Hello progressive rock historians and vinyl collectors,
Following our introductory invitation, today we continue our journey as we finally arrive in Milan. In this chapter, we experience the thrill of stepping onto a real stage at the Voom Voom, standing in awe before legendary gear, and experiencing the legendary "Festival effect" with the local staff. However, we also face the harsh, uncompromising reality of the music business through an unexpected ultimatum from the venue's owner. This is Chapter 9: First Part – Illusion and Compromise.
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In Milan, we faced quite a few problems just trying to find where the venue was located, but in the end, we reached our destination. The instruments were unloaded, and the stage—a real stage, finally!—was set up for the imminent thirty-minute attraction.
That was what the contract stated: thirty minutes of attraction. This time limit allowed us to express ourselves to the fullest, performing the tracks that the band preferred and interpreted best.
As usual, we immediately bonded with the waiters, the bartenders, and the cloakroom staff. As soon as they found out that we, Il Sistema, were from Sanremo, they rushed to leave us their addresses so they could receive a postcard from the "City of Flowers." Such was the power of the Sanremo Festival.
In a corner of the stage stood the monumental Hammond C3 belonging to Brian Auger. We were filled with great emotion and deep veneration.
Before the performance, everyone went out to dinner with the venue owner, who was very kind and attentive. Apparently.
It was an extremely luxurious restaurant, with numerous courses and refined food. However, one thing became clear immediately: "Guys, I can cover your expenses regarding food and lodging, but you should consider it an honor to be able to play in a venue as famous and renowned as mine. Therefore, if you agree, perhaps in the future I will offer you the opportunity to play in other venues I own here in Milan and the surrounding areas, and on those occasions, we can see about agreeing on some form of compensation. If you decide to accept, fine; otherwise, our relationship ends right here."
Naturally, Il Sistema accepted. We certainly couldn't turn back and go home just as the adventure was truly beginning.
Shortly before that evening's debut, a loud roar coming from the entrance of the venue shattered the peace and concentration needed to kick off Il Sistema's first real performance.
No one seemed startled, except for us musicians.
We were later informed that a paper bomb had been detonated right in front of the main entrance leading inside. In those early seventies, such intimidation tactics were fairly common and no longer caused much apprehension or fear.
Nevertheless, the performance during those fateful thirty minutes was greeted very warmly by the audience present. We were becoming increasingly aware of our worth and the quality of our musical vision.
Upon our return home, we were booked by numerous venues across the Ponente Riviera for just as many gigs.
However, we also had another important appointment on our calendar: arranging a meeting with Leonardo Lagorio to explore the real possibilities of starting a fruitful musical collaboration. The goal was to blend the various musical styles already present within Il Sistema with the Imperia-born musician's inclination and love for Jazz, Free Jazz, and improvisation.
On a cold late winter afternoon in early 1971, Cavanna and I were invited by Lagorio to a meeting, just to have a chat, at the Piccardo pastry shop in Oneglia. There, in a vintage, almost nineteenth-century atmosphere, and over a steaming cup of delicious hot chocolate with whipped cream, we sealed that fusion which would lead Il Sistema to become a complete band in every aspect.
[To be continued in Chapter 10]
Inner Garden Records
See you next Friday, the story of IL SISTEMA continues.
In the meantime, you can explore how these historical avant-garde roots evolved across five decades directly here:
👉 https://ilsistema.bandcamp.com/
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