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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 1 2014 07:08PM

Sometime in 1978 or 1979 in a Zoology class at Goldsmiths’, Jo Wallace and Karen Fraser were discussing the use of the violin in rock music, not getting much further than the Fabulous Poodles and the Electric Light Orchestra, who were not remotely prog. I don’t think they even included Slade, where bassist Jim Lea had previously played in the Staffordshire Youth Orchestra, or Hawkwind who in their most prog period, and they have never been a prog band, included Simon House on violin. There’s a possibility that their friend Susan Aspinall (a botanist who I later found out was into prog) might have been able to help them out with some suggestions. I remembered this conversation recently, perhaps prompted by seeing RPI band La Coscienza di Zeno at Prog Résiste, who included violin, or by one of the CDs I was bought at Prog Résiste, the excellent Rime of the Ancient Mariner by Höstsonaten, where the violin is used primarily as a melodic lead instrument in the context of a rock interpretation of classical music. I thought the concept deserved revisiting, just sticking to prog acts.

If you consider the origins of progressive rock, a melting pot of influences including European romantic music, the violin has some claim to be a prog instrument, though it hardly features in bands from the golden era. Excluding the mix of rock band and orchestra (The Nice’s Five Bridges Suite, for example) I first heard violin on Birds of Fire. If you’ll allow me a little latitude, I maintain that there’s a very close relationship between jazz rock and prog. The Mahavishnu Orchestra utilised blistering exchanges between guitar, Moog and Jerry Goodman’s violin to stunning effect though years later when I bought a Flock CD I was disappointed with the song writing. I probably heard Geoffrey Richardson on For Girls Who Grow Plump in the Night around the time of its release but it wasn’t until I started buying Caravan albums in the 80s that I really appreciated his contribution. I started listening to King Crimson in 1974, so after the Mahavishnu Orchestra, my next true exposure to prog violin was via the ’72-’74 incarnation of Crimson, and from David Cross to Eddie Jobson who did the studio overdubs for USA.

I first came across Darryl Way as a guest musician on the track Opus 1065 from Birds by Trace. Trace supported Curved Air on tour in 1975 and keyboard player Rick van der Linden expressed an appreciation of Way’s mastery of the violin, acknowledging a shared ability to improvise around a classical music theme. The drummer on Birds was prog journeyman Ian Mosley, formerly of Darryl Way’s Wolf. Darryl Way also appeared on Heavy Horses, as a guest on the title track and on Acres Wild and also in 1978, he released his first solo album, Concerto for Electric Violin, with an orchestra synthesized by former Curved Air band mate Francis Monkman, which I remember being premiered on ITV’s highly-regarded culture programme The South Bank Show and I bought it soon after my arrival in London at the end of the 70s. My first Curved Air Album was Air Conditioning, bought second-hand from Record and Tape Exchange for £1 in the early 80s and I’ve since added Second Album, Phantasmagoria and Midnight Wire, plus Canis Lupus on CD.

The supergroup UK formed in 1977 and featured Eddie Jobson on keyboards and violin. They released two studio albums and a live set recorded in Japan and the reduced-size line-up of the second Album, Danger Money, toured supporting Jethro Tull who were very much at the height of their commercial appeal. Subsequently, Ian Anderson asked Jobson to appear on what started out as a solo venture but was released as ‘A’ under the Jethro Tull banner. I’d chart the quality of the music, from the eponymous UK debut to A as a linear decline; UK was a great album, a very strong progressive rock album tinged with jazz. The departure of Bill Bruford and Allan Holdsworth meant that Danger Money and the live album from that tour, Night After Night were weaker and the live album contains some very middle-of-the-road material. I find A very poor fare. At the time of its release many prog acts had either disappeared (temporarily or permanently) or adopted a more commercial sound. The short songs on A seemed to attempt to match prevailing tastes and watching them live from the gods at the Albert Hall did nothing to change my mind about the quality of the material.

The departure of Hugh Banton and David Jackson from Van der Graaf Generator prompted a rethink by Peter Hammill and he drafted in Graham Smith from Charisma label-mates String Driven Thing on violin. Nick Potter, absent since the recording of H to He returned on bass. The resulting sound on The Quiet Zone The Pleasure Dome is far less full than on any of the preceding albums, coming across as more urgent and direct, almost punk. Peter Hammill’s use of a violinist continued after the demise of Van der Graaf on both solo albums and during the tours of his solo material when he collaborated with Stuart Gordon.

There’s more violin in progressivo Italiano. My first exposure to RPI was PFM’s live album Cook which features the excellent multi-instrumentalist Mauro Pagani on, amongst other things, violin. Violin is quite prominent throughout the album but it is used to best effect on Alta Loma Five Till Nine where the band play an arrangement of Rossini’s William Tell Overture. Parent’s note: This song is brilliant for entertaining young children, bouncing them up and down to the rhythm on your knee. Following the departure of Pagani, PFM brought in another violinist for Jet Lag, Gregory Bloch. I understood that there was a strong tradition of Italian prog and that bands like Genesis and Van der Graaf Generator were incredibly successful in Italy, though it wasn’t until the advent of online music retailers that I was able to start buying examples from the Italian sub-genre. Introducing the family to the delights of Venice and Rome (2005, 2006 and 2007) allowed me to seek out record stores and ask the owners about prog bands. By this time it was also possible to read about RPI both in books and on fan sites so I had a good idea of what to look for. Aside from PFM, Quella Vecchia Locanda were possibly the most famous of the violin-featuring bands. I prefer their first, eponymous album with violinist Donald Lax to their second album Il Tempo Della Gioia from 1974, with Claudio Filice taking on violin duties. The first album is full of energy and, though the band took care producing their follow-up, there’s a feeling of melancholy that contradicts the album’s title, A Time of Joy. Celeste used violin on their excellent Principe di Giorno which has something of a cross between early Genesis and Wind and Wuthering Genesis. My copy is a second-hand Japanese import bought for me in Rome by an Italian transplant surgeon who spent 6 months at Guy’s. Jacopo, thanks very much.


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