Giona

Thank you Ardalo and ProgRock. On the internet, there are only terrible rips from vinyl, so don't waste your time searching. Instead, wait for a private message with trust ;)

I'm happy, Lazy, mission accomplished then! :D @Ugly Panda: "Extreme" in relation to the "progressive jazz" at its core, in the sense that it pushes beyond, venturing into more adventurous territories (as you rightly mentioned earlier). Albums like "End of an Ear" are indeed more challenging, but they also go beyond simple "progressive jazz," placing themselves in an even more intricate sub-genre, drawing from many more sources. "Fusion" is a definition that, in fact, says everything and nothing, because it has been overused and stretched to encompass practically every contamination of jazz (fused, in fact, with other genres). I don’t presume to know the exact value of this term, especially since the more I research, the more complicated the history becomes. In the case of Skywhale, "fusion" would indicate a style between jazz and progressive rock, where instrumentation and certain characteristic elements of rock are used in a way too distant from their source to be simply defined as jazz-rock, but actually shift into a hybrid and virtuosic zone that fits well with the concept (or one of many) of "fusion." For example, in the Canterbury scene (which I mention because I know it particularly well), dominated by a certain shade of jazz-rock, the Gilgamesh somewhat isolate themselves, combining an instrumentation far removed from jazz basics with a style equally distant from rock fundamentals, and despite their music lacking even the funk lines attributed to the main definition of "fusion," I wouldn’t know how else to define them but, indeed, as "fusion." Okay, how many times have I said fusion? :p

The review, fluid and thorough, is simply perfect. The album is very good (even though it doesn't exactly match my genre) and full of interesting insights. Jargon, have you also indulged in excessive linking? ;D

Thank you very much, Jargon! @Ugly Panda: No problem. I'm glad you resolved it. Just to keep the conversation going, I’ll respond to your previous post, trying to clarify the genre to which the reviewed album belongs (which is quite unknown): Soft Machine and Henry Cow have a rather extreme approach (whether it’s the avant-jazz of the former or the R.I.O. of the latter) towards this blend of genres, which, in this case, results in a rather melodic jazz, but inclusive of all those complexities and particularly extended passages, characteristic of progressive rock. As for the Canterbury scene, I would say that Skywhale, while coming from 70s England, do not belong to that school with such a unique and recognizable sound, but can be framed within a jazz with strong progressive influences, more akin, in some respects, to the reckless "fusion" of Arti+Mestieri, though never too experimental (Mick Avery may not reach the unmatched levels of Furio Chirico, but his drumming talent is still notably high).

But how!? You revealed the ending to me! Mmhh.. never mind, I will watch it anyway. Furthermore, one must consider the conflicting feelings (well, not so conflicting after all :p) that led you to structure the review the way you wrote it. Of course, anyone who translated the title into Italian must not have had a great sense of humor...

"E ora non ho più chewing gum." :D

Well, I’ll tell you that, quite frankly, I've never been enthusiastic about the so-called neo-prog and its tendency to exaggerate certain aspects of the original progressive at all costs, making it, most of the time, heavy and cloying. I believe that the lineage of prog should be sought by moving away from its source (neo-prog actually originated in England). As for the rediscovery of the long-standing experience of some historical bands, you should broaden your horizons beyond England and Italy and head towards less cited places by the old (and somewhat monotonous) lovers of the genre, but nonetheless no less prolific in works of invaluable worth (and in this, Jargon can provide you with a detailed map, complete with names, surnames, nicknames, addresses, and phone numbers :p)

@Rajaz: The concept of "the death of prog-rock sealed in 1977" is as widespread as it is completely wrong. The musical upheavals of the time knocked down the "mainstream" side of progressive, but from there to say it is dead is a stretch. Every year, really valid works are released, if not, occasionally, genuine masterpieces of the genre. I'm just saying this to clarify, as I believe I understand how you meant the phrase, and I understand you’re referring to the "survival capacity" and artistic coherence of the "legendary" figures of the genre. Even in that case, though, you can rest assured, as various formations of "ancient lineage" have survived the relentless passage of time without turning their backs on their roots :)

@Jargon: I wouldn’t know... Maybe because Andrew’s romantic personality did not allow him to completely ignore his preference for purely melodic lines, in addition to the fact that, even with Richard joining as the vocalist, the guitarist did not give up singing and writing lyrics, so a good part of the compositional work (on his part) was carried out with a focus on broad sung sections, not very aligned with the more "pure" Jazz-Prog and Hatfieldian style. Let’s say that a similar situation has recreated itself (albeit with different shades of the genre) to the past of Caravan, where Richard contributed from the "Canterbury jazz" side and Pye Hastings from the more "easy listening" side, generating, indeed, a hybrid style (where the "Canterbury Sound" still plays the predominant role) that reemerged when Sinclair (always a proponent of the Canterbury jazz side) began collaborating with Andrew (with symphonic rock in his blood, despite the intention to change sound).

Regarding "Waterloo Lily," I agree that the sound of Caravan is not at all the same as that of Camel (77-78). However, with this comparison, I wanted to emphasize (as Rajaz has already pointed out) that an album like "Rain Dances" or "Breathless" would have seemed (ideally) more in line following a "Waterloo Lily" than a "Moonmadness." As for the jazz turn, I do not dispute that it had been previously decided by Peter and Andrew, but Jazz-Rock does not necessarily mean Canterbury. In fact, fascinated by the works of Hatfield, Camel called Richard precisely to guide them into a territory that was unfamiliar to them. His entry had such a strong impact (being the undeniable artistic figure that he is) that it brought along a whole "subculture," which not only contaminated the Camel sound but actually absorbed it within itself. In fact, upon his departure from the group, there is no trace left of his passage. The Canterbury that took the reins of the "camel" for two years, without Sinclair, vanishes in the blink of an eye, precisely because it was alien to the other members of the group. P.S. I remember Duke's memorable lines: "I'm Duke Nukem. And I'm coming to get the rest of you alien bastards!" :D