Hal

The review seems a bit disorganized and confusing to me. But still... since then, waits has indeed changed, however, it hasn't gotten worse for me. In particular, I disagree with the notion that waits hasn't produced important albums even after that period; in fact, I believe he has managed to keep his music at very high levels. Real Gone, the latest in the series, is an example of this because it retains some characteristics of the singer-songwriter while partially changing the sound context, being devoid of the piano. For those interested in purchasing this beautiful soundtrack, which transcends the film in terms of popularity, I want to remind you that it was remastered a couple of years ago with some bonus tracks. Bye.

Really well done for filling the absence of Edith Piaf on Debaser, you said a lot and I fundamentally agree with you especially in emphasizing the charm of this woman, of her life that was then transported into the songs she performed. Among these, "Non, Je Ne Regrette Rien" is perhaps my favorite also for how the driving music intertwines with the meaning of the words. Immense.

The record should be easily available on the market Teresa, there’s also a recent version recorded by Lolli with "il parto delle nuvole pesanti." For me, this work has a particular significance, so I judge it perhaps better than it really is. Of course, "Anna di Francia" is a truly beautiful song even today; I included a sample because I thought it would help to better read this review. Bye.

Sorry for the delay, but I have little time to dedicate to the web; I'm intervening only because I still care a bit about this page as a whole, it reminds me of a nice album that I introduced to several debasers and that I listen to again from time to time. I think it's fair to give a detailed answer to colossalyouth's request for clarification. Jim White is a singer-songwriter whose music has roots in American folk. However, in this album, often sweet and melancholic, alongside the typical sounds of this musical genre, there are streaks of different sonorities (electronics, winds) that, by giving depth to the songs, also make the project current, unique, and interesting. Much is owed to the production of Joe Henry and the numerous collaborations of the mentioned musicians, whose experiences, for those who may not know, span from folk singer-songwriter to jazz. All in all, this was essentially written in the review; it just needed to be read with a little more attention, which perhaps you unfortunately lacked. On the other hand, it was also possible to get a further small yet precise idea about this music from the samples included alongside the text, or one could have explored by taking a look at the "more info" link chosen precisely for that purpose; after all, you would agree that the use of links is an integral part of the syncopated nature of writing on the web. Also, by clicking on the artist's name, one could access more information, which is also present in some supplementary comments from those who have listened to (and appreciated) this album, like Kosmogabri. If then, despite everything, something remained unclear (it can always happen), there was the last option, which was to ask the reviewer for more information, since not everything can be covered in the review; but this should be obvious (the conditional is a must). I hope, however, that now the coordinates provided are sufficient and can guide you. In short, the tools related to your musical knowledge needs regarding this album and its author were (and are) abundantly present on this page, dear colossalyouth, you just had to use them, cum grano salis I would dare to say, or at the least, it would have been enough to ask maybe with a bit of courtesy, which is not owed but is always appreciated. But perhaps... ;) ... you weren't that interested in knowing something about this music (right?) and that's a real shame because this is truly a nice album. Best regards and kisses.

I stamp the attendance card correctly ;)

Everything is great, including your additional comment about the set design. I would love to see this work, but I have to settle for the DVDs...

An important album that confirmed Steve Reich's prominent role in applying the structures of repetitive music to large ensembles. Upon its release, it also enjoyed an unexpected public success that generated attention for these musical forms. It's a shame that this success did not extend in the same way to the following work (Music for a large ensemble - violin phase - octet), which continued down this path of rhythmic exploration, even though it lacked the complexity of "Music for 18 musicians." In any case, I also think that comparing Reich and Mertens is a bit risky; in my opinion, they belong to different realms. Bye.

You know something, JohnOfPatmos? It had also occurred to me that Beethoven must have glimpsed the twentieth century when I sensed a fragment of jazz in his last sonata, as if he had not only seen but lived ahead. I don't know this record, but as an ECM enthusiast, I can hardly deny myself it. By the way... congratulations to ECM, which is celebrating its 1000 titles in the catalog these days.

What a passion for this album, I can't stop listening to it perhaps due to that strange melancholy, often bitter, which unexpectedly transforms into energy, even if just for a moment. Today I have been listening to it non-stop for hours, trying to find something I don't like and yet nothing, with each listen I like it more and I pause to try to grasp the nuances of the violins, the warmth of the voice different from others, the guitars that have an ancient feel. For me, it's also one of the best albums of the year.

Non hai fornito un testo da tradurre. Per favore, inviami il testo in italiano e sarò felice di aiutarti con la traduzione.