffanti’s Z-Fest, which this year is going to be held at the very end of March so I decided to organise the mini-break to include some live progressivo Italiano. Held in Milan, this year’s line-up is Finisterre, Cellar Noise and Christadoro. I’m already well versed in the works of the former and I’d read about the latter, named after drummer Mox Christadoro, a man with over 30 years experience in the Italian music scene (though not all of it in Italian prog!) so I pre-ordered a copy of the album from Zuffanti’s Bandcamp page. Meanwhile, the Burning Shed newsletter proclaimed the availability of a limited–edition 2015 re-master of the first Kaipa album (Kaipa, 1975) on 180g blue vinyl, including a CD of the album with two bonus tracks. Another album I’d been following with interest, I had to order it.


Z Fest 2017
Z Fest 2017

The two albums arrived with a couple of days of each other. First was Christadoro, a project which brought together a bunch of highly proficient musicians from varied backgrounds, united by their love of progressive rock. Joining Christadoro (drums and percussion) and bassist Fabio Zuffanti, who was at least partly responsible for the idea are Pier Panzeri from Biglietto per l’Inferno (guitars), Paul ‘Ske’ Botta who I’d seen with Not a Good Sign on the first day of the Riviera Prog festival in Genova in 2014 (keyboards) and vocalist Andrea ‘Mitzi’ Dal Santo. The core band is augmented with some renowned guests including PFM’s Franco Mussida.

The concept, hinted at in a quotation from Richie Havens printed on the inner sleeve

I really sing songs that move me

I’m not in show business

I’m in the communications business

is a presentation of seven popular Italian songs written by some of the biggest names in Italy during the 70s, given a progressive rock makeover in the same way that Yes performed Simon and Garfunkel’s America. Another track Ricercare nel mare dell’Inequitudine della paura (Searching the sea of anxiety and fear) is a Franco Mussida solo acoustic guitar prelude to L’ombra della luce (The shadow of the light) by Franco Battiato and uses some unexpected musical intervals. This pair of tracks (I couldn’t detect the transition between the two) are my favourites from the album, though I’m impressed with each of the interpretations and how neatly they have been turned prog. There may not be the complexity associated with progressivo Italiano but there’s some great playing; when the needle hit the groove on the first playing I was struck by the excellent-sounding organ of L’operaio Gerolamo and the driving guitar riff. The great organ work continues on Il sosia (The Lookalike) but not until we’ve had a traditional Zuffanti motif, the reading from some text, in this instance the recital of lines from a 1971 TV series Il Segno del Comando followed by a brief jazz-rock workout before getting a little heavy-psyche. The slide guitar and laid-back tempo on L’ultimo spettacolo calls to mind Pink Floyd’s Fat Old Sun and despite an interesting instrumental break in the middle of the song and a more rocking ending, I feel this is the weakest track on the album.

Figli di... is guitar-driven heavy rock but the vocals are clear and good. There’s more dynamic range and a healthy dose of drama in the side 2 opener Lo stambecco ferito which verges on Van der Graaf Generator territory. Solo begins with a cello section provided by Zeno Gabaglio, electric piano features heavily but there’s also some good Mellotron work. Overall it’s a rewarding buy, though not straightforward prog; the band are playing songs that move them...


Christadoro - insive sleeve
Christadoro - insive sleeve

The old purchase is actually a current re-release of old material, Kaipa’s eponymous debut. In my worldwide search for forgotten masterpieces I’d come across the group but finding examples of the early material was somewhat difficult. My initial investigations were before I understood the role of Roine Stolt and before I’d seen The Flower Kings play live – a slightly disappointing performance because the music wasn’t dominated by keyboards, which I’d come to expect; this re-issue of the early Kaipa albums is a masterstroke.

Kaipa might be keyboard-driven but there’s a nice balance with the guitar, think of Camel between their debut and Moonmadness and the result is first-class symphonic progressive rock. I love the Swedish vocals in the same way Italian prog is best sung in Italian; the lead vocals, provided by keyboard player Hans Lundin, are confident and come across as poetic and naturally flowing.

It would be too simplistic to simply class the music as being like Camel or Focus, just because these are bands who play melodic symphonic prog. The major difference between Kaipa and those two bands is the bass of Tomas Eriksson, who uses a Rickenbacker to achieve a punchy, trebly tone. Camel tend not to conform to a style that incorporates church music, whereas Focus and Kaipa include medieval-sounding compositions, a feeling enhanced by the use of harpsichord. It would have been hard for them not to have been influenced by their fellow countryman Bo Hansson, the first Swedish rock star to gain acclaim outside his native land (thanks to Charisma Records) and there are passages which use heavy reverb organ and guitar producing the distant feel that pervades Hansson’s Music Inspired by The Lord of the Rings. The one sound I don’t particularly like is the string synthesizer, though it’s not overused.



Kaipa by Kaipa
Kaipa by Kaipa

One intriguing comparison can be made with Australians Sebastian Hardie, another band fitting that Camel/Focus/Yes symphonic style. There’s a section where a Kaipa melody line (forgive me for not being over-familiar with the tracks on Kaipa) reminds me of Rosanna from Four Moments by Sebastian Hardie; what is interesting is that the Prog Archive reviews for the Australians are overwhelming negative, suggesting their music is too derivative and labelling them ‘cheesy’. Four Moments was released in 1976, a year after Kaipa. One reviewer has also called Kaipa ‘cheesy’ though the majority find the album pleasant but not over-complex, but still worthwhile. I’d go a little further. This is good symphonic progressive rock where the language and the local folk influences make it stand apart from so-called derivative acts which I think tend to be mostly American. It’s another gem, one that surely played a part in the Sweden-centred progressive revival of the 90s.




Two new purchases, two different eras, two enjoyable pieces of music.

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