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The ProgBlog gig marathon rolls on, back in the UK 48 hours after the symphonic edition of the Z-Fest for two shows themselves only 48 hours apart: The #Yes50 tour at the London Palladium and the first show of Steven Wilson's three night residency at the Royal Albert Hall.

Could it all be getting a bit too much?

By ProgBlog, Jan 2 2018 08:32PM

New Years Eve, 2017

It’s 7pm and I’ve just started the blog. I plan to go to bed early because I’m on call and I’m hoping that revellers don’t accidentally contribute to the strain on hospital A&E departments. Not a fan of this night, any year, because of the way it’s been hyped up by advertisers and the drinks industry and how it seems to have become accepted that on this particular occasion it’s OK to get totally wasted, my best new year was spent stargazing on the summit of a small drumlin on the Furness peninsula to mark the transition from the 1970s to the 80s.


Night sky over Furness
Night sky over Furness

TV has been awful this week. The BBC 24 hour news channel has been filling the gaps between genuine pieces of news with reviews of the year for Sport, Film, Deaths, Royals and so on, shown with a frequency that positively numbs so that it becomes difficult to work out which day of the week it is. Having gone to see Crystal Palace play today I can confirm that the football schedule doesn’t help with this feeling of dislocation; lucrative broadcasting deals mean that Premier League teams and their fans are at the mercy of TV executives so that this year, what used to be traditional Boxing Day fixture took place over three days and the New Year’s Day fixture is also due to be spread over three days. Throw in odd kick off times (Palace played at noon) and it’s also messing around with my circadian rhythm.


A couple of days ago we had the announcement of who appeared in the New Year’s Honours list. This is something of a end-of-year ritual and despite a promise to end cronyism, a concession wrung out by a public increasingly disillusioned with the way politics works, we end up with a knighthood for Tory kingmaker Graham Brady and another for ex-deputy PM Nick Clegg, whose lust for power facilitated 7 years of austerity, massive student debt and the impending destruction of the NHS. This ‘recognition’, though a little better than the obvious returning of a favour to Lynton Crosby in the list last year, reinforces the notion that politics is played by an elite for people within their own, tiny bubble and with little or no connection to everyday life. This is obviously not the case for all MPs but there are a number of parliamentarians (and, at a local level, councillors) who use their power and influence to manipulate policy so that it benefits themselves or their families; those with directorships of private health companies or the landlords of multiple properties, for instance. If there’s one burning issue of the times it must be inequality, whether that’s a lack of access to decent housing, decent social services and healthcare provision or decent jobs but, to the shame of us all, the gap between the haves and have nots is getting wider.


PM David Cameron and Deputy PM Nick Clegg (Getty Images)
PM David Cameron and Deputy PM Nick Clegg (Getty Images)

I find it obnoxious that the lies told during the Brexit debate have put the country in a position which exaggerates inequality; resentment at a lack of investment in former industrial regions, backed up with the spurious mantra that we’d ‘take back control’ was channelled into stoking anti-immigration sentiment and the subsequent devaluation of Sterling means that the increased cost of goods disproportionally affects the less well-off whereas the concomitant rise in share value benefits the already wealthy. It’s incredible that we can boast about the return of blue and gold passports (during the increased time in queues at customs, perhaps) swapped for seamless, invisible borders for exports and imports, and continue an archaic honours scheme which celebrates the achievements of some of the most inappropriate individuals. As for football, today’s Palace performance might have convinced me that it’s ok to get another season ticket for next year; the lack of application from players on silly wages at the beginning of the season felt like they didn’t care about the fans who pay to see them play, their earnings outstripping that of the average punter by some unholy figure.



Crystal Palace vs. Manchester City 31/12/17
Crystal Palace vs. Manchester City 31/12/17

I’m a bit torn by the awarding of any kind of prize where intangibles are weighed up by panels because everyone has innate bias; likes and dislikes. One of the rituals I used to go through as a youth in the mid-70s was to check the Melody Maker, NME and Sounds annual polls to see how the artists that I favoured fared. Some of the results ran counter to both my tastes and to reason, such as Gilbert O’Sullivan reaching no.2 in the Male Singer category and no.4 in the Keyboards category of the 1972 MM Readers’ Poll and I was somewhat bemused by some of the musicians ranked in ‘Miscellaneous Instrument’ because it didn’t tell you which particular instrument it was referring to for each artist and they could easily have been covered by one of the other categories.


The concept has been taken up by Prog magazine which, apart from holding an awards ceremony includes an annual 20 Top Albums of the Year feature where the results are culled from the preferences of the journalists themselves. Additionally, we were invited to vote in their annual reader’s poll, mimicking the format of the classic music papers during the 70s, with the results due out in the next edition. I’ve moved on a little since the 70s and though I don’t mind a list that is supplemented with a bit of information, the Top 20 Albums of 2017 as chosen by the writers at Prog magazine isn’t really my thing. However, I submitted some obscure choices for the Readers’ Poll so I will take a look at the published results.



New Year’s Day, 2018

After listening to one of my Christmas presents, the excellent Three Piece Suite retrospective by Gentle Giant, the first complete recording I’ve listened to for nearly a week due to work, football and family commitments, I thought I’d share some of ProgBlog’s category winners, based on material released in 2017 and the concerts I attended, material unlikely to get much of a mention in Prog...


Playing Three Piece Suite by Gentle Giant
Playing Three Piece Suite by Gentle Giant

(I got called out and got home a little before midnight)

Back to the blog. Tuesday 2nd January


Album of the year: An Invitation by Amber Foil

Strictly an EP, this is the creation of João Filipe, and it’s a wonderful, all-round and well balanced item. The music takes you back to classic 70s prog, blending very modern concerns with a kind of Grimm’s fairy tale. The quirkiness of the music is reflected in the CD packaging which also contains a ‘blueprint for a house’. It’s unique. Get yourself a copy.


Commended: Alight by Cellar Noise


Bassist: John Wetton

Wetton died in January 2017, the third original progressive rock bassist to pass away in the last couple of years. Whereas there are undoubtedly a large number of amazing technical players who were represented on record or I saw play live during 2017, the accolade has to go to Wetton for the unbelievably wide range of material he’s left for us, including some of the most inventive lines expressed during his time with the 1972 – 1974 incarnation of King Crimson. A great loss to the prog community.


John Wetton circa. Caught in the Crossfire
John Wetton circa. Caught in the Crossfire

Drummer: Franz di Cioccio

The only original member of PFM remaining in the band, di Cioccio now spends as much time behind a microphone acting as front man as he does behind his kit, but along with long-term associate bassist Patrick Djivas he’s steered the ship through periods of not-so-good music to produce their best album of original material for a very long time. Emotional Tattoos may not quite hit the heights of L’Isola di Niente and Photos of Ghosts (I think it lacks sufficient contrast) but the songs are strong and the playing assured. Di Cioccio’s boundless energy, with either sticks or mic stand in his hands, is something to behold.


Guitarist: Allan Holdsworth

Holdsworth is another progressive rock legend who died last year, though in reality he was probably more of a jazz guitarist whose fluid lines graced releases by Tempest, Soft Machine, Gong, Bruford and UK. Highly regarded by other guitarists, his style was idiosyncratic. He’s another fine musician who is sadly missed.


Keyboard player

There are actually too many excellent prog keyboard players to choose from. Of course it’s great to see Rick Wakeman performing classic Yes again with ARW but I’ve also been most impressed with up-and-coming talent from Italy like Niccolò Gallani from Cellar Noise and Sandro Amadei from Melting Clock.


Miscellaneous instrument: Mel Collins, King Crimson (flute, saxophones)

I’ve always considered this a category for non-conventional rock instrumentation, rather than picking a particular type of keyboard like Moog, Mellotron or synthesizer but it was fine when Mike Oldfield used to pick up the prize for playing everything. My preference for a prog-associated instrument not covered by bass, drums, guitar or keyboards is the flute, followed by violin; I was very impressed with Lucio Fabbri when I saw him with PFM and his playing on Emotional Tattoos is real quality but I’m going to plump for Mel Collins for his woodwind. Crimson may not have played the UK in 2017 but the set-list for the US gigs, released on vinyl and CD last year, highlights the formidable talents of Collins.


Vocalist: Emanuela Vedana, Melting Clock

I’m one of a fairly small number of people to have seen the two gigs by Melting Clock but I don’t imagine it will be too long before they reach a much wider audience when they release an album later this year. Their brand of symphonic progressivo Italiano would undoubtedly appeal to all fans of the genre, but two obvious reference points are Renaissance and neo-prog. The songs are highly melodic and well-crafted with multiple layers, utilising twin guitars and keyboards to set the tone for Emanuela’s strong, operatic vocals. Simply stunning.



Live act

Choosing a favourite live act is too difficult, so I’m not going to make a decision. I’ve managed to get to see quite a number of Italian bands from the 70s, including PFM at the fourth attempt, and seeing Wakeman, Jon Anderson and Trevor Rabin performing Yes music together was quite special, but it’s the surprises like Cellar Noise and Melting Clock, both of which included accurate early Genesis tributes in their sets, which make it impossible to decide on an outright winner.


Cellar Noise at the Legend Club, Milan
Cellar Noise at the Legend Club, Milan

Venue: Porto Antico, Genova

Choosing a favourite venue is equally hard. The acoustics inside neo-rationalist Teatro Carlo Felice in Genova are brilliant, but the architecture and the internal decor are terrible; the Royal Festival Hall is a great looking building, also with amazing acoustics but I was disappointed with the Dweezil Zappa set. I loved the intimacy of Genova’s La Claque whereas Rome’s Jailbreak Club was a bit too crowded over the weekend of the Progressivamente festival. Brighton Dome is a beautiful performance space though it can be a bit of a drag getting back from Brighton by car or public transport at the end of a gig.

A fantastic setting, good sound and a great line-up made the Porto Antico Prog Fest very special and it was only a 10 minute walk back to my hotel.









By ProgBlog, Sep 6 2015 10:44AM

My introduction to King Crimson came towards the end of their 70s prime, between the releases of Starless and Bible Black and Red (both 1974.) At that time I could only delve into their past, their stunning debut In the Court of the Crimson King (1969) being next to entrance me, though their self-inflicted demise also yielded personal favourite USA (1975) and the retrospective compilation A Young Person’s Guide to King Crimson (1976.) I can’t remember why I never bought a copy of Young Person’s but I assume it’s because brother Tony and I had already embarked upon getting hold of the original albums; I do remember being impressed with its brilliant cover (by Fergus Hall) though I wouldn’t get to see the booklet included with the double LP for another couple of years when Jim Knipe acquired a copy.

As far as getting to see them play live, I couldn’t imagine it ever happening. I managed to witness Fripp’s presence, as Dusty Rhodes, when I went to see Peter Gabriel during the tour for his first solo album at the Liverpool Empire, April 1977. Fripp’s continuing emergence from ‘retirement’ for David Bowie’s Heroes (1977) sparked some interest despite my disdain for Bowie material up to that point but as far as I was concerned his return to form was as producer and guitarist on Peter Gabriel II (Scratch, 1978) which included the excellent Exposure, subsequently re-recorded for his own solo album Exposure (1979.) This release wasn’t in the same league as Crimson but Breathless (which we christened ‘Green’) hinted at ’74 Crimson. Fripp’s residency in New York and his work with a number of the local artists seemed to influence his next move, the almost-punk League of Gentlemen that Jim and I saw at the LSE in November 1980.

Meanwhile, I’d been following the fortunes of Bill Bruford and though I didn’t start collecting albums that he’d graced as a guest drummer until a few years later, releases from his own band Bruford and the first UK album were must haves. The reunion of the 72-74 Crimson rhythm section was a cause for celebration and if the original line-up of UK had managed to stay together they might have prolonged the golden era of prog; the material on UK (1978) reflected progressive rock from three or four years earlier but sounded new and different, hinting at jazz rock rather than symphonic prog. Sadly, there was no hint that the Bruford- and Holdsworth-less incarnation would change direction so drastically for Danger Money (1979) where despite some excellent music the song structure included far too much uninspiring verse-chorus-verse chorus form. I went to see UK at Imperial College, London in March 1979 and saw Bruford, in a double-headliner along with Brand X at London’s Venue in May 1980.


It was an incredibly pleasant surprise to hear about the formation of Discipline, though I regarded the inclusion of two Americans with a degree of trepidation. I was well aware of the talents of Tony Levin but not at all acquainted with the pedigree of Adrian Belew. I needn’t have worried because Belew’s on stage antics fitted the feel of the music; joyful, fun, infectious and somewhat difficult to categorise. I found it difficult to figure out which guitar was doing what and some of the noises I’d have associated with Fripp’s guitar playing seemed to come from Belew. The fast circular picked style that featured in some of the League of Gentlemen material had been refined so that when the two guitarists played together it was like tying and then unravelling some highly complex knot – the logo that was to appear on the cover of Discipline (1981) by Steve Ball was very apt. The inclusion of some of the later 70s King Crimson music should have been a clear signal that this group was about to become the next Crimson. Theoretically, I didn’t get to see King Crimson until September 1982 when they performed at the Hammersmith Palais on the tour to promote Beat (1982.) Now used to the sound of this version of Crimson, the music seemed more accessible than on its predecessor but the final release from this Crimson, Three of a Perfect Pair (1984) contained more challenging and experimental pieces. Unfortunately, this material was not toured in the UK and the next time I got to see them was after their break-up and reformation at the Royal Albert Hall in May 1995.


I was fortunate to have an academic email account in the early 90s and was an avid reader of Elephant Talk, the King Crimson e-letter lovingly put together by Toby Howard. I’d pretty much given up on musical journals apart from the odd Q which had sufficient interesting content to make it worthwhile buying, so it was through ET that I picked up on Fripp’s work with David Sylvian, going to see them at the RAH in December 1993 where I found the music to have a very dreamlike quality, largely due to the very hi-fi nature of the soundscapes. Vrooom (1994), the EP love-letter from a new-look Crimson, signalled that progressive rock, or at least acts that were classed as prog, were no longer anathema. The Discipline-era band was augmented by Pat Mastelotto (drums) and Trey Gunn (stick), both of whom played with Sylvian and Fripp. This taster release from the so-called ‘double trio’ incorporated the best of the previous incarnations of the band; there were very strong hints of Red-era Crimson and the adult pop-funk that I apportion to the pen of Adrian Belew had matured very nicely. The full release, Thrak (1995), though making Vrooom almost redundant, did not disappoint and that live show, on Bill Bruford’s birthday, was one of the best gigs I’ve ever attended and my feelings were transmitted to the ET readership when I submitted a short review.

At this time I really couldn’t get enough Crimson and went off to see them when they took in London on their next tour at the Shepherd’s Bush Empire in July 1996, the only UK date on the THRAKaTTaK tour. This was another great show in a not-so-good venue and where I picked up my copy of the just-released THRAKaTTaK live CD.


It seemed that tensions within the band may have been a little strained and perhaps members shouldn’t have read too many ET entries. In search of possible direction and allowing time for individuals to pursue other avenues the group divided up into different ProjeKcts. This was a fertile period for the band and for the Crimson imprint DGM, including the tight-knit Crimson community Epitaph and The Nightwatch playbacks that I attended in London in March and September 1997 respectively; I even provided a home-made date and walnut cake for the former. When the band reconvened for The ConstuKction of Light (2000) it was minus Bruford and had become somewhat heavier. This was quite evident during their performance at the Shepherd’s Bush Empire on July 3rd 2000, a gig that I didn’t particularly enjoy, standing downstairs in a crush between the stage and the bar.


I think I’m right in saying that the current tour, with a line-up of Fripp, Levin, Mastelotto, Mel Collins, Jakko Jakszyk, Gavin Harrison and Bill Rieflin, will include the first UK dates since 2000 and will amount to the first UK tour since 1982. I’ve continued to collect bits and pieces from Crimson-related musicians since I last saw them, including Live at the Orpheum (2015) which serves as a brief introduction to this formation with its three drummers.

I’m really looking forward to Monday!

By ProgBlog, Jul 5 2015 07:31PM

Chris Squire died last weekend aged 67, a couple of weeks after announcing that he was being treated for Acute Erythroid Leukaemia. A true giant of the bass and the last original member of Yes, the only one to have appeared on all the studio albums, he leaves an astounding sonic legacy and will be sorely missed; it was nice to read Jon Anderson’s tribute considering the way Anderson had been moved out of the group following his hospitalisation with acute respiratory failure in 2008 but he had some generous words for his co-founder of one of the most long-lasting and best-loved progressive rock acts: “I feel blessed to have created some wonderful, adventurous, music with him. We travelled a road less travelled and I'm so thankful that he climbed the musical mountains with me. Throughout everything, he was still my brother, and I'm so glad we were able to reconnect recently. I saw him in my meditation last night, and he was radiant. My heart goes out to his family and loved ones.”

It didn’t take me long to work out he had a distinctive style and was by far the best bassist of all the bands I started off listening to. As someone who used to pick up musical instrument catalogues and check out guitar manufacturers and models it was a bit of a novelty to see him play a Rickenbacker 4001 when most of his contemporaries owned Fenders or occasionally a Gibson. The trebly sound and the harmonic and contrapuntal lines were something of a trademark that even in 1972 I recognised was one of the defining features of Yes but I’m now going to suggest something that might be unpopular with some readers: I believe Squire’s influence was diminished after the arrival of Steve Howe. The Yes Album was the beginning of the Yes breakthrough with all the material written by the members including four long compositions but the one track on the record that I think best represents Squire’s writing, I’ve Seen All Good People, is in my opinion the weakest track, with a structure that conforms more to normal rock. Roundabout from the next album Fragile is almost an exercise in setting out the template for Yes music that followed and was written by Anderson and Howe despite the inclusion of two other extended-form pieces on the record, the heavy South Side of the Sky and the sublime Heart of the Sunrise, both of which were co-written by Squire. It’s the presence of Rick Wakeman that enables Yes to realise their full potential and though he isn’t given many writing credits, his ability to turn the ideas of the main composers into reality coupled with his embrace of keyboard technology and the potential to integrate their sounds into the band’s written material, launched the band to the forefront of symphonic prog.

Jumping forward a couple of years to the hiatus of 1975, Squire recorded the brilliant solo album Fish out of Water that I think has a feel closer to The Yes Album than any of the three studio albums which appeared between these two. It could be argued that there’s a sonic link between Fish out of Water and Going for the One because of the inclusion of Parallels in the latter which, if I remember correctly, is based on material left over from the former. Certainly Parallels has a strong analogy with Hold Out Your Hand but it has been put through the Yes-machine and includes some clear, soaring guitar from Steve Howe; Fish out of Water is quite notable for its absence of guitar (you can pick out some 12 string electric from time to time) and absence of complex keyboard parts. It’s almost as though Squire has gone back to basics, the pipe organ from Barry Rose hints at Squire’s church music background and the Hammond, played by Patrick Moraz, is reminiscent of the uncluttered Yes featuring Tony Kaye. The orchestration, possibly in lieu of multiple keyboard parts, is highly effective, especially the section at the beginning of Silently Falling where the wind instruments conjure images of leaves spiralling from trees in an autumn breeze. This, along with the pianos, was provided by old friend Andrew Pryce Jackman.

When you think of Yes lyrics you immediately think of Anderson flights of fancy and obscure images but it’s important to remember that Squire had the same outlook, who also writes about seeking higher attainment and cosmic harmony but tends to use language that is more grounded in the everyday. This attitude can also be found in the music, where Eastern influences come across in the multiple false endings of Safe (Canon Song). One of the minor surprises of Fish out of Water is the list of guest musicians. Alan White may have been unavailable, working on his own solo project and Squire was reunited with former band mate Bill Bruford on drums; the King Crimson connection is strengthened with the inclusion of Mel Collins on saxophones and Peter Sinfield who made suggestions for Safe; Canterbury stalwart Jimmy Hastings adds some beautiful flute. Squire’s voice is solid throughout and his multi-tracked harmony parts, reflecting the influences that shaped him as a musician, work really well. The worst thing about the album doesn’t relate to the music, which deserved a better sleeve. Brian Lane’s Polaroid of Squire is rather poor and the album would have looked much better had the stained-glass fish picture, which was included in the original LP as a full size poster that graced a number of my bedroom walls at home and then as I moved around as a student and a young adult, been placed on the cover rather than the back.

I think that Chris Squire was able to influence the direction of the music once again when Anderson and Wakeman departed before Drama. There were a number of factors that came into play, outside the sphere of the musicians themselves that shaped Yes music. I’m no fan of 90125, Big Generator or Talk and I don’t listen to Open Your Eyes or The Ladder. I’m ambivalent about the studio tracks on the two Keys to Ascension CDs and I do like Magnification, more than Fly from Here. The relationship between the band members around the time of Union can’t have helped the creative process and apart from The More We Live – Let Go I much prefer the ABWH tracks; I would have waited for Ever, on which Squire lends his vocals, harks back to the classic Yes sound. I guess I’m suggesting that in the Anderson-free Yes, Squire, through no fault of his own, was captaining the ship on a downward course. I don’t intend to buy a copy of Heaven & Earth because the band moved away from creating innovative and challenging music. Fly from Here had provided a glimmer of old Yes with the multi-part title track but that’s because it was based on music conceived around the time of Drama. One problem I have with that particular album is that rightly or wrongly, I associate Squire with the decision to axe Oliver Wakeman from the line-up at that point.

Extrovert and often seen wearing stage gear as outlandish as anything Wakeman could come up with when performing – feather boas sticking out of high boots was one outfit I remember from a concert programme, Squire was quiet and thoughtful off stage and, according to my friend Neil Jellis who encountered Squire at a Rick Wakeman gig in Buxton, he’s very pleasant to chat with. Squire’s remarkable talent of helping to flesh out Anderson’s sketchy visions, an incredible ability on the bass and an aptitude for harmony gained through his choirboy youth made him an irreplaceable member of Yes and a genuine prog luminary. The progressive rock world has lost a very gifted individual.


Christopher Russell Edward Squire b. 4th March 1948 d. 27th June 2015



By ProgBlog, Feb 1 2015 11:42PM

The lack of availability of Jumbo (progressivo Italiano) albums forced me to buy a download of DNA, the first of their two classic albums. I’d seen vocalist-guitarist-songwriter Alvaro Fella performing with Consorzio Acqua Potabile at the Riviera Prog festival in Genova last year and despite my decision to miss the CAP set when I went off in search of food, the loose organisation meant that I actually caught a fair amount of their performance. Fella, now confined to a wheelchair, had been signing copies of Jumbo CDs all day and when I went to see if I could buy one, either DNA or Vietato al minora di 18 anni? (Prohibited to minors under 18?) from one of the many diverse CD and record stalls, there were none available. Recent trips to Tuscany and the Veneto also failed to turn up copies.

DNA represents fairly basic RPI but it’s still quite enjoyable. There’s not a great deal of variation in the keyboard with only organ and piano but, like quite a lot of progressivo Italiano, there’s a hefty dose of Ian Anderson inspired flute plus some melodic early-Crimson like flute. Fella’s vocals might be something of an acquired taste – he has a distinctive theatrical style that has hints of Alex Harvey or Roger Chapman from Family. DNA was Jumbo’s first foray into a progressive sound but there’s still a weighty reminder of their past influences, including far too much harmonica for my liking. However, Ed Ora Corri (And now you have to run) which is the second part of the 3-part composition that makes up side one of the original vinyl LP (Suite per il Sig K., a track that reflects a Kafka-like existence) is quite spacey and seems to have been at least partially inspired by Pink Floyd.

Considering the widespread employment of the instrument in Italian prog, flute isn’t really very prevalent in classic UK prog. Tull, perhaps because of their longevity are one of the bands that immediately spring to mind when you think of prog and flute though Ian Anderson’s instrumental contributions are almost exclusively flute and acoustic guitar; his guitar parts not really providing much other than rhythm or chords for backing other instruments, including his flute. Most other prog flute is provided by band members who have a different, primary role: Thijs van Leer plays keyboards; Andy Latimer plays guitar; Peter Gabriel is a vocalist.

I’ve seen Focus a few times in recent years and once in the 70s on the Mother Focus tour. Though van Leer is probably most easily recognised for his yodelling on Hocus Pocus, it’s his organ and flute work that helps to define the Focus sound (Jan Akkerman’s guitar is obviously key but that has been accurately replicated by Niels van der Steenhoven and, more recently, by Menno Gootjes.) Van Leer plays both instruments at the same time! The Camel track Supertwister from 1974’s Mirage is allegedly named after Dutch band Supersister. I can believe this tale because the two groups toured together and the Camel song does sound rather like a Supersister composition, where flute was provided by Sacha van Geest. Latimer plays a fair amount of flute on early Camel albums (from Mirage to Rain Dances) but the incorporation of ex-Crimson and current Crimson woodwind-player Mel Collins into the band, certainly for live performances, reduced Latimer’s flute playing role and when Collins ceased working with the band, which turned more commercial around the 80s, the flute all but disappeared. Peter Gabriel’s flute is predominantly used in pastoral-sounding passages; it’s delicate and sometimes seems to border on the faltering but comes to the fore in Firth of Fifth. It’s odd to think that the instrument works perfectly well on the grittier, urban-like Lamb Lies Down and solo album Peter Gabriel 1.

Ray Thomas of the Moody Blues was one of the only examples of a dedicated flautist within a band (who also undertook some lead vocal duties) and there were groups, like King Crimson, where multi-instrumentalists played saxophone, flute and keyboards. Dick Heckstall-Smith of Colosseum was a sax player who dabbled in a bit of flute but the best example of a classic British prog band where sax and flute alternate as lead instruments is Van der Graaf Generator. David Jackson stands apart in this respect; he’s a soloist on both instruments, heavily informed by Roland Kirk. The Jackson sax is undeniably an integral part of the VdGG sound, partly through his innovative use of effects, but his flute is also sublime, floating in the calm before the inevitable full-on VdGG maelstrom.

Jimmy Hastings deserves a special mention. He was the go-to flautist for a wide variety of Canterbury bands, most notably Caravan (where brother Pye plays guitar) but he also contributed to material as diverse as Bryan Ferry’s solo work and Chris Squire’s Fish out of Water. It’s the Canterbury connections that run the deepest, adding to the jazz feel of the genre and making important contributions to Hatfield and the North and National Health albums. Canterbury alumni Gong have also utilised sax/flute, originally played by Didier Malherbe and more recently by Theo Travis. Travis has recorded with Robert Fripp and is currently part of Steven Wilson’s (solo material) band.

The idea of the ‘guest’ flautist in a band spreads to Steve Hackett who has utilised the talents of both his brother John and, more recently, Rob Townsend. Flute is required for covering some of the early Genesis material but Hackett’s solo work, from Voyage of the Acolyte (1975) to Momentum (1988) with the exceptions of Highly Strung (1983) and Till We Have Faces (1984) all feature flute.

The overblowing that characterises a great deal of Jethro Tull flute was adopted by many nascent RPI bands who were shifting from Beat music to a blues-inflected progressive rock and this contrasts with the more melodic approach exemplified by the Ian McDonald-era King Crimson that influenced PFM. Flute is integral to the symphonic prog sound and for those bands without a flautist, there was always the flute setting on a Mellotron – a great sound but quite distinct from the woodwind instrument itself! It may be that the musical heritage of Italy means that a flautist is likely to be involved in a progressivo Italiano act; there certainly seem to be more groups with flute than without, unlike the 70s scene in the UK. I’m personally in favour of a broad sonic palette and I believe that flute provides an appropriate melodic medium. I intend to learn to play the instrument in my impending retirement.



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