Hal

Nice shot, well done!

The original is the original, this remains a beautifully made tribute in my opinion. I also mentioned this in the other review I refer to. However, I don’t know if I would give the Tenco award for an album like this, maybe not. So I'm sorry to disagree with max3x, whose review I found quite unkind, and I believe that talking about karaoke is really silly. @ezechiele: I am always very curious to know which "minor" De Andrè album Morgan should have recorded. Bye.

I included three samples for you, hi

I like it, there's no need to add anything else except thank you for pointing it out. Bye :)

I just read something about it recently and I was already curious, I will definitely get it. Flawless review as usual.

Good review bogus and nice also the story K a praise of chance.

heard in bits yesterday: no enthusiasm

I have yet to say to Ezechiele: as interesting as your remarks are (which I believe I've already expressed my thoughts on), I was expecting a response that hasn’t arrived. After you wrote that it would have been more appropriate to choose a "minor" Faber track rather than "Non al denaro né all'amore né al cielo," I indeed asked you, "which one should you have chosen, in your opinion?" Perhaps you missed the question. To the anonymous commenter who is surprised by Fernanda Pivano's involvement in promoting this album, I wanted to say that, in my opinion, it’s quite natural that it happened since in 1971 she wrote the preface for the original with an interview with De André. This occurred because she was, and still is, a scholar and translator of Anglo-Saxon literature if I'm not mistaken. I believe, or rather I mischievously presume (it’s fun to delve into backstory), that she must have been consulted in good time about this project. It was the right thing to do, and one couldn’t risk her disapproval after the fact (it would have been a boomerang). Bye.

The arrangement of a judge is different and is also influenced by the reinterpretation made with Pfm. Nothing spectacular, but perhaps this was precisely the intention: not to turn everything upside down. Morgan doesn’t do badly singing (to call it karaoke is a bit excessive). Certainly, the vocal comparison is not comparable. I would however give him credit for not following Faber in the vocal setting; he would have broken his bones. Once you’ve listened to it, the initial question remains on the table: "but who is this album for and what is its purpose?". Regarding the "who," with a bit of malice and background speculation, a lot could be said, with the risk of guessing something (but not everything). I believe this operation could still be risky for Morgan; he has put himself dancing on high-voltage wires and in the end didn’t get shocked. As for the "what is it for," I agree with the observation of zaaireeka. It can indeed serve to rediscover a wonderful album and keep it alive, given that it’s not at all true that this work is "universally" known. And perhaps it made perfect sense to redo it completely rather than choose one or two tracks and insert them into a different context, because this album, by structure and genesis, is a single entity; extracting one or two pieces would lose the sense of the whole. In conclusion, Morgan doesn’t add much, but that little is not bad and can serve a purpose; being a bit mischievous, there remains some doubt about the sincerity of the operation, but I didn’t mind listening to it.

I listened to Morgan's album last night and found it a respectful homage, well-played, well-interpreted, keeping in mind that the original is unbeatable, but I believe there's full awareness of this. Sure, one could ask, "But what purpose does this album serve?" However, there's the paradox that to discuss it, you have to listen to it, so it must exist. It's not exactly identical to the original. As Morgan writes on the CD, it is "almost faithfully based" on the original. There are modifications, differences, and arrangements that are very respectful, ultimately successful and interesting (it's hard to believe these are the work of a mediocre musician). In short, there is a great deal of careful manipulation behind it, almost like a restoration of a Renaissance painting. The already present baroque musical elements are enhanced, such as the enrichment of the ending of "un malato di cuore" (Vivaldi's winter), which I found very delicate and well-executed. Then there are new touches, like the hint of Pachelbel's canon in "un ottico."