The
term progressive rock has carried with it some valuable and some invaluable
moments with it through the past 45+ years. Ever since The Beatles
took us one step beyond with Revolver, progressive rock as
an art form has changed the music world for good. Only a few of the
original 1960's progressive rock bands are still here although bands
such as YES and The Moody Blues are sadly missing key members in 2013.
Some of those missing YES members are to be heard on a fantastic new
album coming out of Italy by the group Sarastro Blake entitled
New Progmantics. The brainchild of two gifted
Italian music conceptualistsPaolo Pigni (bass, guitar,
keys) and Luca Briccola (electric guitars, keyboards,
production)the 2013 Sarastro Blake album is filled with memorable
music and its also loaded with indelible performances by some
well known musical legends. Among the music icons appearing on various
tracks here are former YES keyboardist Rick Wakeman and late
1990's YES guitarist / producer Billy Sherwood. Also among
the CD highlights is a track featuring vocals from Pilot cofounder
David Paton while also on hand is Caravan cofounder Richard
Sinclair, who turns in a most respectable vocal performance on
what may be the
standout cut here entitled Rememberan original song
built around the words of English poet Christina Rossetti,
who actually lived in England in the 19th century. That inventive
song really captures the essence of the Sarastro Blake New Progmantics
albumwhich takes the poetry of English poets and authors, including
John Clare, William Shakespeare, Lord Byron and
Robert Burns and constructs new song arrangements around them.
The love of that nostalgic, wistful English poetry is well served
on the New Progmantics album. Supported by these and other
fine musicians, Paolos vocals are excellent and Lucas
guitar on target. With sonic geniuses like Wakeman, Sinclair and Sherwood
on board the CD, how can you go wrong? You cant go wrong because
The New Progmantics takes the listener a bold step forward
into the brave new world of 21st century progressive rock. www.SarastroBlake.com
mwe3.com presents an interview with
Paolo Pigni of the group
SARASTRO BLAKE
mwe3:
Can you tell us where you were born and where you live now and what
you like best about it? Who were some of your big musical influences
from all over the world while you were growing up?
PAOLO PIGNI: I was born in Como, Italy, apparently the town
where Don Henleys grandmother came from! Or, in more recent
times, George Clooneys holidays abode, just to set the scene;
indeed a lovely place to live in, though Id rather live somewhere
in Scotland or in Kent, England. (lol)
I grew up listening to all kinds of music, and this is probably reflected
in my song writing style, too many artists to mention here, but I
could say I was equally influenced by American and British musicians,
say from Crosby, Stills, Nash & Young to Pink Floyd, apart from
classical music.
mwe3: How did you come up with the concept for the 2013 Sarastro
Blake New Progmantics CD? Its a real touch of genius
taking the poetry of legendary English poets and writers from centuries
past and putting new music to their words. You must have an immense
fondness for great writing and then finding the inspiration to put
new music to centuries old poetry. Can you shed some background on
the CD, where and when was New Progmantics written and recorded?
PAOLO
PIGNI: Honestly its not a very innovative idea, even Madame
Carla Bruni recently did an album like that! Indeed I studied British
poetry at high school and Ive always been fond of it anyway;
likewise, I am very fond of the Pre-Raphaelite painters. Most of the
songs were written from the end of 2010 to late 2011 and the album
was recorded from January 2012 till early 2013, though not continuously.
It was recorded at Luca Briccola's studio, near Como.
mwe3: How did you enlist some of the great artists who appear
with you on the CD and logistically how were their parts added to
the mix of the CD? I must say, the overall sound of the album is quite
a breakthrough in 21st century recording styles. For instance, Rick
Wakeman, Billy Sherwood and Richard Sinclair on the same album? Is
that a once in a lifetime event? Were you able to meet Rick and Richard
and Billy too? Also singer Amanda Lehmann singing the Robert Burns
poem My Hearts In The Highlands is quite exhilarating.
How did you meet Amanda?
PAOLO PIGNI: Well, Luca was in charge of production, but I
also had ideas etc., and I felt that some tracks
needed extra input. If you look at the "making of" section
of the web site www.sarastroblake.com
you will find out the genesis and development of each song. I met
Rick Wakeman a couple of times at concerts and I was introduced to
him by a mutual friend and by his former Italian fiancée at
the time (2004). Actually I also met and spent a couple of days with
Jon Anderson when he spent some holidays in Como during a hiatus from
a YES tour... I remember I even drove him and Jane to Milan where
he had to reconvene with the rest of the band. Lost in fond memories
here, anyway, I had written this mini suite called Stanzas For
Music but I felt that my piano playing was a bit poor for such
kind of song, so I sent an email to Rick Wakeman asking if he was
interested in playing the song, sent a demo and he said yes and played
the whole piano track for the song. I knew Billy Sherwood, Richard
Sinclair and Amanda Lehmann via the internet. Again I felt that the
songs I was working on needed a particular performance. My Heart's
In The Highlands to my ears always required a female vocal so
I asked
Amanda if she was interested in singing the lead vocals. She accepted
with much enthusiasm and then she also created those great harmonies
you can hear in the song. With regard to the song Flaming June,
we laid down the backing track with me on piano and bass and midi
drums by Luca but we were stuck and Luca did not know what to do with
the arrangement. Actually its another long song and a rather
weird one having a first part which could be a pop single and a second
instrumental section that goes a bit into rock and jazz territories.
I thought about Billy Sherwood because he is not only a talented musician
but he can play everything and he likes to cross boundaries and hes
not one of those boring proggers who might say, Oh no, it has
a refrain and its melodic,
I won't play that engaging stuff... it has to be sad and gloom as
well! (lol) Eventually it became an even weirder song that sounds
like a strange blend of Beatles/Yes Into the Lens ala
Pink Floyd/Steely Dan. I am very happy with it, this is prog to me,
mixing ingredients and I think the match between the lyrics and music
creates a surreal picture. Indeed it was inspired by the canvass of
the same name by Lord Frederic Leighton.
With Richard Sinclair it took me months of courting. I have to say,
he was interested but kept delaying over and over again, but I was
convinced that Remember had something reminiscent of those
early seventies Caravan tunes and he was just perfect for the lead
vocals having that unique warm vocal. Eventually he also played bass
which I had already recorded and I am proud he kept some of my original
lines! I hope there s a chance of working with them again as well
as I hope to involve other musicians in the future but, apart from
their willingness to do that, it will depend on the music that is
to say, if I will be able to write a song that matches a specific
talent/input I will ask. If I turn to rap for example I would find
it difficult and embarrassing asking Nick Magnus to play keyboards!
(lol)
mwe3:
Can you tell us about the musical chemistry on the CD, between you
and Luca Briccola and the CD drummer Mirko Soncini? How long have
you known Luca? Everyone on the CD turned in a spectacular performance.
Is there anyone else performing on the CD youd like to mention?
PAOLO PIGNI: With Mirko on the drums Ive played about
one hundred shows or more so there is good chemistry as a rhythm section.
Ive known Luca for many years now and we played together in
a couple of projects together. I think we are a nice pair musically
and we match and complement each other very well though sometimes
we have different opinions but eventually we manage to create good
music I would hope! Sometimes instead we have the same vision and
I think overall there is a winning chemistry. Also, creativity
comes sometimes from conflict and different ideas, therefore we seem
to have all the ingredients to create interesting stuff. I would like
to mention Serena Bossi who sang Sonnet 116 and Flaming
June. She did a great job on the Shakespeare Sonnet
not to forget Flaming June, where she sang the refrain
with me... and yes, Luca was back with some great ideas about the
vocals on that song!
mwe3: Richard Sinclairs vocal on Remember
is simply amazing. Richard is such a legend of Caravan in the late
1960s / early 1970s and I remember meeting him in New York in the
1990s. He was such a huge influence. How hard was it to write a song
for Richard that good set to a poem written by Ms. Rossetti in the
mid 1800s? I think she must be smiling from heaven. Who is playing
the keyboards on that track? It sounded like Rick too but if its
Luca, he must also be a keyboard genius.
PAOLO PIGNI: Yes, it was Luca. He is a talented musician and
he can play all the instruments. Hes also great with vocal harmonies
and he came up with the idea of all those vocals at the end of the
song which sound a bit like The Beach Boys, which was great for me
since I am a Brian Wilson enthusiast! Richard Sinclairs voice
is great as we know and it was thrilling and bizarre to hear him on
Remember. It sounds a bit like an unreleased track from
the early Caravan, doesnt it?
mwe3:
Each of the tracks that Rick Wakeman (the 3 part Stanzas For
Music) and Billy Sherwood (Flaming June) play on
also are each ten minute, grand sounding epic progressive studio tracks.
Can you tell us something about those two tracks? Did you set out
to write those songs with Rick and Billy in mind and what was it like
working with those two YES legends?
PAOLO PIGNI: Actually, as I mentioned before, Rick Wakeman
played piano all through the three parts of Stanzas For Music
I had written this track on the piano and to me it sounded a bit like
those dramatic middle period Genesis songs like One
For The Vine. Well in the end that was my inspiration at least,
you know... those great Tony Banks songs where he changes melodies,
time signatures but still in the
format of a proper song, you may say songs within songs. I recorded
the whole piano part, but I felt the song needed a better piano player
definitely so I thought about Rick Wakeman. As I said I had met him
personally a few years ago, we swapped a couple of emails during the
years. I still had his own email and I said to myself, lets
try, he will be very busy and never answer back or say he is not interested.
On the contrary he showed much enthusiasm and once he heard the song
he said yes and went on to record the piano with his own engineer
Erik Jordan. I added bass guitar and Luca played guitars and keyboards
and it sounded rather YES like. Well with Wakeman on board it was
rather obvious! For the lead vocals I had written some parts that
were a bit too high for my style so I thought about another great
hero of mine, David Paton of Pilot, Alan Parsons Project... just to
name a few. I contacted him and after he had a listen to the song
he decided to sing ALL the parts, including the ones I had originally
intended to sing, but he did them so well and with so much enthusiasm
that we obviously kept
them all. My dear... Rick Wakeman and David Paton on the same song,
I was on cloud nine! David was also very kind because he asked me
to write the Italian version lyrics of a song from his latest album,
Under The Sun. The song is called Voglio Stare con Te
(I Wanna Be With You) so it was a great honour working
with such a legendary artist.
About Billy, and I spoke to you in a previous question, I can only
add he was great and especially his guitar lines brought the song
to another level. There are sections that are really magic in my opinion,
dreamlike, romantic, ethereal. In the end, being a huge YES fan, it
was incredible to have two members or alumni on the album indeed!
mwe3: How are you planning to expose the Sarastro Blake CD
masterpiece to a large number of rock fans as theres clearly
something here for everyone. Whats been the reaction so far
and are there plans underway as far as writing, recording and performing
new music for Sarastro Blake and will there be a New Progmantics
Volume 2 at some point in time? Whats in store for the progressive
music of Sarastro Blake in 2013 and beyond?
PAOLO
PIGNI: Good question Robert! Indeed this is my main worry now
and to be true I am a bit at loss since its a sort of DIY management
and I am actually in charge of PR, myself only! So you may imagine
my difficulty. I do what I can do and its fine, but it would
be better and more proficient to have a press office that, as you
say, could help us reach a large number of rock fans. As a matter
of fact, the first response is very good and people in Japan showed
some interest apparently, thanks also to some valuable help from Yoshiko
and I just checked a web site that sells CDs and the album is
number one in the sales... but I bet most progressive rock fans dont
even know that the album exists, indeed!
So, my main goal now is to help the album to take off a bit more if
possible... well if somebodys reading this
interview and has ideas to forward, please get in touch!
Then, yes I would like to write new songs for a second album which
wont be necessarily New Progmantics Volume 2, but I still
havent thought about a concept. This one had a sort of common
thread which was given by poems and paintings but which was ultimately
exploring the meaning and concept of LOVE
whether spiritual or material. Actually the album kicks off with the
I love you of The Lady Of Shallot and ends
with the Sri Aurobindo dedicated lyrics of Beyond into
the heart of love...
For the next one, lyrically, I would like to explore other emotions
still in a conceptual way, something like Pink Floyd used to do for
example. I am more interested in that rather then telling a story.
Also, musically the last two albums I did were very intense and filled
with so many ideas, themes, melodies, so this time I would like to
slow down a bit so to speak, maybe write a typical 20 minute long
1970's suite and a few more songs to go with it not exceeding the
old vinyl LP duration, maybe with a sort of side one and side two
who knows what the muses will suggest!
Thanks
to Paolo Pigni @ www.SarastroBlake.com
photos of the musicians: (top to bottom: Paolo Pigni, Luca Briccola,
Richard Sinclair, David Paton, Mirko Soncini, Serena Bossi, Richard
Allen, Rick Wakeman, Dave Lawson, Marco Carenzio, Billy Sherwood,
Nick Magnus, Amanda Lehmann)