carlo cimmino

Mythical, good, encore, uhè, gnack, frrr, bzzz, buh!, yum.

Alright, five. Never really loved Nirvana too much, but Cobain is exceptional here. Much better here than on other recordings that over the years I've honestly ended up sidelining and burying. A perfectly successful unplugged session, but I honestly don't remember the video. I'll rate the album since it doesn't really matter anyway.

Fusillo, you’re right to chide me. "Scholastic" is certainly not the right term to describe the good Lagrène. I believe that the phrase from the guy who knows much more about jazz than you do – and, I’m sure, since it doesn’t take much more than me – fits perfectly. Lagrène is very, very skilled (when I said "scholastic," I certainly didn’t mean to belittle his abilities), technically perhaps impeccable, but sometimes he doesn’t convey anything to me. At times, he even seems like a "heartless monster." Of course, it's also a matter of taste and personal feelings, and if we want to stick to the technical aspect of the matter, I must tell you that, as far as jazz guitar is concerned, I almost never go beyond the "manouche border," and thus it is in this histrionic and defined context that I define Lagrène. I will gladly give Luc a listen anyway: for a while now, I've set aside these "damn guitarists." Maybe I’ll look for that very album. Anyway, congratulations again on the review. By the way, I don’t think I have any more in stock of that genre recently.

And so what to say, in front of such an unprecedented, musically erudite confabulation? I read it anxiously, not expecting to find so much wisdom and passion. Words neatly lined up by a brilliant and intuitive distinguished storyteller. Then I revisited it, searching between the lines for loves and meanings, known women and notes from the Mingus player. Finally, I decided, and it was a heart-wrenching and sacred decision, dear Compensazione, to give five stars to this review, marvelous and unheard of, which the reader never tires of reading.

I disassociate myself from those who belittle your review. It is almost flawless. Until the conclusion. Where you stumble dramatically and end in a way that is perhaps obvious and trivial. Too little for such an important work. I would have given you a full five otherwise. I'm sure you can do better. Keep it up and goodbye!

A worn and used album. But admittedly not revisited in a few years. In my opinion, this is the best "grunge" album - perhaps precisely because it isn't just a grunge album - despite Pearl Jam, Nirvana, Soundgarden, and all their pals. An indisputable masterpiece. I like the review. It pays the right tribute to the four (+ guest Mark Lanegan), to all four protagonists of this remarkable experience. Even to the legendary Barrett Martin, an excellent and underrated drummer with Screaming Trees (of course), Mark Lanegan solo, and on Up by R.E.M. Nothing better than this has come out of Seattle. Five.

What desolation... It must be the presence of ceppo al pollo. I'm going to get this record: I'm sure I'll find it without any difficulty in all the record stores of my beautiful city. Great review anyway. Here’s a five in anticipation of the rating, following the listening, of the record.

I don't know this album. As for Lagrène, I must say he is truly a fantastic guitarist. Of course, I just can't digest that "fusion" stuff—just look at his collaborations with the good Jaco Pastorius—but he undoubtedly remains one of the top manouche guitarists around. In fact, he might arguably be the best in some respects. So I adopt antoniodeste's comment: Lagrène can sometimes be too much of a textbook player. And this is a limitation, especially when playing manouche. The other "flaw" is the hyper-speed, but that seems to have become a constant among guitarists in the genre. Just look at some productions from the Rosenberg Trio, where the highly esteemed Stochelo—who I also find to be the closest in style to the great and unreachable Django among his followers—achieves unprecedented speeds for any guitarist. The fact remains that Lagrène, like Rosenberg, is not by nature and practice a studio musician. But this—like the others, by the way—is my very personal opinion. I really enjoyed the review: it was entertaining, one of the best "acoustic" ones I've read in recent times.

It seems to me that they are over. I haven't listened to the album, but, Progressive, after all, it doesn't necessarily mean that if the tracks are very well-crafted they are automatically good. And let's not forget, ultimately, that these guys (the Diemmepechemode) have built their - well-deserved - success precisely on the singles and on "catchiness." I'll revisit the album ratings later. Goodbye.

I already loved you. By the way about wave, did New Order leave?