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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.












By ProgBlog, Nov 5 2017 05:15PM

I’m off to Genova again next week, on a trip originally scheduled to see a progressive night organised by local label and record shop Black Widow at La Claque. This features Brescia’s Phoenix Again who will be highlighting their third album, Unexpected, released in May this year; local band Melting Clock who impressed me when I saw them at the Porto Antico Prog Fest in July and hope to produce their debut next year; and an acoustic set from the widely-respected Genovese group Ancient Veil who remarkably, considering their origin dates back to 1985 when Alessandro Serri and Edmondo Romano founded Eris Pluvia, playing progressive rock created from a blend of folk and Canterbury influences and released a single album Rings of Earthly Light in 1991. The band ceased to exist in 1992 but Serri and Romano, assisted by Fabio Serri, created the Ancient Veil project and put out a self-titled album, stylistically similar to Rings of Earthly Light, in 1995. The group lay dormant until early this year when they returned with a new album I Am Changing and, on May 12th 2017 performed live for the very first time – at Genova’s La Claque. I’ve now extended my annual leave and will be spending three more nights in the city; after three failed attempts to get to see PFM I’ve now got a ticket for their performance at the Teatro Carlo Felice, Genova’s 2000 seat neo-rationalist opera house on November 17th.


Architectural detail, Teatro Carlo Felice
Architectural detail, Teatro Carlo Felice

When I first started going to Italy with the intention of seeing a live band, I felt I had to buy a ticket beforehand. Navigating ticketing websites, even when there’s no version in English (unlike the sites for buying records), is generally straightforward but I’ve learned that reserving a ticket for the sort of band I like to see is neither strictly necessary nor necessarily advantageous, especially when your spoken Italian is as bad as mine and you have to rehearse what you say when you go to pick up the ticket. That’s the easy bit. It’s when staff respond, quite appropriately in their own language, that I have to resort to ‘parli inglese?’ It’s much less embarrassing when you stroll up to the ticket office and say ‘un biglietto per favore.’ Apart from a couple of nights at the recent Progressivamente 2017 festival in Rome which were crowded but entry was free, I’ve never had any worries about not getting in; on the last occasion which I reserved a ticket before travelling, the Event ’16 performance at the Teatro Altrove in Genova last October, a beautiful old theatre which could have seated somewhere between 100 and 200, the audience size was only just into double digits. However, I thought it was probably best to book for the PFM gig and I was right; there were only a few seats remaining with two weeks to go.



Not willing to miss out yet again after procrastinating in Venice in 1980, receiving a email telling me the Manticore birthday show was cancelled in 2011 and heading off to Peru during their UK tour last year, I was happy to pay €51 for a seat in the front stalls which, with the booking fee, worked out at £51 thanks to some safe hands on the economy and David Cameron’s attempt to avoid a major shift to the right as his UKIP-lite MPs threatened to split the Conservative party over Britain’s place in Europe...


The cancellation announcement  for PFM, 2011
The cancellation announcement for PFM, 2011

It’s not inappropriate to equate the Teatro Carlo Felice with the Barbican Hall or the Royal Festival Hall or the Bridgewater Hall in Manchester based on both function and their architectural interest. Though I can’t comment on the Bridgewater Hall, tickets for gigs at both the Barbican and the RFH are mostly very reasonably priced, with Camel at the Barbican in 2013 costing £25 for a balcony seat compared to the price of £37.50 for a first circle seat to see Genesis tribute band Musical Box at the Shepherd’s Bush Empire six months earlier; my Dweezil Zappa ticket for the performance at the Festival Hall last month, admittedly for a seat at the very back of the stalls, only cost £24.50.



Tickets for Genesis tribute band Musical Box
Tickets for Genesis tribute band Musical Box

My first London concert was Yes at the Wembley Arena in October 1978 when the (matinee) ticket cost me £4; a year later my ticket for jazz great Dave Brubeck playing at the Royal Festival Hall was also £4. Taking inflation into account, the £4 Yes ticket should have cost £14.95 in 2004, which was the last time I saw Yes at Wembley; it set me back £35. Southbank prices stuck a bit closer to the official inflation level and my £4 Dave Brubeck ticket would have cost a little over £19 today, though Dave Brubeck played in a quartet and Dweezil Zappa’s band was not only larger but was augmented by the Norwegian Wind Ensemble.


Yes ticket prices 1978 - 2016
Yes ticket prices 1978 - 2016

The presence of accompanying musicians obviously has an impact on ticket prices and the one Barbican concert where I was genuinely surprised at the charge for Keith Emerson in July 2015: £65 for what sadly turned out to be his final live appearance performing the Three Fates Project with the BBC Concert Orchestra. Both the Barbican Centre and the Southbank Centre receive grants from Arts Council England (though the arts has been an easy target for the government during their mad austerity drive and their share of the money has been slashed) and their importance as centres of culture attracts other funding streams, so I suspect that some of this money is used to subsidise ticket prices. The Van der Graaf Generator Royal Festival Hall reformation concert ticket from 2005 actually seems rather expensive at £30 though I’d describe this as one of the best gigs, if not the best, I’ve ever attended; the next two VdGG shows I went to see after David Jackson left and they were reduced to a trio, in 2007 and 2013, both at the Barbican, each cost £25 despite the six year interregnum.


The cost of going to see VdGG, 2005 - 2013
The cost of going to see VdGG, 2005 - 2013

It’s fortunate that I’m only interested in niche music, though the Steven Wilson tour following the dates in spring 2018 might present problems with ticket availability following the general success of To the Bone. Fans of acts like Adele and Beyonce will be aware of the difficulty getting hold of tickets at the marked price, but when tickets for Kate Bush’s 22-night run at the Hammersmith Apollo sold out in 15 minutes and a standing ticket for one of Radiohead’s three Roundhouse shows was allegedly on sale for £1200 through the secondary ticketing service Viagogo, perhaps the trouble-free days of access to prog shows will soon be over, too.

The problem appears to be with under-regulation of secondary ticketing sites (thanks, free-marketeers!) and according to a recent report in The Guardian, it’s putting the UK’s £4.5bn music industry, which supports around 142,000 jobs, under threat because fans’ cash is being diverted from their favourite acts into the pockets of touts who use methods of doubtful legality to acquire large numbers of tickets which can then be sold on to Viagogo, GetMeIn! and StubHub at mark-ups which on average nets them around 25% profit. A survey of gig-attendees found that two-thirds of respondents who had paid more than face value for a ticket on a resale site said they would attend fewer concerts in future, while half would spend less on recorded music.


It’s hardly a body blow to touting but my one experience of dealing with a character buying and selling tickets in the pedestrian subway leading out to (what was then) the Hammersmith Odeon did result in a financial loss for the tout. I’d won two tickets to see Genesis in September 1982 but couldn’t persuade anyone to accompany me. I sold the spare ticket, at the back of the stalls and with a face value of £7.50 for £10 and was entirely satisfied that no one claimed the seat.


Though there seem to be fewer examples of physical touting outside concerts (and sporting occasions) there is a massive secondary ticketing industry, said to be worth around £1bn, fuelled by the internet and based on the simple fact that demand for live music and sports events outstrips supply; this is where substantial sums of money are made by armchair touts who target the most popular events. I can’t imagine ever paying twice the face value of a ticket but that’s because I tend to stick to esoteric gigs and pay €15 to see three bands somewhere out in the suburbs of Milano, or perhaps splash out on a two-day festival ticket on the Italian Riviera... €35.










By ProgBlog, Oct 16 2017 04:17PM

This blog has been delayed due to work, family and even more gigs. After returning from Rome I’ve taken in two other gigs, most recently Dweezil Zappa performing 50 years of Frank at the Royal Festival Hall last Tuesday and, within 72 hours of landing back in the UK after the excursion to the Eternal City, Tubular Bells for Two at the Union Chapel, Islington. I found the Zappa show a little disappointing because they didn’t play anything I was really familiar with (read Hot Rats) though I did recognise snatches which I couldn’t name. Most of the material seemed blues-based and a bit formulaic but I do recall parts of Inca Roads which was one of the more complex pieces showcased that evening. I certainly can’t criticise the musicianship and I shouldn’t have been surprised by anything on the set list because the tour is advertised as Dweezil ‘plays whatever the F@%k he wants!


Dweezil Zappa: 50 Years of Frank at the RFH
Dweezil Zappa: 50 Years of Frank at the RFH

The last time I was in the RFH was to see Chick Corea and the Elektric Band on some date lost in the mists of time and it’s a really good venue; the Union Chapel is equally good for different reasons. It may only have a seating capacity of a fifth of that of the RFH but it boasts a beautiful architectural space with a very special atmosphere. The performance by Daniel Holdsworth and Tom Bamford is frenetic and may involve the odd missing effect as they continuously grapple with pedals, leads and an array of instruments and though there were a couple of minor glitches on the night, it was a amazing spectacle carried off quite brilliantly.


Tubular Bells for Two
Tubular Bells for Two

I’ve recently spent far more time than I’m used to in and under churches. I acted as an informal tour guide around 1066 Country on my days off last week and my duties included the ruins of Battle Abbey, founded where Harold was killed by a Norman arrow and later destroyed by Henry VIII during the Dissolution in 1538; the first morning of the Rome adventure was devoted to a three and a half hour mainly archaeological tour of three early churches: San Clemente was founded in the 4th Century but Luca, our tour guide and one of the archaeologists who had worked on the site explained how the original building was contemporary with the Colosseum nearby and had served as the Roman imperial mint, before being converted to a residence with a pagan temple in the basement and then a place of clandestine Christian worship in the first century AD; the second stop was the Basilica di Santi Giovanni e Paolo, another 4th Century church built over houses where roman soldiers John and Paul were martyred during the rule of Emperor Julian and hidden beneath the stairs. Underneath the basilica which was damaged during the Visigoth sack of Rome, damaged by earthquake and sacked again by the Normans, there are a series of decorated rooms (now the Case Romane del Celio museum) which comprise one of the best preserved Roman-era housing complexes. Originally a variety of building types from different periods, including an apartment block for artisans (an insula) and the dwelling of a wealthy individual which was subsequently converted into an early Christian church, the different buildings were combined sometime during the third century AD to form one elegant pagan house where it’s possible to identify the staircase where the bodies of the two soldiers were hidden after their murder; the third stop was a church founded in the sixth century, San Nicola in Carcere, which is interesting because of its former pagan history. There is evidence of utilising the existing temples on either side of the site and other repurposed building material to form the church. These layers of history can be seen by descending a set of stairs from the main body of the church, giving access to the excavation of the temple remains.


Basilica di Santi Giovanni e Paolo
Basilica di Santi Giovanni e Paolo

The archaeological and architectural delights visited over six days were actually secondary to the other purpose of the visit: prog. We arrived in Rome at around lunchtime and between checking in at the NH Leonardo da Vinci and eating supper at the Caffetteria Gracchi (where the televised Champions League game between Qarabağ FK and Roma was being shown), we managed to visit the Excellent Elastic Rock record shop where I bought four classic progressivo Italiano LPs and a Steve Hackett Genesis Revisited CD. Though an important detour, I’d really gone to see the 25th Progressivamente Free Festival at the Jailbreak Club, enticed by a string of excellent progressivo Italiano bands. An evening-only affair over five nights between Wednesday 27th September and Sunday 1st October, I could hardly believe that it was a free event. As is the way with progressive rock in general, the audience, musicians and organisers were friendly and helpful.


Elastic Rock - a very good record store
Elastic Rock - a very good record store

I was experimenting with public transport times and arrived early for the first show featuring La Bocca della Verità and Ingranaggi della Valle so I had time to grab a beer, chat to Ingranaggi della Valle keyboard player Mattia Liberati (who promised something special in their set after I’d compared the band to the Mahavishnu Orchestra), buy their debut IdV CD In Hoc Signo (2013) and the LBDV CD Avenoth (2016) from the joint merchandise stand, and claim one of the tables set out in front of the stage. The other seat at my table was taken by Vincenzo Praturlon who, despite protestations that his English was poor, was quite happy to engage in conversation about prog in general and RPI in particular. A veteran of previous Progressivamente festivals held at the Planet Live Club and Veruno’s 2 Days of Prog + 1, Vincenzo would later inform me that the ‘something special’ were a couple of tributes to the Mahavishnu Orchestra and Frank Zappa – I’d had to leave early, after only one song from Ingranaggi della Valle, to ensure that I caught the Metro all the way back to the hotel because my journey required a change of lines at Termini and the network begins to close down at 11.30pm on Sundays through to Thursdays.

The evening was introduced by Guido Bellachioma, the director of Prog Italia magazine, co-director at Italian hi-fi magazine Suono and art director at the Planet Live Club, who reminded us of what constituted prog and paid tribute to the artists, international and Italian who had died over the last year, before calling La Bocca della Verità to the stage. They didn’t disappoint, playing a good selection from the Avenoth suite which though at times sounded neo-prog or even modern, it had a very strong footing in the Italian symphonic prog tradition and ticked all the right boxes for me.


La Bocca della Verità
La Bocca della Verità

Thursday began with the underground tour of the churches and as we needed to get up early to get to the first site it proved sensible to have left early the night before. It wouldn’t be unfair to label Ingranaggi della Valle as a prog/jazz rock outfit and that evening’s performance continued the jazz rock theme with Accordo dei Contrari. They played a brand of tight-knit riff-based fusion interspersed with more abstract sections and, despite the abundance of electric piano and some great moog creating some memorable tones, I found some of the material quite challenging and not a particularly easy listen. I’d worked out that I could leave the club later and still use public transport to get back to Lepanto but having been on the go constantly from very early on Wednesday morning, I decided to give Slivovitz a miss and caught the same time metro train as I did on Wednesday.


The hospitality of the city went a little too far on Friday, attempting to make us feel more at home with industrial action on the Metro. This turned out to be only minor disruption because we simply meandered slowly from the hotel to Termini on foot and by the time we’d had a coffee (the Chef Express opposite platform 20 does a very good espresso) and a bite to eat, the strike had finished and we were able to visit Ostia Antica. This rather interesting diversion meant that we ate fairly late and I got to Jailbreak a couple of minutes before the first band, Flea on the Etna was due on stage. The club was busier than on the two previous nights and I couldn’t find an empty table, so I sat on one of the stools along the raised platform used by the groups to access the stage which provided a decent view of the proceedings. Flea on the Etna played a short set of good, straightforward jazz-rock with a hint of a Mediterranean influence. With original bassist Elio Volpini on guitar, two of the three tracks were from their self-titled album Etna (1975).


Flea on the Etna
Flea on the Etna

Consorzio Acqua Potabile (CAP) was next on the bill and I recognised most of the music from their set, a collection of lively, 70’s inspired prog and, like when I saw them in Genova in 2014, they were joined onstage by Alvaro Fella. When Jumbo ended the evening they were augmented by CAP members drummer Maurizio Mussolin and guitarist Massimo Gorlezza and they played a short set which included Suite per il Sig. K from DNA (1972). Fella’s voice has been reported as an ‘acquired taste’ but it remains strong and somehow very much fits the music of Jumbo and perhaps surprisingly well with CAP. I had the benefit of being able to enjoy the whole evening of music because the metro runs until 01.30 in the morning on Fridays and Saturdays.


CAP with Alvaro Fella
CAP with Alvaro Fella

The club was absolutely crowded on Saturday. I saw Vincenzo at the bar and he advised me to find somewhere to watch the performances as soon as possible before it became impossible to move, so I took up a standing position at the top of the steps leading to the stage access platform where I’d managed to get a stool on Friday. Standing next to me was the cousin of Semiramis bassist Ivo Mileto, come to lend support. She couldn’t tell me which group he played for but said she did like their music (Mileto replaced original bassist Marcello Reddavide.) Though Saturday evening began with ‘Italia 70’, a roundup some the best RPI committed to record, with guest appearances from Jenny Sorrenti and Gianni Nocenzi and including PFM’s Chocolate Kings and encore of E’ Festa, Banco’s 750,000 Anni fa l'Amore... and R.I.P. Jenny Sorrenti sang brother Alan’s Vorrei Incontrarti from Aria (1972.)


Jenny Sorrenti with Italia '70
Jenny Sorrenti with Italia '70

Before Saturday night was rounded off with Semiramis, Guido Bellachioma chatted with Gianni Nocenzi about BMS and their debut album which was just being re-released on 180g vinyl as part of a DeAgostini publishing deal along with 59 other important Prog Rock Italiano albums in monthly installments. Then Semiramis performed a poignant rendition of their Frazz album dedicated to the memory of keyboard player Maurizio Zarrillo who died on the 7th July this year. Each track was presaged with a short narration, accompanied by a projection of the song title, the music itself was extended and I thought that the whole live presentation felt more coherent than simply listening to the album. By coincidence I’d received a message from Massimo Gasperini from Black Widow Records that afternoon, and he informed me his BWR partner Pino Pintabona would be attending to sell the Semiramis Frazz Live DVD recorded at La Claque in Genova in April this year. I said ‘ciao’ to Pino and bought the DVD.


Semiramis
Semiramis

Jailbreak was also pretty full when I got there on the Sunday and I just had time to get a beer and buy the 2015 La Coscienza di Zeno album La Notte Anche di Giorno on limited edition vinyl plus the Biglietto per l’Inferno LP Vivi. Lotta. Pensa (2015) from the merchandise desk before taking up a standing position by the steps leading from the table area to the bar. Biglietto per l’Inferno began the evening and I have to admit being quite taken aback - I had expected heavy prog but didn’t imagine an octet playing prog-folk. It was strange but when I’d adjusted to the shock it was still good. Two original members remain, Giuseppe Cossa on keyboards and accordion and drummer Mauro Gnecchi, and they have reworked old material, including 1974’s L’Amico Suicida to fit in with the concept of their latest release.


Biglietto per l'Inferno
Biglietto per l'Inferno

Sadly, it being Sunday, the metro service reverted back to ending early and I missed the chance to see La Coscienza di Zeno, though I have seen them before. I have to say that putting on five nights of high quality music, gratis, covering a range of prog and mixing established names with more recent acts, was an amazing feat. Congratulations and thanks have to go to Guido Bellachioma, to all the artists and to the Jailbreak Club for hosting the event at short notice and it was a nice touch to dedicate the event to members of the prog world who are no longer with us. I’d personally like to thank everyone who made my stay an unforgettable experience, agreeing to chat to me in English and sharing wonderful progressivo Italiano. Hope to see you next year!













By ProgBlog, Sep 25 2017 09:51PM

The 25th Progressivamente Free Festival is being held in Rome this week, featuring performances by classic and more recent instances of progressivo Italiano. The gigs, which run from Wednesday 27th September to Sunday 1st October at the JailBreak Club start at 21.30 in the evening and showcase only two bands per night, apart from on Friday when there are three bands and the performances commence half an hour earlier. I first heard about the festival in early July, when the shows were advertised as being held at the Planet Live Club, and planned a week long Roman holiday...



I’ve been to Rome a couple of times before, in August 1980 by InterRail as a student and eleven years ago on a break between annual visits to Venice with the family. My memories of that first visit include my first ever espresso in a bar somewhere along the Corso Vittorio Emanuele II (Bar Tassoni?); being denied admission to St Peter’s because I was wearing shorts and having to run back to the pensione on the Piazza di San Pantaleo to put on a pair of jeans; the hypocrisy of nuns selling religious tat outside St Peter’s; the watermelon stalls at the Circus Maximus; the lack of care afforded to the ruins, with rogue vegetation everywhere; and the feeling that two days was insufficient to take everything in. The family visit in 2006 was a ten night stay in the heat of July, based at the Hotel Novecento in the Lateran area, very handy for the Colosseum and close to the Manzoni metro station. Susan and Daryl hadn’t been to the Eternal City before so we went over some familiar ground for me. This time we braved the queues and visit both the Sistine Chapel and the Pantheon and we also used one of our days to visit Pompeii, retracing another trip from 1980. Daryl and I even ventured out one evening to a outdoor screening of Wallace and Gromit and the curse of the Were Rabbit at the Vittorio Emmanuel International film festival which was, if possible, even more funny in Italian.


The Colosseum 1980 (top) and 2006 (bottom)


I really like the city; I know it’s dirty and graffiti-riddled and unbearably hot in summer but the history of the place trumps the traffic, the tourists and the smoking and though there’s a rush on the streets, the pace of life slows when you sit in a bar or a restaurant. This second visit coincided with the early stages of my (ongoing) passion for progressivo Italiano. 2005’s Venice trip was the first where I’d deliberately looked for classic Italian prog on CD to add to some original vinyl from the 70s - PFM’s The World Became the World (1974), Cook (1974) and Jet Lag (1977) - which yielded Caronte by The Trip (1971); Contrappunti by Le Orme (1974); Donna Plautilla by Banco del Mutuo Soccorso (1989); Concerto Grosso nos. 1 and 2 by New Trolls (compilation released 1989); and an early live album by PFM when they included cover versions of UK progressive rock tracks in their repertoire, The Beginning 1971-1972 Italian Tour (released in 1996).

In 2006 I only managed to buy CDs in one shop, the Feltrinelli store in the Galleria Alberto Sordi which also had a café where we grabbed a bite to eat, but we did visit a slightly smaller branch on Corso Vittorio Emanuele II where I bought Jonathan Coe’s progressive rock-related tale of adolescence The Rotters’ Club in the English Language section. My diary doesn’t say what music I invested in but I’m pretty sure that I picked up PFM’s second album Per un Amico (1972), the Italian version of Cook, called Live in the USA (1974) and a compilation of early Le Orme, Gioco di Bimba e Altri Successi (released 1998). I think this was the trip where I also bought Io Sono Nato Libero by Banco del Mutuo Soccorso (1973).


The evening performances mean that Susan and I can see more of Rome and environs. We didn’t manage to get to Ostia Antica on our last visit because the train we were due to catch was crowded, worse than a rush hour commute on the Southern network in the UK; a few years later I discovered from a visiting (Roman) surgeon that there was a store called Elastic Rock and when he took a weekend break at home, he brought me back Principe di un Giorno (1976) by Celeste and Zarathustra (1973) by Museo Rosenbach; I’ve subsequently discovered there’s another excellent-looking record store called Millerrecords which I hope to get to wander round.


On Wednesday we’re being treated to La Bocca della Verità, who began their career in Rome in 2001 performing cover versions of UK and Italian prog – their name, which means the Mouth of Truth, comes from a Roman tourist attraction, a marble drain cover which may date back to before the 4th Century BC, imprinted with the image of a man’s face and with openings for eyes, nostrils and mouth. It is mounted on the wall of the portico of the church of Santa Maria in Cosmedin (in the Aventine district) and is reputed to be a medieval lie-detector, where the mouth closes on the hand of liars. The six-piece began to drop borrowed material from their repertoire in 2004 to concentrate on original material, releasing their first album Avenoth in 2016, a heavy symphonic prog suite lasting nearly 78 minutes. Later on Wednesday is another local band Ingranaggi della Valle who released their second album Warm Spaced Blue on Black Widow in October last year. I saw them in Genoa in 2014 performing material from their 2013 debut In Hoc Signo which appeared to be inspired by the Mahavishnu Orchestra as much as any 70’s prog. What I’ve heard of their latest music is, if anything, more complex and more jazzy. The jazz rock continues on Thursday with Accordo dei Contrari (from Bologna) and Slivovitz (from Naples.)


Tourist attraction La Bocca della Verità


Originating in Sicily but working from Rome, Flea on the Honey releasing a self-titled album in 1971, then became Flea for their second album Topi o Uomini (1972) which was more progressive than the first, then after a break during which time bass player Elio Volpini formed L’Uovo di Colombo, they re-formed as Etna for one eponymous album in 1975 where the style had shifted to a Mediterranean-influenced jazz-rock. They appear on Friday as Flea on the Etna. Consorzio Acqua Potabile also take to the stage on Friday. Hailing from near Novara in Piedmont, they are another group I saw perform in Genoa during the 2014 Riviera Prog Festival and I’ve subsequently collected some of their material: the four CD, fortieth anniversary set Il Teatro delle Ombre (2014) and Il Bianco Regno di Dooah (2003). Though they toured a rock opera called Gerbrand in the 70s they didn’t make any studio recordings until 1993 with the excellent 70s-inspired ...Nei Gorghi del Tempo (which appears as a 20th anniversary edition on Il Teatro delle Ombre. Their Genoa appearance was made more special by the collaboration with Jumbo’s Alvaro Fella; C.A.P and Fella released an album last year on Black Widow, Coraggio e Mistero; Jumbo will be performing after C.A.P.



Saturday evening begins with Jenny and Alan Sorrenti and Gianni Nocenzi for what has been billed as ‘Italia 70’. I suspect there will be other artists but whether they’ll be performing Saint Just songs, Alan Sorrenti’s solo material (Aria from 1972 is considered an RPI classic) or B.M.S is pure speculation. Rounding off Saturday night is Semiramis. I bought their one and only album Dedicato a Frazz (1973) in 2009, paying £20 for a second-hand CD, an exceptional album that I’d like to own on vinyl.


Sorrenti siblings
Sorrenti siblings


Semiramis - Dedicato a Frazz
Semiramis - Dedicato a Frazz

There’s a mixture of the recent and original progressivo Italiano on Sunday, commencing with La Coscienza di Zeno, an excellent band with two keyboard players formed in Genoa who I’ve seen a couple of times before, in Soignies and in their home city. They perform classic-sounding RPI and both Luca Scherani and Stefano Agnini appear in Fabio Zuffanti projects. The free festival is closed with a performance by Biglietto per l’Inferno whose self-titled album from 1974 is awarded 5 stars in every publication on progressivo Italiano. I do like the album but I don’t rate it as highly as the Italian journalists because it’s quite heavy and lacks subtlety; the keyboard work is excellent and the flute is very expressive, which is good, but I think it’s more rock with a progressive edge than true progressive. Still, I’m very much looking forward to see them.



Biglietto per l'Inferno
Biglietto per l'Inferno

This is the first chance I’ll have had to see all but three of the acts and I can’t help being amazed by the spirit of the musicians and the organisers who manage to stage these festivals, not just in Rome but all over Italy, with an amazing frequency. I would have liked to have gone to Veruno for the 2 days of Prog + 1 at the beginning of September but for the time being I’ll just get ready to enjoy 11 bands on my Roman Holiday.










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