antoniodeste

It is one of the first great masterpieces of spiritual-ethnic contamination by the researcher Sylvian after Japan. Initially released by Virgin only on cassette, it took years before we saw copies on vinyl. The mere presence of Jon Hassell and Czukay guarantees the necessary magic. I believe such instrumental depth can only be found in scattered fragments of subsequent works (Plight & Premonition - Flux & Mutability - Gone To Earth). Sylvian has been and continues to be an unmatched pioneer. Note: In the most recent CD version (I believe 8 or 9 years ago), the track sequence also includes "The Stigma of Childhood (kin)" lasting 8 minutes and a previously released piece titled "A Brief Conversation Ending In Divorce" lasting 3. Congratulations to the reviewer for the passion and the lyrical, metaphysical sense of the review.

If it's true that certain so-called "secondary" or "B-level" prog groups should be approached with caution, it is also true that this is not the case here. Beatboy has indeed uncovered (and I discovered them too, not long ago) one of the hidden gems of the genre. I also confirm that the subsequent "This is...Gracious!" is an even more compelling complement. A great band packed with ideas, influences, insights, and openings. Absolutely worth a listen. Some parts may seem dated.

Beautiful definition Symbad! I don't know if we've talked about this before, but I've recently finished a wonderful book about them published by Stampa Alternativa: "Area: Musica e Rivoluzione" by Giampaolo Chiriacò. There's also the digital version of the extended concert from Parco Lambro '76 included, featuring Finardi, Gianco, Agorà, etc. Both are great documents. Maybe a bit pricey; (18 euros). Highly recommended for mentally and emotionally reliving those years. Hi, beauty of a bassist.

@JethroZappa: It’s really not a matter for debate the partial "success" of Total Eclipse or Shabazz, but a simple fact. I experienced in "real time" the deflation of Cobham's star and it truly saddened me. This, and let it be clear, does not mean that the mentioned works (and also "A Funky Thide Of Sings" or "Life & Times," to name a couple more) are to be despised; quite the opposite. But it is well known and acknowledged that during that period, Cobham progressively weakened his creative vein and, unfortunately, the peaks of "Spectrum" were no longer reached. Any historical-jazz text can confirm this. It is also sufficient to reread the pages of "Downbeat" from that time. I have been a fan (and in part, still am) of William Cobham Jr., but it is precisely for this reason that things should be said as they really happened and not as we would like them to have gone.

The expectations following Cobham's solo debut were undoubtedly high. On "Spectrum," the Panamanian drummer poured months and months of ideas, inventions, riffs, and technically (at the time) unattainable patterns for anyone else. The lineup of his first album completed the work. "Crosswinds" was an album conceived in a way that, in my opinion, is fundamentally different. There are no tracks with exasperating technicality or peaks of irresistible groove (like "Taurian Matador" or "Stratus" on the first album, for example); the tone (consistent with the author's proverbial impetuosity) was more relaxed, and moments like certain passages of "Spanish Moss" or "Heather" testify to this. However, it's an album that, while lacking the flashy charm, possesses a more subtle and sinuous allure without missing the chance to sound funky and lively. Many were disappointed because they expected a "Spectrum" No. 2. "Total Eclipse" and then "Shabazz" did not manage to revive the drummer's popularity, who, within a couple of decades and due to changing public tastes, lost touch with showbiz and produced mostly mediocre works. "Crosswinds" is one of those works that, thirty years later, still manages to maintain a certain pleasant freshness. The review is essential, and it doesn't seem overly technical nor primarily aimed at musicians. Personally, I find Brecker's tenor solo on "Heather" exemplary, as well as the crystalline sounds from George Duke's Fender Rhodes in the same track. Abercrombie, in light of how his career progressed under Manfred Eicher, seems a bit amusing with those distorted and slightly impersonal sounds. The trombone of Garnett Brown is extraordinary in the few moments it takes the spotlight. Cobham, as usual, overshadows everything and everyone with his drumming that McLaughlin described as "circular," which is omnipresent and "ubiquitous"...... . This album is certainly worth re-evaluation.

@Symbad: Hi, how are you? Happy to hear from you again!! But you messed up!! You shouldn't have written "In my opinion, anyway" but, as you should know well: "MVVHO"!!...... :))). In any case, as often happens, I agree with your comment. Bye.

Okay, Beatboy will happen; however, I believe that it won't be by heavily provoking him that you’ll be able to achieve any appreciable results or take away what you define, it seems to me, as a gigantic ear muff. Alright, it may be a matter of method, but you won’t get very far this way other than making the occasional interlocutor angry. Everyone experiences music in an extremely subjective way; for example, what could someone who likes the Monkees or Bon Jovi (I know a few) say after reading what you’ve written about them? Well, for instance, they might enjoy responding similarly to any name you listed among your favorites; just for the sake of “returning the courtesy,” right? Think about it for a moment, Jazzboy. You seem like a aware, tough, and sharp guy. Prove it better! :)

Damn, what kids "go ahead"!! My warmest compliments!!! Who knows what you'll be listening to when you're double that age! (I also listened to Area when I was sixteen... ahem, ahem... but... a few "years" ago... let's say about... thirty?) :)) Keep on rollin'

@jazzboy: with all due respect for rap and whatever else you may like, I first need to study decades of earlier music and keep up to date with what I follow more closely. Staying here to debate "reasonings/prejudices" or the importance of certain styles that don't belong to me and/or don't convince me are things I suppose I can dedicate myself to when time allows. I don’t watch MTV or TV. Music isn’t there. About the Faust, I can tell you that I first listened to them around '75, and I have a couple of their albums. Happy? By the way: since we’re on this page: Do you know this album by Le Orme? Do you know this band? You didn’t express any judgments, it seems to me.

@Fosca: I was afraid, unfortunately, that in my carefree intention to "lighten" the tension, I could get "hit" and indeed I am being weighed down by a joke and harmless comment...; but it was a risk I had calculated, and the consequences don’t seem so unbearable to me afterward. It’s also true, however, Fosca, that one cannot expect to always conduct oneself in such a rigorously "high-profile" manner without occasionally yielding to jest, to a joke, just for a moment of a smile. If that smile did not arrive, I’m sorry, but my intentions were aimed at that, honestly, and without ulterior motives. Here, the atmosphere is now overflowing with acrimony, resentment, spite, and revenge. And so, it has come to a head, without hope. Now that you’ve sung your hearts out, wouldn’t it be better for all of you to calm down a bit? I don’t think Pat would appreciate any of this at all...