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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

By ProgBlog, Nov 21 2017 04:02PM

Last week was the latest ProgBlog adventure in Genova (and a couple of cities along the Italian Riviera.) Not only did I get to see four amazing bands on two separate nights, I also managed to add to my vinyl and CD collections with visits to Genova’s Black Widow Records and Jocks Team in Savona, at the La Claque night of prog, plus a couple of 180g vinyl re-releases bought from newsstands, part of a series of Prog Rock Italiano in association with publisher De Agostini.


Jocks Team, Savona
Jocks Team, Savona

The Progressive Night was held at the La Claque club and organised by Black Widow. Ancient Veil opened proceedings with an acoustic set from a pared-down line-up of Alessandro Serri on guitar, Edmondo Romano on woodwind and Fabio Serri on piano, plus contributions from special guest Marco Gnecco. The sound may have been pared down since I last saw them as a full electric band in May, but their compositions are well-suited to an unplugged format and apart from a couple of moments where Alessandro had to fight a little to find the right key to sing, on tracks where the vocals commenced the song without an instrumental introduction, it was a fine performance of some beautiful, folk-inspired music. I’m still getting into their latest release I Am Changing from earlier this year, so my favourite track was one of those I’m much more familiar with, the Eris Pluvia album title track Rings of Earthly Light.


Ticket for A Progressive Night, La Claque
Ticket for A Progressive Night, La Claque

Ancient Veil, unplugged 11-11-17
Ancient Veil, unplugged 11-11-17

I’d had a chat with Melting Clock keyboard player Sandro Amadei in the Black Widow shop (where else?) when I popped in to say hello and buy a few albums after arriving in the city on the Friday, and when I arrived at La Claque for the gig I spoke to most of the band and was pleased to see that they’d got lots of support from family and friends in a packed club. I was even given a small memento: a Melting Clock plectrum which had featured in a promotional poster for the evening. I was told that this was only their second ever gig as an ensemble, the first being the Porto Antico Prog Fest in the summer, and they suggested that although the atmosphere in La Claque was incredible, the sound check had uncovered a problem with feedback when vocalist Emanuela Vedana sang at full volume. This was in contrast to Porto Antico, a large, semi-open space where whatever first-gig nerves they may have had, they could really let rip. They need not have worried; the audience was won over with the first song, L'Occhio dello Sciacallo (The Jackal’s Eye) which followed a short instrumental introduction Quello che rimane (What Remains) and the club’s acoustics didn’t cause any problems. My personal favourite is Antares, a mini-masterpiece of carefully crafted modern symphonic progressive rock. Their self-penned compositions hint at 70’s Renaissance, albeit with a distinct Mediterranean flavour; the twin guitars of Simone Caffè and Stefano Amadei add extra depth while the rhythm section of Alessandro Bosca (sporting a new 6-string bass and matching tie!) and Francesco Fiorito contribute complex but well-thought out lines to pin down the music.


Their influences might surprise a few people, considering the songs they’ve covered. At Porto Antico they performed a sublime rendition of Firth of Fifth, at La Claque they played an incredibly accurate version of Soon, the hauntingly beautiful coda to Gates of Delirium from Relayer by Yes, producing one of those spine-tingling moments which made the hairs on my arms stand up, and ended their set with a crowd-pleasing performance of Time from Pink Floyd’s The Dark Side of the Moon. It turns out that Stefano and Francesco are into metal and Sandro likes Scandinavian jazz, though Simone is a David Gilmour fan. The mixture has somehow produced excellent results; their entire set was brilliant and heralds a very bright future.


Phoenix Again was the headline act of the evening. I met most of the band at the merchandise stand where I bought their three studio albums on CD; ThreeFour (2011), Look Out (2014) and Unexplored, released this year on the Black Widow Records label, and was very kindly presented with a T-shirt. From Brescia and originally called Phoenix when they formed in 1981 by Lorandi brothers Claudio (lead guitar, voices), Antonio (bass), Sergio (guitars) along with Silvano Silva (drums, percussion), they added keyboard player Emilio Rossi to expand their symphonic sound in 1986 but disbanded in 1998 without ever having produced an album. Following the death of Claudio in 2007 they revisited their music and, with the help of a number of guest musicians, released ThreeFour in 2011 under the moniker of Phoenix Again.

The current incarnation, first appearing on Look Out, is made up from original Phoenix members Antonio Lorandi, Sergio Lorandi (now taking on lead guitar and vocal duties) and Silvano Silva, plus two more of the Lorandi family, Marco (guitar) and Giorgio (percussion), and Andrea Piccinelli on keyboards. On record, their sound ranges from symphonic progressive to jazz rock, funk and experimental however, their live sound tends more towards the jazzy and has a much more urgent, hard edge which makes it come across as complex and intricate. I think I recognised the epic tune Adso da Melk from Look Out which includes a multitude of styles but has a section which reminds me of Camel’s Lunar Sea. The high energy set concluded with some banter between the audience and Marco Lorandi, who appeared to have been asked to pick out a particular tune or riff and this in turn gave way to a solo spot from Sergio who, as the crowd was dispersing, played beautiful renditions of first Steve Howe’s Mood for a Day (from Fragile) and then Steve Hackett’s Horizons from Foxtrot.


I stayed behind after the performances to speak to a number of the artists, congratulating Melting Clock on a magnificent show and getting introduced to local promoter Marina Montobbio who, it turns out, had been at the 2014 Prog Résiste festival in Soignies because of her work for The Watch who had headlined on the last evening. Resplendent in a pair of Gibson plectrum earrings, I’d seen her at Porto Antico taking photos of the different groups and also chatting to musicians, so I suspected she had some official role. Smart and knowledgeable, if I ever think about getting involved in promotion in the music business, she’d be top of the list of people to contact. It was a thoroughly enjoyable evening thanks to the musicians and the organisers and I can’t believe anyone could have left the venue feeling disappointed.



PFM ticket
PFM ticket

I’ve waited a long time to see PFM play live and stayed on in Genova for their appearance at the city’s premier venue, the Teatro Carlo Felice. With a boarded-over orchestra pit the septet seemed quite far away, even from row 12 in the stalls, but I soon found out that sole surviving original member and de facto front man Franz Di Cioccio was able to take full advantage of the empty space. I’d burned the Italian version of the CD of their new release Emotional Tattoos, which came with my English-version double vinyl, and listened to this the night before on my mp3 player in preparation for the concert; they began with Il Regno from that album, which I think is one of the best tracks. They then performed a string of early classics: La Luna Nuova (from L’Isola di Niente, the original version of Four Holes in the Ground for anyone without the Italian releases); a surprising English language inclusion, Photos of Ghosts; Il Banchetto which appears on the second album Per un Amico and also on the first of their Manticore LPs Photos of Ghosts; Dove... Quando... part 1 and part 2, from 1972’s Storia di un Minuto; and La Carrozza di Hans and Impressioni di Settembre (which would become the title track from The World Became the World) also from the debut record. If the performance had stopped at this point I’d have been completely satisfied because the songs and the playing had already exceeded my expectations; this is what I’d waited for. However, the show continued with two more of the best songs from Emotional Tattoos, La Danza degli Specchi and Freedom Square, before the band took a 10 minute break. They recommenced with the Celtic-influenced Quartiere Generale but then moved into territory I was unfamiliar with, Maestro della Voce from the 1980 album Suonare Suonare, one of the only PFM releases I don’t possess and which featured violinist and current member Lucio Fabbri for the first time. There is a version on PFM: In Classic but it's not a track I listen to. This was one of two tracks from the entire evening which I found unsatisfactory but that’s because Suonare Suonare is considered to be PFM’s equivalent of ...And Then There Were Three, the first post-Gabriel, post-Hackett Genesis album, the mark of decline from full-on progressive rock. Normal service was resumed following an introductory explanation to the next piece from Patrick Djivas, who pointed out the importance of classical composers to the PFM sound and they played Romeo e Giulietta: Danza dei Cavalieri which had been covered on their 2013 PFM: In Classic album. The classical theme continued with Mr. Nine Till Five appended with Five Till Nine including their version of Rossini’s William Tell Overture. They left the stage only to return in less than a minute, before the audience request for an encore had even started in earnest, recommencing with their version of the Fabrizio De André song Il Pescatore. This had particular relevance for Genova, because De André, regarded as Italy’s best ever singer-songwriter for his mix of Ligurian folk influences with social commentary, came from the city. De André shunned public performance until 1975 but his 1979 tour featured PFM as backing band and allowed them to choose the set list and make the instrumental arrangements. The crowd had been calling out suggestions for what to play and it came as no surprise that part of the encore was the old favourite È Festa (Celebration on Photos of Ghosts) which included an amusing drum duet between Di Cioccio and Roberto Gualdi and some audience participation, encouraged by the PFM front man who was bounding around the entire front stage area (splitting the hall into three sections to chant Se-le-Brescion, as this version of the song is known.) They left the stage to tumultuous applause and even though the house lights came on, the crowd applauded and called for more music and eventually, the band conceded and returned to play what I believe was the theme from the 1966 comedy film L’Armata Brancaleone, the energetic folk-inflected Branca Branca Branca Leon Leon Leon written by Carlo Rustichelli. This was lost on me at the time, though my fellow concert-goers absolutely loved it; it’s been in the PFM repertoire for some time and I found it interesting to note that Carlo Rustichelli’s son Paolo was also a composer, releasing the prog Italiano Opera Prima in 1973.


The vocals were primarily handled by Di Cioccio but some of the singing was by Alberto Bravin, who also added keyboards. The main keyboard player, accurately interpreting the early material, was Alessandro Scaglione and filling the shoes of Franco Mussida, who left the band in 2015, was Marco Sfogli. The line-up proved very adept and though there was no flautist, these lines were provided by keyboards; it might also have been good to hear something from Chocolate Kings or Jet Lag, the latter album being a vehicle to showcase Djivas’ excellent bass technique but when you think that they played for over two and a half hours, promoting their latest release but also entertaining us with all the old classics, it was impossible to walk away without thinking that sticking around in Genova for three extra nights had been a good cause for celebration.












By ProgBlog, Jun 28 2015 10:12PM

A forty-year anniversary passed last month that I hadn’t realised until I watched my The Gates of QPR, Yes at Queens Park Rangers Stadium (volume 2) a couple of days ago – a concert recorded on the 10th May 1975 and featuring Patrick Moraz on keyboards even though there’s a picture of Rick Wakeman on the back sleeve. The set list for this DVD is really good and the sound quality is mostly good, too. It’s quite interesting to see Steve Howe using a double-neck 6 and 12 string Gibson for the opener, And You and I, whereas in the studio he used a 12 string acoustic guitar and I’m sure I’ve seen him play an acoustic instrument when I’ve seen Yes play live. There are a number of entirely reasonable practical reasons for using an electric guitar in this context which doesn’t really detract from the feel of the performance but I believe the original studio instrumentation is an important part of the make-up of symphonic progressive rock.

One of the core features of symphonic prog is the broad sonic palette utilised to produce sweeping musical visions incorporating a range of different moods. The listener’s interest is maintained by a number of devices including changes of tempo, changes of time signature, chord changes and changes in amplitude. This compositional complexity is what appeals to me because it makes the music less formulaic and more likely to capture my imagination, transcending the verse-chorus-verse-chorus of the boy-meets-girl pop song and allowing the musicians to relate long stories or explore philosophical issues. Different instruments or electronic patches, often outside the remit of mainstream popular music, don’t only add an exotic flavour but may represent a particular narrative thread; Camel’s Snow Goose uses this formula but Prokofiev’s Peter and the Wolf, written for a children's theatre is the best example. Prokofiev invented the story and wrote the narration, constructing the music as a child's introduction to the orchestra, with each character represented by a different instrument or group of instruments: Peter by the strings, the bird by the flute, the duck by the oboe, the cat by the clarinet, the wolf by the horn section, and so on. It’s therefore hardly surprising that a number of prog luminaries, including Bill Bruford, Brian Eno and Robin Lumley, should collaborate on a rock version of the Prokofiev classic.

The main exponents of acoustic guitar passages include Yes, Genesis, Focus and PFM. I’ve not included Jethro Tull in this list because Ian Anderson’s guitar is primarily used as strummed or picked chordal blocks, intended as backing for electric guitar, keyboards, flute or a vocal melody line. I’m also not including the brilliant John McLaughlin because his playing falls within the jazz and jazz-rock contexts but, from the progressive world, Steve Howe, Steve Hackett, Jan Akkerman and Franco Mussida are all masters of their craft, allowed to display their virtuosity within a group context though their solo work often shows how different genres have influenced them. Steve Howe’s Beginnings (1975) and The Steve Howe Album (1979) feature a range of examples of the different styles that have been key to his development as a guitarist. Early Genesis featured up to three members strumming guitars and the arrival of Steve Hackett didn’t change this too drastically, though his playing over the top of 12 string guitar, like on The Return of the Giant Hogweed, (from Nursery Cryme, 1971) is far more confident than that of the undeniably talented Anthony Phillips. The first real clue to what inspired Hackett comes in the form of Horizons (from Foxtrot, 1972) and I had the good fortune to see him on his acoustic trio tour at the Ashcroft Theatre in Croydon in 2005 which featured most of the same set and was played by the same musicians, Hackett, his brother John (flute) and Roger King (keyboards) appearing on the box set Hungarian Horizons Live in Budapest (2002) and formed a sort of prelude to the classical covers of Tribute (2008). Jan Akkerman’s study of the lute made an important contribution to both Focus 3 (1972) and Hamburger Concerto (1974).

The rise of prog coincided with an interest in classical guitar pieces, notably concertos written by Joaquín Rodrigo and Heitor Villa-Lobos – I recall buying my sister Linda an LP of Rodrigo’s guitar concertos sometime in the mid-70s – and this fascination was cemented by the Stanley Myers piece Cavatina, played by John Williams, which defined the soundtrack of The Deer Hunter. John Williams had been involved in crossover projects in the past but along with long-term collaborators Herbie Flowers on bass and tuba and drummer Tristan Fry he formed Sky after recruiting fellow Australian guitarist Kevin Peek and former Curved Air man Francis Monkman on keyboards. I was never a fan of Sky who I considered to be prog-lite, appended to the genre by journalists and critics even as it faded. It may have been the insipid rendition of Toccata that featured on Top of the Pops in 1980 that confirmed my lack of enthusiasm for the project.

A good place to look for acoustic guitar-rich prog is Spain. As part of my preparations for a family holiday to Barcelona in 2010, I researched Spanish prog bands and record shops and, on arrival, set out to find music by Triana (regarded as the best of Spanish prog), Iceberg and Gotic. In the end I had to buy a download album by Gotic, the upbeat, instrumental Escenes (1978) which sounds like Greenslade with flute but I did manage to find two releases by Iceberg, the symphonic prog Tutankhamon (1975) and the jazz-rock Coses Nostres (1976) and the first three Triana albums El Patio (1975), Hijos del Agobio (1977) and Sombra y Luz (1979). El Patio (The Backyard) is quite accessible, setting out the Triana stall of traditional flamenco mixed with progressive rock and referencing an LSD trip. I find it interesting that almost the entire album was written by keyboard player Jesús de la Rosa rather than guitarist Eduardo Rodríguez Rodway; electric guitar and bass were provided by guest musicians. Spain was just emerging from the fascist dictatorship of General Franco when Triana were becoming established and Hijos del Agobio (Children of the Burden) is darker and more political than its forerunner but this style of music, blending flamenco and keyboard driven symphonic prog and initiated by Triana, has its own sub genre, Andalusian rock.

The trio of albums by Gordon Giltrap beginning with Visionary (1976) moved the artist away from his folk roots and, with the aid of an electric guitar and a good backing band, create some excellent prog that features a good mix of electric and acoustic-based songs. Perhaps Giltrap thought that the folk sphere limited his outlook, rather like the strictly classical guitar field when you compare it with the potential audience that listens to rock. There’s a rich vein of early, classical and romantic music that can be used as a basis for prog compositions which can challenge the player and listener alike. Symphonic prog successfully taps this repertoire providing variations in tone and volume and, possibly most importantly, a link to pastoralism.



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