There was a time in the early Seventies when the “power trio” was a Thing. All the better to showcase a virtuoso guitarist with blue tendencies by backing him with a brutal rhythm section.

The first ones were Cream – Eric Clapton, Jack Bruce and Ginger Baker – and The Jimi Hendrix Experience, and Rory Gallagher’s band Taste. Then came ZZ Top and Motorhead.

Less well remembered, but equally part of the genre, was the Robin Trower band.

This is as good an example as any of his fluid bluesy style on the Stratocaster – a far cry from his more restrained contributions to Procol Harum. I discovered Trower just as I was beginning to explore beyond the singles chart in my musical adventures. He probably appealed because I liked Free, who ploughed a similar blues-rock furrow.

I remember being spellbound by his expertise, without necesarily being entranced by the music itself, when he appeared on the Old Grey Whistle Test in 1974, rocking back and forth while making facial contortions to match the sounds he wrought from his instrument.

There’s much in common with Hendrix in the way he weaves psychedelia into the blues, and James Dewar’s soulful, smoky, whisky-drenched vocals make the perfect match for his free-flowing waves of wistful guitar playing.

The album, produced by his former Procol Harum bandmate Matthew Fisher, is titled not after the famous bridge in Venice but after a racehorse Trower spotted in the sports pages of his newspaper.

Trower, who came from Catford and had paid his dues in Sixties R&B bands like The Paramounts, was a bit of a rock god to the cognoscenti but never got the acclaim of peers like Hendrix and Clapton or even Gary Moore, to whom he stands favourable comparison.

He had a short-lived second trio with Cream bassist Jack Bruce and drummer Bill Lordan, who had replaced Reg Isidore in his original trio, and backed Bryan Ferry in the Nineties, as well as participating in a Procol Harum reunion.