Hal

Anyway, it's not true that there's total indifference towards jazz around here; rather, there’s a different kind of attention, let’s say, more discreet. I wasn’t aware of the existence of this album, thank you for the heads-up.

Good proposal. I have heard a few things, but too superficially to get a precise idea.

Accusations? Nooo jawbreaker, just kidding, although not too much, let’s just say a little bit. Maybe I forgot an emoticon, I put it now, bye :)

I haven't listened to him in ages, but I have fond memories of him. The Supertramp album I liked the most is probably the best one they ever recorded. For the others, I have more scattered and isolated memories of some songs that were like small soundtracks of those years. Besides the famous "Breakfast in America," songs like "Better Days," "Crazy," or the almost unknown "Rosie Had Everything Planned" from their early days—a delicate pop gem waiting to be rediscovered. Bye!

Beautiful, beautiful... but over time this album has worn me out a bit. Pleasant for sure, polished, refined, and elegant without a doubt, in line with ECM's prestigious aesthetic, yet overall without surprises and with the impression that a record like this is something Rava could produce easily and without much effort. I don't want to say he punched the clock, but... maybe it's just me who sometimes asks for what isn't there. In the same year - if I remember correctly - there was also an album by Gianluca Petrella (a more than promising young man) released by Blue Note, titled Indigo 4, which I found really interesting for its blend with electronic games and which I still listen to, if you get the chance... As for this one, I’d say four rounded stars for excess. Bye.

Reading your latest illuminating observations, a dear doubt has arisen, jawbreaker: do you have a weakness for apodictic statements that prevents you from arguing any concept?

I listened to it over the weekend and I didn't mind it at all, it's a nice album, of course, it greatly benefits from the chosen original material :)

Dear mementori, I've never seen the film you mentioned, and after your description, I can't help but say "thank goodness." Consequently, I find it a bit difficult to fully grasp the example, even though your opinion is clear to me. With all due respect for your views and those of merenghetti, I really don't know how significant a purely technical approach can be in these cases. The problem, therefore, remains (often unsolvable) for me. Indeed, no matter how viable an approach may be, given that there isn't just one, it remains to be seen whether the chosen one truly has effectiveness. Then, clearly, we need to examine the reasons that lead to favoring one approach over another, case by case, so to speak. The discussion appears, on the whole, to be clear. So in the end, this forum, with its tangled plans, had its interest, and I believe it at least clarified the differences between various positions. Bye.

Well, it's not exactly elegant.

So let's not confuse the individual and artistic production; I'm perfectly fine with that. Let's be clear. First of all, I have already said that I am NOT talking about the artist, but about the work of the artist, its conscious and actual content (if present). Did Battisti finance the MSI? Aside from the fact that this information is uncertain, it was still his own business. However, if he had sung about the necessity of asserting the supremacy of the Italic race in his songs, it would have been different, right? If the context of his musical productions had been consistent with certain themes and messages, could I have judged the songs solely based on the chord progression and his beautiful voice? Sure, but only by looking at a piece of the song, only in relation to a personal feeling, turning a blind eye to the rest. I find that approach incorrect. You're free to do it; everyone has to deal with themselves. But that doesn’t allow you to say "it's just music" or "what do these things have to do with music." If they have nothing to do with it, then why are they there? Secondly, I never said to stop enjoying this music; as I have repeatedly stated, everyone should do what they please. As far as I'm concerned, in terms of emotional aspects, everyone makes their own choices, and I certainly won't question emotional reactions. However, the fact that someone chooses to experience only the emotional aspect of entertainment does not mean that it IS only emotion and entertainment. We mustn't continue to confuse different planes: personal and analytical. Let's not muddy the waters. Let's not confuse what we perceive with what is. The purely subjective and emotional dimension is not the sole point of reference. Thus, to assert that the criticisms directed at Albin Julius by his detractors are based on reasons that "have little to do with music" is a statement that pertains NOT to the realm of personal and individual sensations, but to the analytical one regarding artistic production. And the analysis in this case is, for me, incorrect. It's a fairytale. I've already mentioned the reasons and reiterated them; I won't go back to that. The concept seems sufficiently clear to me; I note that Josi has understood it in substance. Bye.