PFM’s bass player Patrick Djivas has a wealth of experience that goes beyond prog-rock. He shares these formative experiences with Eric Montfort.

Premiata Forneria Marconi are an intrinsic part of Italian modern music. They should not just be regarded as Italy’s leading prog-rock band as individual members also contributed considerably to the creative Italian pop scene of the mid to late 1960s.

Their bass player Patrick Djivas has so many memories of that golden age.

“This was a time when there was quality music that sold millions and it is almost impossible to see a repeat of this era. Mainstream and quality music were the same thing then. It is incredible that in Italy, leading jazz artist Miles Davis would attract audiences of 25,000,” he says.

When PFM formed, there was also a strong social movement in Europe which also affected Italy. Young people were aware of who they were, and this was the first time that happened.

"They were aware of their rights, whereas in the past their only rights were to grow up. The whole movement across Europe and the US, which actually started with the Beat Movement in the late ’50s, saw its fruition in the 1960s,” Djivas says.

Nowadays, it seems difficult to see organisations along the likes of Flower Power and The Civil Rights movements.

Djivas agrees: “The technology has become too fast and information so unreliable; young people are now hooked to their laptops, cell phones and tablets and they seem apathetic in uniting against so many injustices we are seeking. Black Lives Matter got close, and they did leave an impact, but when one weighs everything their impact is much less than those tumultuous moments of the late 1960s".

Djivas formed part of Joyce and the Jokers, one of several talents in the burgeoning French scene. He would eventually join Rocky Roberts, a talented singer whom he used to watch singing on cruise ships who used to dock at Cannes.

Roberts, an Afro-American from Alabama, would eventually land a recording contract thanks to well-known media personalities, artistes and talent scouts, namely the late Gianni Buoncompagni and Renzo Arbore. Djivas would eventually join in as bass player and the late Rocky Roberts scored a huge hit with Stasera Mi Butto back in 1967.

“Rocky Roberts was unique,” reminisced Djivas. “He was brought up in gospel and rhythm and blues and this was often reflected when we used to drive back during the night from our concerts, in order to avoid traffic. 

Djivas eventually joined PFM following a stint with Aria, another respected Italian prog-rock band. He replaced bass player Giorgio Piazza. By that time, PFM had already established themselves as a leading act in Italy and Europe, with three studio albums (their debut Per Un Minuto reaching number one in Italy), as well as a great hit with Impressioni di Settembre.

Written by Franco Musida, it was a song that developed from an idea he had which grew into a refrain that would include the synths instead of the voice. Besides, the moog synthesiser was in its infancy and PFM made great use of it.

PFM initially had a dilemma about what instrument to use for this song; they decided to do away with the idea of including the Hammond organ, the flute or the violin but when they heard Emerson Lake and Palmer include the synthesiser on their debut, eponymous album, they realised that this was the right instrument for their new song. They approached Antonio Bonzino, who imported instruments in Milan.

“We asked him if he could give us a mini-moog for free since we did not have the funds to buy it. We would promote it and if he did not sell at least 20 mini-moogs after the song was released, they would give it back to him. He ended up selling 2000! Mogol, Lucio Battisti’s lyricist, provided the right words and the rest is history,” added Djivas with so much elation at the way PFM worked their way up both creatively and business-wise.

“A band has also got to be and play together and be coherent as much as possible, otherwise it will end up as one big mess, no matter how proficient they may be. This is one problem that has evolved out of the do-it-yourself philosophy brought about by new technology. It has isolated a lot of musicians and no amount of conferencing can make up for the physical presence. It is just like having a football team. They cannot train online!”

Photos of Ghosts featured lyrics by Peter Sinfield who also wrote for ELP and King Crimson.

“Keith Emerson loved our music and we got introduced thanks to him. Sinfield is a great writer and his contribution to this album was sterling. He knew how to adapt to our sounds and he did not bother about reading the relative Italian lyrics to the songs, prior to providing the English texts,” he says.

“We must also acknowledge Marva Marrow, who has provided profound English texts to our songs, like Mr 9 to 5 which deals with the worker and the working day. When we did the live album in New York, we had a very long improvisation. We had to augment and so we included references to Altaloma, a place in Hollywood where we had stayed and mixed with some great musicians like Airto Moreira and Jaco Pastorius, so we called it Altaloma 5 to 9, thus reversing the title for this improvisation!”

Jaco Pastorius was a truly significant other in Djivas’ career. “He was gentle, full of ideas and a really nice person. Both respected each other as Pastorius was actually much aware of Djivas’ qualities and apparently, he was wary of American bass players, as he suspected jealousy.

Both Djivas and Pastorius played a lot together and discussed a lot of issues. “I was in seventh heaven with him. At that time, he did not have any problems. He was not doing drugs, not even drinking-he was very clean. So, when we heard about his ensuing problems, it caught us by surprise and his death at such an early age, was simply tragic. I am still sorry over all that had to happen to him. I think he was one of the best musicians, not just bass players, ever to emerge in the 20th century.”

It was a different story when it comes to Leon Fender. “He invented electric bass but there was the sense of discipline and organisation that was simply class,” said Djivas.

He supported wholeheartedly PFM in the USA because he heard their music and admired their sense of belonging and cohesion. 

PFM’s new album I Dream of Electric Sheep encompasses a lot of sub-genres and addresses science fiction, something all band members love. It also features Ian Anderson of Jethro Tull and Steve Hackett.

“PFM will be delivering music that they love, with zest and a determination to show how valid we are after all these years.”

PFM’s music comes as a result of creativity, discipline, and flair. Djivas emphasised that the band’s attitude towards songwriting and creativity has not changed at all despite all the rapid technological advances we have seen.

“We continued to listen to all sorts of music, rather than being alienated by so much available music around, which often just gets skimmed through, even by aspiring young musicians, and such lack of concentration, not just in music, is a factor that can indeed stifle one's creativity.”

PFM will be performing at Pjazza Teatru Rjal on Monday, June 6 at 8.30pm. Tickets available from Showshappening.com