Hal

Forced not a little, it was the price to play with Miles. Even though I've read critical statements about the evolution of that period from Jarrett. We talked about it in a review a while ago: Jarrett Bartz Davis and everyone’s whims, it’s a nice story. We should talk about it again :)

Oh yes, symbad, and then there's the prejudice that jazz is necessarily an elite music when, instead, it has a deep popular value. Unfortunately, these opinions detached from knowledge are something that spreads in every field. Of course, if you enrich the comments with further suggestions, I might have to go into debt to keep up with you... and speaking of debts and Davis, I'm listening to 'Live at Cellar Door,' I think you might find it interesting. Bye :)

It's always a matter of time because it would always be better to have both options rather than just one. Let's see if it will be enough for both; otherwise, we'll just have to split the tasks ;)

Beautiful and intriguing page Vì. I join the wait for samples.

Yes, it really is a little gem, Wanderer :)

Thank you ::Wanderer:: :) if you take a look at the official website there are photos of the prepared guitar, and besides being very beautiful, they confirm the impression of this musician. Reply to ::giorgio:: no, I am not a journalist but just an enthusiastic and somewhat curious person who writes here and also in other places when it happens, when there is time and desire. Hello and thank you :)

If Antonio allows, I will answer the final question myself. Wrong: no, it’s not. But let’s get to the album. The other evening, as often happens, I walked into my trusty little CD shop to take a look at the week’s new releases. I noticed the presence of this disk. Having always loved Paul Simon’s songs, I couldn’t resist and asked my dealer to let me listen to it. While the disc was spinning in the CD player, I continued browsing the collection, hoping the music would distract me, but it didn’t happen. Yes, at first it caught me off guard with the novelty of the sound. In fact, it slightly disoriented me (I didn’t know about Eno’s involvement, which I later discovered while reading the credits). Perhaps I was expecting a more "reflective" Paul Simon. After all, the last few albums had been a bit disappointing. However, all in all, the combination of Eno’s sounds and Simon’s voice wasn’t bad. A new outfit for Simon’s traditional voice. But I wasn’t completely convinced, and in the end, I left the album in the shop because it didn’t seem worth it. Yes, I would probably have listened to it for a while, maybe it could have kept me company for a few weeks, but afterward, it would have ended up next to the very different "Songs from the Capeman," which I haven’t listened to in over five years. This review talks about this album, provides some information, and presents an opinion in a concise and clear manner. I enjoyed reading it and sharing my debatable impressions on the album as a side note. As a rating for the album, I would give it a 3.5. Bye.

Maybe now. Maybe compilations like this are out there. Then you find some albums by Piero l'italiano. But some songs, above all "Adius," are not easy to find at all. At least from my personal experience. You don't know how many times in stores, even in big cities, I found nothing except this compilation. It took me a few years to put together a "minimal" discography. Bye.

Everything is interesting, but one idea stands out. It seems that this album might break down a widely held notion, not uniformly spread, that jazz, or more often jazz piano, is often "couch music," whereas there are examples of incredible dynamism. This gives me the impression that it is one of those, and then reading certain titles really encourages the purchase. But was it among the titles you sent me? I've lost track of the full list. :)))

True odradek and symbad. This is Douglas's last record for a major label. I had heard it but now I no longer remember it. I remember better what came after. In fact, he later moved to the independent Green Leaf (which he created) with whom - in addition to producing Kneebody - he recorded first "Mountain Passages" (stunning, fascinating concert in the Dolomites) and then the "multimedia" "Keystone," about which I should find the time to write a few lines, because it’s an incredibly interesting project bridging music and cinema (it's inspired by a silent film actor/director). Then I believe there’s also a live recording (which I’m looking for) with another libertarian of music who is Uri Caine (!!). Nice signs of vitality, right? It's interesting to wonder where they come from. I had read an interview with Douglas where he spoke about the value of expressive freedom, more alive within small labels. That’s why he joined and built the "green leaf" project, and the results are palpable. Bye :)