ProgBlog

By ProgBlog, Sep 14 2021 09:55PM



A year after my last attendance at a live music event, 346 days to be precise, I finally got to see bands playing again. I bought my ticket for Steve Hackett at Croydon’s Fairfield Halls, my local medium sized venue, due on Monday 4th October and thought that this was going to be the first gig of 2021 but I’d totally forgotten about the rearranged and re-rearranged HRH Prog X at the O2 Shepherd’s Bush Empire which took place over the weekend of September 4th and 5th. An indication that the country is genuinely gearing-up to what musicians, the support crews and fans hope will be business as usual was the presence of flyers at the venue, advertising another multi-band gig before I get to see Hackett – A Sunday in September at The Bedford, Balham SW12, and I’ll be heading off there too on the 19th, to see Abel Ganz, The Emerald Dawn, The Gift, IT, Hats Off Gentlemen It’s Adequate and Tom Slater.


Business as usual? I’m not a fan of how the government has handled the Covid pandemic and I’m pretty sure that Boris Johnson, Rishi Sunak and Sajid Javid were delighted to announce the end of all public health restrictions in England on July 19th, in effect washing their hands of responsibility for what has turned out to be a sharp rise in Covid-related cases and concomitant hospitalisations and deaths. How much would it cost to enforce mask wearing in enclosed spaces and to maintain measures to ensure physical distancing? It was interesting to note that during the Prime Minister’s statement on Afghanistan in Parliament all but six of the Tory MPs crammed onto the government benches were without facemasks, while almost all the opposition MPs were masked and observing some degree of social distancing. This was on a day when 41192 new cases of Covid infection were recorded along with 7606 Covid patients in hospital and 45 Covid-related deaths; if this is to be the new normal, I don’t really want to be a part of it. I’d rather gigs were postponed and all those in the industry were properly supported – the furlough scheme hardly touched musicians and the industry that supports live music. A truly radical Chancellor of the Exchequer would have used the pandemic to introduce a Universal Basic Income for all.


The Covid-prevention measures in place at the Shepherd’s Bush Empire were rational and well-organised. ‘Rock The Mask’ posters were everywhere and the organisers had sensibly signed up to the use of the so-called Covid Passport. The prog-watching demographic should mostly be covered by double vaccination and I like to think that if you think about your music you’re also likely to think about the benefits of being vaccinated and maybe subscribe to the view that it’s pretty important to ensure the rest of the world gets vaccinated before we head any further down the road to the old normality. Let’s be quite clear here, as much as I’ve missed being in Italy I’m not happy about travelling while cases continue to rise in the UK and less than 30% of the world’s population is double vaccinated. The virus is still circulating and sooner or later a vaccine-avoiding variant is going to emerge unless we respond globally, and quickly. Individuals need to get a grip – write to your MP and tell them to put people before the economy. I’d be happy for a circuit-breaker if that becomes necessary, on the condition that the Prime Minister, Chancellor and Culture Secretary all acknowledge how much the UK music industry generates for the economy and ensure that no one in the business slips through the support net again if live music has to temporarily stop.


My previous HRH Prog experience (HRH Prog 4 in 2016) was something of a mixed bag. The venue was fine, especially if you were in one of the apartments rather than a mobile home, and there is a lot to see in the Welsh countryside around the Hafan y Mor site when not listening to music. However, a major complaint aired by the three travellers in the car heading home at the end of the weekend was ‘where was the prog?’ I don’t mean to get into a ‘what is prog?’ argument but the unannounced replacement of Curved Air with Purson was a major disappointment because Purson played psychedelic-tinged rock. And who ever labelled Edgar Broughton as progressive rock? On the other hand, I did enjoy Caravan, Soft Machine, Focus and Ian Anderson though I’d certainly have been more reluctant to sign up to the event back in 2020 if I’d known I was going to see the line-up as it appeared this year.


Ticking off Soft Machine in 2016 was a milestone. Without any of the original members they were still worthy of the band name, with John Marshall, Roy Babbington and John Etheridge all having served time in the outfit during the 70s when the line-up was in near constant flux. This year’s equivalent was getting to see Colosseum, a band I've not seen before on my list as a ‘must-see’. I probably heard Colosseum II before I heard any original Colosseum and my collection still only consists of the Daughter of Time compilation CD and Valentyne Suite on vinyl, so my appreciation of the band, without Jon Hiseman who died in 2018 and Dick Heckstall-Smith who died in 2004 but also missing Dave Greenslade who retired in 2015 was largely going to be based on unknowns. Long-standing guitarist and bassist Clem Clempson and Mark Clarke were present along with vocalist Chris Farlowe, accompanied by Malcolm Mortimore (ex-Gentle Giant) on drums, Kim Nishikawara on saxophones, and Nick Steed on organ. I loved the two instrumentals at the start of the set but I'm not a fan of blues-rock which unfortunately made up the majority of their material, so I was a little disappointed with the rest of the performance, even though the playing couldn't be faulted.

One useless fact I picked up was Clempson and Farlowe are fans of the venue because neither had too far to travel; Clempson lives about 200m away!



Ozric Tentacles were another band I'd not seen before and one where I'd toyed with the idea of buying one of their early albums – my local second-hand record shop had a copy of Pungent Effulgent but by the time I’d made up my mind to obtain it, someone had got there before me. Suffice to say it wasn’t quite what I was expecting and no psychoactive substances on the planet could have helped me comprehend the music even though I’d describe myself as an old hippie. I thought it lacked tonality and was a little shambolic, exemplified by former member-now guest synth player Joie Hinton who couldn’t get his keyboard rig to work.



On Sunday the first act of note was Bram Stoker, a band formed in the late 60s who would acquire a 'Progressive-Classical-Rock-Gothic-Psychedelic Rock' tag over the next three years, later categorised by Black Widow Records’ Massimo Gasperini as 'dark prog'.

This was an enjoyable set dipping into the band's past - they disbanded in 1972 and reformed in 2009 but underwent a personnel change in 2014 and again in 2019, the one constant being Tony Bronsdon on keyboards. I recognised Fast Decay, Like Autumn Now and Joust from Cold Reading (2014), a collaboration with Tony Lowe which revisits a little of the material from the debut album, and having recently read Horace Walpole's The Castle of Otranto, dubbed 'the first Gothic novel', loved Otranto from the 2019 album No Refection.



Atomic Rooster were another band I’d wanted to see and another band where I’d thought about buying either the eponymous debut or Death Walks Behind You because of their importance in the prog canon, but I’ve always been put off by their blues roots.

Formed in 1969 after splintering from The Crazy World of Arthur Brown (the preceding act at the festival, skipped for a trip into Shepherd’s Bush for something to eat), organist Vincent Crane was the only constant member of Atomic Rooster in a perpetually changing line-up until his death in 1989. His widow gave permission for the band to reform in 2016 with sometime members Pete French (vocals) and Steve Bolton (guitar), plus bassist Shug Millidge and drummer Bo Walsh, and the 2017 recruit Adrian Gautrey on organ, who managed to fill some pretty large boots. At the end of the set I was still reluctant to take a chance on one of the albums.



I hadn’t intended to listen to the Threshold performance but sat through what I thought was pretty uninspired prog metal. The bass was quite upfront, not necessarily a bad thing, but the keyboards were terribly under-mixed resulting in music lacking variation, more metal than prog despite the theatrical delivery. Johanne James’ drumstick twiddling deserves a mention because there was an awful lot of it!



The headline act was The Enid, who I’d been listening to since the mid-late 70s but didn’t get to see them play live until 1983 and witnessing The Spell premiered at the Hammersmith Odeon. I most recently saw them with Joe Payne in 2014 in Balham and 2016 at HRH Prog 4 and was disappointed on both occasions, but their performance at HRH Prog X was by far the best I've seen, including the poignant In the Region of the Winter Stars - a rearrangement of the familiar Summer Stars.



The Enid provided an excellent end to the weekend as HRH Prog X marked the beginning of a return to live prog. I’ve done my best to follow the scientific advice to minimise the spread of Covid and there was a feeling that most of the audience, certainly the others with VIP tickets on level 2 where face masks were evident if not always covering mouths and noses, took the step to normality with an appropriate degree of caution. The musicians were obviously relieved to be performing once again but I really don’t think we should rush into getting back to live events as they were up to March 2020, abandoning mitigating measures put in place to prevent the spread of the virus. Sure, the pandemic has been dragging on for 18 months now and we’re all getting antsy but it’s a careful approach, taken by each and every one of us, which will ensure we do finally emerge from the coronavirus nightmare without losing more family, friends and musicians unnecessarily.











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 [email protected]%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, 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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Welcome to ProgBlog

 

I was lucky enough to get to see two gigs in Italy last summer while the UK live music industry was halted and unsupported by the government, and the subsequent year-long gap between going to see bands play live has been frustrating - but necessary.

The first weekend in September marked the return of live prog in England, and ProgBlog was there...

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