antoniodeste

.....Dante, even if it may not be very prog, you could have included "Like a Virgin" in the list; I know, you little rascal, that you like it a lot! So you want to keep it all to yourself, you selfish one? :D

I agree with Airone. In fact, the great division (Germany - America) is quite clearly identifiable. In most cases, American musicians have backgrounds in conservatories, harmony, and composition, while German musicians generally do not. This does not mean that one group is more "reliable" or "better" than the other, but simply that the methodology, systems, and backgrounds are different. It is highly unlikely that a master like Steve Reich could have been inspired by Klaus Schulze (who might have even felt honored by it) precisely due to the different contexts, paths, and origins. The rigor of Reich, like that of the entire American school, is a typical sign of the mathematical nature of contemporary experimental music from this lineage. Glass in the '70s talked about additive and subtractive music, and Reich was also inspired by this simple concept. The German cosmic music that has often been associated with the American school is actually quite unrelated. At most, some of Riley's works might lead one to believe this ("Curved Air," "Persian Surgery," "Shri Camel"), but in reality, it is a current that sails in entirely different waters. Wonderful waters, but clearly on a different side. In the '70s, we made the two coexist because they were the most "advanced," and the idea of the "cosmic" embraced them both, ideally. Now, thirty years later, I realize how they should be considered as two distinct things, perhaps complementary but distinct. And both extraordinary.

@vellutogrigio: "half black" I believe is a metaphor indicating Daniele's dual soul; one inherited from the black blues (which he learned from the black soldiers at the NATO base in Naples) and which Pino played for a long time ("A me me piace 'o blues") and his belonging to the white-Mediterranean culture. "Half black" indeed beautifully encapsulates these two trends.

Absolutely agree, but without pain would be better, right? To future generations.....

I wanted to emphasize the loss of the acoustic heritage. It is a loss that has already begun heavily. What we have received in return in terms of instruments, quality, musicality, expressive and poetic capacity is very little so far. The "future of art," however, I suppose will know how to give us a worthy response.

@Charley: I want to clarify that considering the best things that came from Naples in the late 70s and then in the early 80s, especially thanks to Pino Daniele and Enzo Avitabile, the reception, as I perceived it, was always very warm. I remember well how at Toni Esposito's concerts (during the time of "Rooso Napoletano" and "Processione sul mare"), the lines were long and enthusiasm was sky-high. Even at the mentioned concert of Napoli Centrale, there was a huge crowd. And as for Pino Daniele, let's not even get started. I saw Pino live at least 5 times between '79 and '87, and every time it was a celebration with a ton of people in joy. On the radio, the programming always managed to carve out a space of "excellence" for these things. But I reiterate, I'm talking about a period that isn't exactly yesterday. The Neapolitan and musical scene has changed profoundly, and I find it difficult to have an opinion on today, at least for me. And if we consider how the Lega has whipped up the crowds against the southerners...

I refer to the reviewer's reasons for responding to Festwca. I will only add that, as I personally perceive it, a sampler, while having its undeniable value, cannot in any way express the poetry and infinite variety of expressions of any acoustic instrument.

While technically unparalleled, I admit that Kottke has been one of my sources of inspiration since I "discovered" acoustic guitar after my initial years of apprenticeship with the electric. I believe I struggled through the fateful seven shirts to learn the aforementioned "Jesu, Joy of Man's Desiring" paired with "Jack Fig" in its live version. The result, while not being frenetically fast, was not to be despised, and I garnered some applause. Kottke is extraordinary and unique. By embracing the teachings of Fahey and Basho, he has distilled an expressive ability accompanied by astonishing technique that is unmatched. Even in the more "electrified" works, like "Mudlark" or "Icehouse," he navigates the rhythmic sections in a singular and exemplary manner. Even his hoarse and stentorian voice, as someone has put it, does not disappoint when used. It has indeed, in some respects, been the century of the guitar, while this newly begun millennium is not. It is somewhat saddening to know that great artists like Kottke, Renbourn, Fahey, Towner, Basho, and who knows how many others now represent a lost world. Likely, the debaser followers of 2050 will sing the praises of sequencer programmers or sampling wizards, the "art" of the future. Nevertheless, a beautiful review for a deserving artist, at least in intent, for having managed to interpret (if not invent) a rich, multifaceted, and vibrant language. Well done, godbowl.

Beautiful review "on the edge" (and therefore spontaneous and authentic) for one of the milestones of 20th-century music. I can boast of having had the chance to have dinner some time ago with Elton Dean (there were about a dozen people) before his tragic passing. Wyatt has long been a cult figure, though he is reclusive and shadowy. I am more concerned about the complete absence and disappearance of Mike Ratledge from the scene. Does anyone know anything? The last I heard was about his collaboration with late softie Karl Jenkins in the writing of the first "Adiemus." I take this opportunity to recommend everyone to listen to the triple anthology (Harvest-EMI) "Triple Echo."

@Charley: have you heard "Zitto sta arrivanno 'o mammone?" by Napoli Centrale, I think from 4 or 5 years ago? Regards.