antoniodeste

...One should listen to Mike Garson's work titled "The Mystery Man" from a few (....) years ago......

"And at the end of the review, I dedicated a few lines to her: '...so you found out how much sleep I had while I was staring at the monitor...... Better this way: Repetita juvant! Still well done for the sheet since it's really yours! I'm giving you another grade. Take care."

I have seen Jarrett on DVD with his trio; I have seen Jarrett talk about his experience with Davis on "Another Kind of Blue"; I personally know Mirco Merlo, curator of the Italian website dedicated to the pianist and a devotee of "strict observance"; I have followed Jarrett's career, let's say since '75, more or less. And I read, Hal, this review, which was done impeccably, by the way. The fact remains that, in my opinion, despite being extremely talented, Jarrett is still an overly overrated and excessively praised figure at the expense of other artists who, in my view, would have deserved equal recognition.

I was stunned and slightly moved when, as a kid, I found myself in front of a gigantic poster of this record in the window of a central record store in my city. Later, I met this "crazy boy," and I still consider this work one of the fundamental pieces of my rock education. The review, done neatly, seems to have come straight from the pages of the legendary "Ciao 2001." If it’s not copied, it’s truly a chic piece. All that’s left is to inform the Bowian fans, in case they didn’t know, about a nice (super)cardboard reissue of this title with an attached second CD featuring live tracks from that era. Sic transeat gloria mundi. :)

@Vellutogrigio: I wouldn’t want you to think that I’m stalking you. First of all, you show yourself to be a person with "decent" tastes (and these days, believe me, that’s saying something); you’re bright enough to come up with a simple and light joke that I appreciated quite a bit. As for the aftermath of '76, anyway, there’s no denying it: the decline was becoming evident even if we didn’t want to see it. Probably the signs were so temporally diluted (it sounds ridiculous to say, but there are 365 days in a year!) that in nine hundred days, pop-rock or art-rock or whatever the hell you want to call it, was long dead. On the horizon were the Sex Pistols, the Clash, and all the liberating and destructive roughness of punk, and in my head a question: how could this happen? Never mind, I turned to the Talking Heads, XTC, Ultravox, and Devo, but it wasn’t easy... I was now (well!) 19 and starting to listen to everything. Now, as you know, I’m forty-six and still enjoy "Interview." But I prefer "In A Glass House." Cheers.

....mmhhhh..., good definitions, Rocky. :)

I have been following Steve since he joined Genesis, and after more than 30 years, I continue to follow his career. For a long time, Hackett has managed to direct his attention towards multiple directions, doing so in a localized manner; by that I mean that alongside albums with a distinctly rock nature, he has paired works with para-classical and/or orchestral inspiration. One thing did not exclude the other, and both presented the image of an artist capable of expressing himself with originality, imagination, and value in both realms. With "Wild Orchids," perhaps for the first time, Hackett attempts to construct a work where both languages can coexist. It is objectively not an easy coexistence, somewhat schizophrenic. Personally, I note a greater incisiveness in the acoustic-orchestral-pseudo new age episodes; the rock moments are not bad, but I believe that in this regard, Hackett has been more convincing elsewhere. Still, it is a good work, like the previous "To Watch the Storms," where a marked autonomy and personality of language and style reward a musician who for over thirty years has been able to express moments of the highest musicality.

.....blessed sincerity.....:)

.....Wayne, in my opinion, has somewhat lost his way; Zawinul is still doing quite respectably. Ah, in the meantime, I purchased "Punk Jazz: The Jaco Pastorius Anthology"; I can only highly recommend it to all fans of Jaco and, of course, to the reviewer of this piece to help shed light on the extraordinary figure of the bassist from Pennsylvania.

You know, Symbad, I first got to know the WR with "Sweetnighter" and "Mysterious Traveller" and I was.... overwhelmed. I just happened to listen to them again recently and they are still OK. But believe me, when I listen again to "Punk Jazz," "River People," "A Remark You Made," "Teen Town" – all tracks with Pastorius, or even better, the impact of "8:30" from the WR live, things truly resonate on a different frequency and intensity. The same "Badia" (originally on the wonderful "Tale Spinnin’") in a medley with "Boogie Woogie Waltz" live, with Jaco has a magic, an amazing force and an extraordinary groove. Cheers.