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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, Dec 5 2017 09:22PM

The Italian Riviera, stretching from the border with France to the west, down to through the Cinque Terre to La Spezia is a beautiful and often dramatic coast packed full of interesting places with well-preserved medieval quarters and fascinating histories. Genova is the regional capital and is close to the geographic centre; it’s also at the heart of the progressivo Italiano movement having been responsible for a good number of the original 70s acts and also, since the early 90s, producing a quite amazing crop of the current (and future) standard bearers.


Genova - San Lorenzo
Genova - San Lorenzo

Savona, west of Genova, was responsible for Delirium, one of the first Italian acts to adopt progressive traits. Originally a beat group called Sagittari, they changed their name when Ivano Fossati replaced the original vocalist in 1970 and released their favourably-regarded debut, Dolce Acqua (Sweet Water) in 1971. This turned out to be their only album with Fossati, though the televised appearance at the Sanremo pop festival (100km west of Savona along the coast) in February 1972 was responsible for the huge success of their single Jesahel where it finished sixth, which many regard as being the best-known pop song in Italy; I think it’s quite interesting that there’s a picturesque Ligurian town called Dolceacqua with an old, elegant single arch bridge and a 12th Century castle roughly 25km inland from Sanremo. Fossati was subsequently replaced with Briton Martin Grice on sax and flute and, after a disappointment with the jazz influenced prog of their second album, Lo Scemo E Il Villaggio (1972), they produced their symphonic prog masterpiece Delirium III - Viaggio Negli Arcipelaghi del Tempo in 1974 but split up following personnel changes in 1975.


Savona
Savona

I own a budget price ‘2LP in 1CD’ release of Dolce Acqua (with Jesahel as a bonus track) plus Delirium III - Viaggio Negli Arcipelaghi del Tempo, bought from Piccadilly Sound in Livorno on a day trip out from Pisa in August 2014, and managed to get to see the reformed Delirium (Martin Grice, Fabio Chigini on bass, Alessandro Corvaglia on vocals, Michele Cusato on guitar, Alfredo Vandresi on drums and original member Ettore Vigo on keyboards); the very enjoyable set contained a number of songs from the prog-folk Dolce Acqua but there was also good slices of 2015’s L’Era della Menzogna and 2009 comeback release Il Nome del Vento.


Delirium 2LP in 1CD
Delirium 2LP in 1CD

On my second trip to Savona I wandered into the Jocks Team record store (it was closed for lunch on my first visit) I picked up a Yes T-shirt depicting the cover of Fragile and the CD Il Viaggio di Colombo (2008) by Il Cerchio d’Oro who also hail from the city; this was me fulfilling my desire to acquire music from the home city of a group. Though they’d been around in the 70s, Il Cerchio d’Oro never managed to release an album of original material until reforming in the 00s, although they did produce some non-prog singles in the late 70s which emerged on a Mellow Records compilation in 1999 and La Quadratura del Cerchio, an album of rehearsal tracks from the mid 70s, including cover versions of songs by The Trip, Le Orme and New Trolls was released by Psych-Out Records in 2006.

Christopher Columbus lived in both Genova and Savona and provided the inspiration for Il Viaggio di Colombo, a well-presented CD and the first collaboration between the band and Black Widow Records. The sound is crisp and clear with Giuseppe Terribile‘s Rickenbacker bass high in the mix, providing the driving force for some 70’s sounding progressivo Italiano. It’s almost as though the 33 years between the snippets from La Quadratura del Cerchio and Il Viaggio di Colombo never existed. The use of sound effects such as the creaking of the wooden ship show a welcome attention to detail, though the concept, the writing and the playing are all first-class. There’s a bit of a Floyd feel to the production but the music is very much Italian prog; at times I’m reminded of Alphataurus.


Il Viaggio di Colombo
Il Viaggio di Colombo

I completed my Il Cerchio d’Oro collection in the Black Widow Shop, with 2013’s Dedalo e Icaro on vinyl and the most recent release Il Fuoco sotto la Cenere on CD. The former is stylistically similar to Colombo, a concept album in classic Italian prog style, nicely presented in its gatefold sleeve and I haven’t yet made up my mind which is better, Colombo or Dedalo e Icaro.


Il Cerchio d’Oro had played just before Delirium at the Porto Antico Prog Fest and I suspect that they were premiering parts of Il Fuoco sotto la Cenere which hadn’t been released at that time. For this version of the band, the original members Gino (drums) and Giuseppe Terribile (bass) and Franco Piccolini (keyboards) were joined by Massimo Spica (guitar), Piuccio Pradal (acoustic guitar, vocals) and Franco’s son Simone Piccolini (keyboards), plus special appearances from vocalist Pino Ballarini (ex-Il Rovescio della Medaglia) and drummer Paolo Siani (ex-Nuovo Idea), two guest musicians warmly appreciated by the crowd. I recall thinking that the compositions were well structured but there wasn’t the degree of complexity I was expecting though when I got my hands on the new release I thought it was equally as good as Colombo and Dedalo e Icaro, if not better. I was once again reminded of Alphataurus despite detecting a subtle shift towards a more conventional rock format, and where the concept is presented as a series of snapshots, rather than the linear narrative of the two preceding albums. In a move reminiscent of their 70’s performances, the final track on the album Fuoco sulla collina (Fire on the mountain) is a cover version of an Ivan Graziani song, which fits the overall concept, the idea that we live in a world where feelings smoulder under the ashes and from time-to-time, fire erupts, often violently.


Il Cerchio d'Oro - Porto Antico Prog Fest 2017
Il Cerchio d'Oro - Porto Antico Prog Fest 2017

Title track Il Fuoco sotto la cenere (Fire under the ashes) is a really good piece of prog which commences with a melodic figure and goes through multiple changes (including a section with a heavy, distorted guitar riff and some excellent organ which reminds me of Biglietto per l’Inferno.) It’s about the state of mind of a person who becomes unable to deal with everyday problems and suppress the rage which has been building up as their inner strength gets worn away, the fire that bursts from the smouldering ashes.

Thomas uses the Great Fire of London as an analogy for our ability to turn a bad situation into an opportunity; fire destroys but it clears the path for new opportunities and life can emerge phoenix-like from the ashes. The organ and guitar work really well together and the vocal melody is nicely underlined with synthesizer. The solo vocals aren’t particularly strong but there are some memorable melodies on the longest track of the album.

Per sempre qui (Forever here) relates the story of a character who spent much of his life away from his homeland in exchange for prosperity but in the end, the desire to return to his origins, the ‘fire under the ashes’ prevails over the materialistic urges. This is a relatively short number, sung with great emotion by special guest Pino Ballarini on the recommendation of Black Widow Records and who, it transpires was perfectly placed to narrate the song because the sentiment coincides with his personal story.

I due poli (The two poles) is about the conflict between two mental states, including the suppression either one of the aspects. There are obviously different degrees of this bipolar phenomenon which affect individuals to different extents. At its most extreme, there is perpetual conflict between the two sides with one dominant and one suppressed (under the ashes), instantaneously switched and transformed into ‘fire’ when the conflict switches. It begins with some almost Hackett-like acoustic guitar which resolves to melodic piano and Mellotron cello before commencing a short riff and getting a bit Floyd-y. It’s in this track where I find the greatest similarity to Alphataurus, in the vocals where they work as a chorus (and this is where the vocals are at their strongest.) There’s nice expressive guitar and some great organ work and even a trippy synth solo.

Il Fuoco nel bicchiere (Fire in the glass) is a story of alcohol addiction, where the protagonist never totally overcomes the need for drink though he’s fully aware of the consequences of his failure to do so. The melancholy which besets the character is reflected in the slow melody; the song was written by keyboard player Simone Piccolini who has been described by his father as possessing the appropriate DNA for penning Il Cerchio d’Oro songs. This is dominated by moderately heavy guitar riffs but has some nice piano and an interesting section which includes a theremin sound.

Il Rock e l’inferno (Rock and hell) plays on the idea that rock music is frequently though inappropriately associated with the devil, when it’s actually a means of communication, just transmitting a mood. It’s altogether heavier and the beat more simple than most of their other material, with the band stamping their melodies over distorted guitar riffs and classic Hammond sounding organ and wordless vocals which recall some classic early 70’s RPI moments.


Some critics have pointed out the weakness of some of the vocals and there are times where I’d agree, though I think the music more than makes up for these moments. The band acknowledged the difficulty producing a suitable follow-up to the critically acclaimed Dedalo e Icaro and the time spent attaining their trademark ‘vintage’ sound without compromising cleanliness and quality was obviously worthwhile; it’s a very good album. Though I’m not a great fan of the artwork on the cover, I do understand the links between the painting and the songs and I’m impressed that artist Pino Paolino, a former vocalist with the band, has used images set partly in a 17th century fortress located in Capo Vado, not far from Savona. By strange chance the area was devastated by one of the fires which raged in the hills along the Riviera last summer, clearing the way for new possibilities.


Il Fuoco sotto la Cenere by Il Cerchio d’Oro is on Black Widow Records BWRCD 204 (2017)


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.












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