antoniodeste

Communication can occur even without a careful reading of words. It is the quality of communication that makes the real difference. For if one wishes to communicate, there is no need for "careful" reading. The need or urgency for communication, I suppose, does not require "choices," but rather spontaneity and naturalness. If one chooses words, it is for a formal need for detailed completeness, elegance, and/or beauty, and perhaps to narcissistically satisfy one’s ego. I mentioned spontaneity and naturalness: these, paradoxically, are qualities that are becoming increasingly rare, and those who lack them tend to construct intricate verbal castles filled with quotations, panegyrics, complex metaphors, cultured references, allocutions, bold reasoning, and lucid emptiness in an attempt to fill this void/inability. Unfortunately, sometimes when I don’t know what to say or how to say it, it happens to me as well; I realize it and regret it, but I am only human and, at least, I try to avoid it. Music, indeed, like other forms of art, does not need words. Mingus docet. These pages, I suppose, are just a means to describe indescribable emotions and/or at most to try to guide someone in clarifying something. I play (now very little) an instrument, but I have often found greater satisfaction in "musical communication" from musicians rather than from mere enthusiasts. It is no coincidence that I perceive a greater affinity for the subject from a bassist like Symbad; and, regrettably, these are things that a simple enthusiast really cannot catch. This is not a Manichean discrimination, mind you. It is a fact. Music is a language for which one should know the alphabets. The better one knows them, the better one understands. As for enjoying it, that is a pleasure forbidden to no one.

Architecture is also explained and understood using a language made up of words derived from the arrangement of letters in an alphabet. The end result is indeed material, but this does not exclude the need for words and expressions that are, by their very nature, intangible. The same goes for music; however, the result is intangible. It is the score that can be touched; and the instrument or instruments that produce the notes written there. And that is where the magic lies in what they convey or the void of what they fail to express. The listener is merely the fortunate and satisfied consumer. That’s why those who play have a third ear and undoubtedly greater judgment in this (immaterial) matter, without any presumption. If I were to seek advice on a painter, I would first ask a painter, then an art historian, and then a friend. It’s not a hard and fast rule, but a good start. With all due respect to all those (myself included) who are or prefer to be only "consumers."

environmentalist like Pecoraro Scanio?

Sorry, in the previous post: the word "cresto" was meant as "created".....uhm uhm... .

Well… as for trippy stories, indeed… just take a look at the "Radio Gnome Invisible" trilogy by Gong from that charming character Daevid Allen… or the events of the planet "Kobaiah" by Magma from Christian Vander with their completely new creole language… But it was, in both cases, great music. (and not too naïve)

Symbad: you’re definitely right! One note: I am one of that generation who, growing up in the 70s, hopefully witnessed the possibility of the birth of an indigenous European jazz language that drew from American jazz only its spirit and some guiding lines. For me, this, along with my obviously NON-American sensitivity, represented the artistic effort of Eicher (and still does today) and of ECM. Ian Carr and Ratledge and the Canterbury scene also partly pursued this aim, but ECM outlined a "different" jazz project that fascinated me and continues to inspire me. You mention "Nordic" names that I'm not familiar with: instead, I will mention some Nordic "jazz" names that are redefining the very concept of jazz and whom I follow with particular attention. One of them even titled his (extraordinary) work "New Conception of Jazz" - Film ing - and that is Bugge Wesseltoft. Another is Jon Balke (formerly Masqualero like Nils Petter Molvaer): listen to "Batagraf" and "Diverted Travels"; then there’s Eivind Aarset: three literally astonishing albums for Jazzland Emarcy; then there's Molvaer, Henriksen; and others are working too. Even in the 70s, the "small revolution" of European ECM came from the north, and even now, what I consider new possible directions come from there. I would also like to point out that in the 70s the term "New Age," and you, Symbad, should know this, did not exist. It is useless to try to stick a flattering label on the subject, even if it's indirect and with pseudo-benevolent implications, because it’s simply not true. At most, it can remind one of how dew can remind one of snow. But does that make sense? Note that this intervention is not aimed at disqualifying American-rooted jazz or the changes it has undergone for better or worse; I am simply trying to clearly and strongly emphasize the two faces of the same coin and to acknowledge the great merits of European (or Nordic) jazz in thirty years of research, expressions, contamination, and experimentation. Greetings :-)

You "Cars-smashing": is very comfortable that you express your ideas in this way. I really like it. For this time I pick up your invitation to write in makeronik-inglisc because it could be fun. But I would like to read you if you would write in a more comprehensible way. I agree that it’s fun, but when it’s too much, it becomes boring, at least for me. Anyway, do what you want. In the end, I can't stop you. It depends only on your sensibility. And, after all, the important thing for me is building. Smashing too, but if you haven't built anything, what could you crash or smash? For English teacher in (s)fiduciam. Siiuleiter, alligheitor.

Hi Alan; I would say that the thanks and the scoring in the voting (3/5) should be enough to understand it. I would add, if you care, that the style in which you express yourself, in writing, is concise, rather direct, and emotionally "warm." So, keep it up. If, on the other hand, you're referring to the judgment metrics regarding the work, fundamentally, it's also good in this case, and since it essentially delves into personal tastes, I’d say that in this case they’re quite close, right? Best regards.

Symbad, I haven't read the de-recensionem of the twelve moons yet, but in any case, given your immense sensitivity and expertise on the matter, I wouldn’t want the "dispute" to spark foolish and unnecessary altercations about tastes. What I meant regarding "twelve moons" is simply that after the exploit of "Runes," I naturally expected a further progression of Garbarek's "sound." In my opinion, this didn’t happen, and except for some parts of the subsequent "Visible World," the issue repeated itself with the double "Rites" at the time. The Norwegian saxophonist currently seems uncertain about what to do, unfortunately. This has already been discussed in this forum; "In Praise Of Dreams," which after years of silence (excluding collaborations with the Hilliard Ensemble) didn’t come out just yesterday, confirms these fluctuations or uncertainties in direction and, what is most concerning, inspiration. I follow, I suppose like many other debaseriani involved in this page, the great ECM artists since I was, I believe, fourteen years old, and some are still in "brilliant" form (I will never tire of repeating, Symbad, the historical value of Weber, for example, is even greater for me than that of Holland). Towner has had some physiological "drop in performance" over the years but, in light of the work reviewed here, continues to amaze and ultimately intrigue. For Garbarek, as you may have understood, I have doubts. Changing the subject, I take pleasure in the proselytism that Sfasciacarrozze is generating. It wasn’t enough to have one reading that steals double the time to decode the meaning of the message. Now I have to endure even two…… I’ll start writing in broken English…… Let’s see if I can make some proselytes too….. Greetings and pardon for the length of the post.

Oh, I forgot: I don't find "Twelve Moons" more beautiful than the previous "I Took Up di Runes," actually. Listen to believe it. Bye