antoniodeste

@Ajejebrazorf: It's quite a convoluted story, I must say. Let's say it all started when I was about 13 years old, when I saw this guy on the cover of Ciao 2001 with a red Gibson 1275 that had TWO necks. I couldn't believe it! (the last part should be read with the comedic tone typical of Aldo, the one from Giovanni & Giacomio); then came "Welcome" by Santana, where on "Flame-Sky" I understood who he was and what he could do. Then Mahavishnu arrived and it was a barrage of living fire. I was very young and the stories of religious trips with "his" guru Sri Chinmoy intrigued me quite a bit. Since then, I followed McLaughlin's adventure with a passion and consistency that was truly unique. I was also learning to play, and I believe he was one of my primary influences. In '77 I saw him with the fantastic "incarnation" Shakti, and it was another wonderful adventure. I then had to witness the dark times; the ones I mentioned in another post, in the '80s, and in several instances, I thought his star had abandoned him. In the second half of the '80s, I sighed with the renewed Mahavishnu (Gottlieb, Beard or Forman, Hellborg and Bill Evans/sax); there were expectations, and not few, which were partly unfulfilled. Then I had the great luck to meet McLaughlin personally in '88 when I was asked to introduce one of his concerts (with Jeff Berlin and Trilok Gurtu), and it was truly a great honor for me to be able to chat with him before and after the show. I have followed (and continue to follow) the activities of the English guitarist with great interest and admiration for the many (and sometimes unexpected) directions he has been able to take in his life as a musician and for the continuous alternation of climates and acoustic settings (for example in the latest works of Remember Shakti or "Thieves & Poets") and torrid penetrations into electronic-jazz-ethnic-experimental (saying it like that sounds a bit funny...) like in the "Heart Of Things" band or in the live show in Paris with the electric band. For me, he has always represented a beacon of reference in contaminated jazz (I haven't mentioned his "formative" period with Davis, which is extremely important) and a cultural "bridge" between East and West thanks to his old intuition Shakti and collaborations with Zakir Hussain. I'll stop here; I think that should be enough for having bored (not to say worse) more than a few ajeje, right?!

I completely agree with Michi on "Toward the within." I would also like to add, for those who are not aware, that there is both a VHS and a DVD version (enriched with some bonus clips) of the show related to this title. It's a great start (and also a wonderful continuation...)

A singular and extraordinary group that has illuminated a complex path infused with multiple influences. It's a shame they are no longer around. This review is something I truly hope will intrigue those who have never heard of DCD.

@Roby 86: Don't you think that "Endless Dream" (on "Talk") can be considered one of the most beautiful things ever by Yes? I read somewhere (I can't remember who wrote it) that Steve Howe "schools" Trevor Rabin on a version of "Owner of a Lonely Heart." Well, I believe I've been quite influenced by Steve Howe (even technically, in a guitar sense), and I can safely say that a comparison between the two isn't really possible, although I greatly appreciate Trevor Rabin. They are simply two completely different things, and comparing them is unlikely, not to mention pointless. Technically, Rabin would play anything of Howe's, while the opposite is quite improbable, for what it's worth...

I would say that, as an old fan of the band, I agree with Zarathustra’s second intervention. The only variation concerns the rating I would give to "Tales..." which for me is a five, maybe not a full five; and the rating for this album, which indeed marked a decisive turning point for the "sound" and the Yes setting.

Vote...

I greatly appreciated the intentions, reflections, thoughts, disappointments, and content both of Drake's works and the reviewer's, who I acknowledge for expressing concepts worth reflecting upon. It seems to me that "Way to Blue" is an anthology, and that’s fine. I also suppose that for those wanting to know the universe of Nick Drake, it's advisable to at least acquire the three original works he published in his time ("Five Leaves Left," "Bryter Layter" - mentioned by Jim Morrison above - and "Pink Moon"), as I believe it's the best course of action. For those interested in tunings, I can personally say that Drake often used capos and bizarre combinations; like DADGAD, which can become CADGAD; the bass in C was probably in function of his low, hoarse voice. It's not actually easy to understand even the types of arpeggios that often stray beyond the usual fingerpicking or similar techniques. A careful, repeated, and (perhaps) maniacal listen to "Pink Moon," especially, should help reveal the tuning difficulties. That’s what I did. Best wishes!!

@ Ajeje: you might already know this, but I just rediscovered that McLaughlin appears in the stunning film by Bertrand Tavernier "Round Midnight," from about twenty years ago, complementing Dexter Gordon's performances in a Parisian club. A must-see!

@Zaireeka: I'll tell you that personally I've been perpetually undecided about the value of these two works for many years. At times, I prefer the silent angle; at others, the chameleon in the shadow of the night (which perhaps for this reason seems "dark"....). It happens to me in (many) other cases as well.

@Dante: I happily notice that despite the musical occasion, you don’t waste time (and rightly so, keep an eye) evaluating other "aspects" of music. No problem with the briscola story. :))