antoniodeste

Thank you for the Danish titles. What does mvvho mean? Seicordarum pizzicantibus greets you.

For Mr. Green Genes: it’s true, you're right, and I acknowledge that. Just as there are brighter gems than "Titties & Beer" on "In New York," upon re-listening. Now, however, while waiting for your "One Size....," come on, spill your tastes and preferences ..... :D. Bye

Probably: "Roxy & Elsewhere", "In New York" & "Make A Jazz Noise Here". I might reconsider, though. The ball is in your court.

Wow! Dominique Di Piazza! How could I have forgotten him? Of course, I was falling asleep last night! And then there's another great guy from the quadrichordatum: Bill Kristian, who renamed himself Werimu Aata Teransiamoa Karaitiana, found on a lovely album by the old Nucleus of Ian Carr titled "In Flagranti Delicto" (Capitol 1977); and speaking of simple names, how can I not mention Jamalaadeen Tacuma? And what do you think of Roy Babbington (tenor guitar...)? Ah, tell me, since you mentioned it: what would you recommend about Niels Henning Oersted? As for Branford Marsalis, I’d like to suggest a beautiful (and very calm) “Romances For Saxophone” (for Sony Classical). Then there’s Jeff Berlin, whom I’ve seen a couple of times recently, but compared to the late '70s stuff, he seemed too technical-virtuoso and not expressive-communicative enough; still nice, though, “sopramanico”. And what do you think of Michael Manring and Victor Wooten?

For Fagen85: in reference to "Civilization phase III": it really isn't easy to find anymore (and the work isn't exactly one of the simpler ones, musically and structurally); I imagine you've already looked into it, anyway you can find it on cduniverse.com for a not particularly good price ($39, which with shipping would come to $45, roughly a little under 40 Euros). Up to you. Happy potential searching. Bye

No, no, Dante, you misunderstood me. Hit Parade was said in an absolutely good-natured, conversational tone, I mean, said in a friendly way, knowing that Uncle Frank would have a good laugh about it. So I also re-invite Green Genes, in addition to you and Morrison, who has recently arrived, and anyone else to compare, as long as the idea strikes a chord, the monumentality of individual Zappa episodes: I'll continue: from "Jazz from Hell" two gems: "G-Spot Tornado" and "St-Etienne"; then: "Tits & Beer" from that masterpiece (which no one has mentioned so far) that is "Zappa In New York"; and, to conclude, for the moment: "Watermelon in Easter Hay" from Joe's Garage III. Looking forward to some insights. Bye.

Well, what a nice occasion... I've known Brecker for about thirty years now, I've spoken to him a couple of times (Perugia - Venice) and I didn't even know (antziqueno) about this record. I admire the man especially (curious!) for his soprano solo (!) in "Hejira" by Mitchell on "Shadows & Light," and I've read that he also has a serious illness. Please tell me, Symbad, what it's about; I don't know anything. It brings to mind a set with Marc Johnson and John Abercrombie (1988?) where, as they were preparing for an encore, he introduced "My One & Only Love," and some guy in the "piccionaia" started to hum it out loud while Brecker watched him with an amused expression the whole time. The theater erupted in laughter. I also enjoyed the multilingual cultural exchange between that singular character from (s)fascia (c)arrozze and the tira quadricordatum recensoreo. Really cool. As for Genus, in conclusion, I’ll just note the alternation of performances. I wouldn’t know. I saw him with the late Bob Berg a long time ago (Dennis Chambers on drums), but I didn't quite understand what he was doing or trying to do. It might be out of place, Symbad, but I’ll quickly list two or three of my favorite bassists (besides Jaco, of course): one is Eberhard Weber, then Mark Egan, Danny Thompson, Bjorn Kjellemyr, Chris Laurence, Percy Jones, Jonas Hellborg. I look forward to your scales (not only pentatonic or hexatonic) of values. Great review.

"Chocolate" was and still is an important chapter in the stylistic evolution of PFM, and Lanzetti's entry filled a gap that was beginning to become serious. Nevertheless, it must be taken into account that the group had already widely demonstrated its ability to express itself at levels of excellence in the Italian scene and in its personal quest. "Storia di un minuto," "Photos Of Ghosts," and, above all, "L'isola di niente" are solid cornerstones of an extraordinary growth that many of us witnessed. When this work was released, I won’t hide the fact that there was just a hint of disappointment. The sounds and originality of the compositions had "settled," and the ideal growth diagram seemed to be showing signs of stagnation. Make no mistake, antoniomimmo, the album is one of those beautiful ones that must be listened to; I actually agree with you in substance and in judgment; it’s just that, personally, I prefer the previous works a bit more. Nevertheless, it’s a well-written, convincing, and well-documented review.

I had my doubts, Fagen. Thank you for dispelling them. No one else, apart from the good Dante, who would be tempted by the lure of the hit parade?

Thank you for the comment. It was definitely needed. Now we can sleep a little less worryingly. :D