antoniodeste

Note: but the first one titled "Steps Ahead" is not the one with Eliane Elias on piano on Elektra Musician where there is (wonderful) "Pools" and "Loxodrome"? Well, I saw them at Umbria Jazz 85 with Brecker, Erskine, Mainieri, Bailey, and Chuck Loeb. They were presenting Modern Times. Unforgettable.

All along the Lee Shore......, dear Nobody when I had a "country" trio in '78/'79, the highlight with Emilio, live, (one of the three) was precisely this one. Then there were also Helplessly Hoping and Find The Cost of Freedom, but those are in three voices. I’ve always felt intense chills for this composition; the same goes for "Laughing" and "Song With No Words" from the immeasurable "If I Could Only Remember My Name" by the madman Crosby. But when I listen to Lee Shore again now, it’s as if time has never passed....

Yes, I want to be the first. Hello Mr. No. Well, yes, you've definitely stumbled upon a "class" record. You, for example, what class are you from? (just kidding). Overall, a more than positive judgment for CSN. I have always had a soft spot for Crosby's compositions, and here "Anything" certainly makes a great impression. But also Dark Star, the mentioned Cathedral, the others... One note; based on your memories, which I can share: instead of a slice of cheese, I would put a slice of Parma... I hope you are a fun person; I thought you were...

Beautiful, beautiful. Beautiful that someone has taken care of Grolnick. You see, I got to know him by listening to "Straight To The Heart" by David Sanborn, I believe in '85. Only later did I discover what a pianist he was. I also highlight the importance of "Weaver Of Dreams," which definitely deserves a review. I also have a soft spot for "Hearts & Numbers" (which I really love). Ah, did you know about the live "The London Concert Group" from 2000? (label: Fuzzy Music, featuring M. & R. Brecker, M. Ehlrich, R. Eubanks, P. Washington, P. Erskine (the one & only) & Don Alias?

What a pleasure to talk to a musician. It’s always like this. I can argue for hours about debaser or hang out with friends who listen to "only" music, and it’s enjoyable, sometimes even interesting. But when I’m in front of my musician friends or musicians, the pace and tone always change. Well, here’s a little something: some time ago, since we were (once again) short on bassists, we needed to record a demo for some venues. Since we really didn’t know how to do it, I dramatically turned to the GR9 Roland (Guitarsynth) for the fretless bass parts, alternating (in real time) with guitar parts. No one could wrap their head around it. Far from considering it something extraordinary or genius, let me be clear, but it was really fun. Another time (in a trio) I "had to" play (due to a lack of human resources) the violin parts (same system) of David Cross for a Crimson song that later appeared in one of the fifty thousand Italian tributes to the English group. There, and I’m proud of it, I received compliments in person from that great guitarist Christy Doran. As you can imagine, that flattered me quite a bit. Unfortunately, I recently realized I’m "aging" and am slightly more senile than usual, and I play very little. Others laugh at me (without showing themselves, though) and tell me they’ll make records without my "cameos" to make me come back to my senses. But I really miss the desire. I hope it returns. I have a beautiful "double neck" Gibson 1275 that I got only four years ago, which I’ve used very little. Every now and then I pull it out, play a couple of pentatonics (to see if my fingers still respond), a 12-bar, because the blues is in me every day, but then after 5 minutes I put it away again. I really am a mess. Bye.

Hello Alfredo. I really appreciated your clarity and honesty. ...Of course...never get depressed! (but it seems to me that we are not at risk here.) :)

Often, it all boils down to understanding what one expects from a certain musical "genre." And that very element of "expectation" is the prejudicial factor that influences opinion and final judgment. There is no doubt that for some critics and audiences, this trio exhibited "excessive" attitudes and content, and the same could be said for the Tull and the Yes as epigones of a certain way of understanding rock. This record, then, is precisely the sublimation of the excessive. It is also kitsch, if you will. However, if I have to compare the ability to express ideas, concepts, and musicality of this way of making music to (unfortunately) a good part of the so-called contemporary rock, it makes me want to laugh. Regards.

Well, Alfredo, when you're feeling depressed, it's hard not to seem (or be) whiny... have you ever found yourself in similar situations? Have you read the texts? Best regards.

I am a blues-infused guitarist who has played (of course) a bit of everything. Initially, as I approached jazz-rock, I was a McLaughlinite, and then (thank goodness) I discovered other influences. However, I've always kept an eye on the universe of rock with its thousand facets (still within the guitar realm). There, my reference was Robert Fripp. In the 80s, I assimilated the fast and incisive two-note technique of Metheny, and I've closely followed Scofield, Stern & Frisell. Another source (in the acoustic realm) has been Ralph Towner. I believe I could go on endlessly as I’m one of those who has "absorbed" continuously from others, developing a completely personal language only much later. Unfortunately, the multitude of sources has scattered my focus and studies in a precise direction. Tell me about yourself, Symbad. I have always struggled to find bassists who wouldn't just "accompany," but I often found myself in the role of the (fretless) bassist and had quite a bit of fun.

And here we go... it's the third time (in 5 minutes) that I come across this enlightened person of the 21st century who enjoys pretending to philosophize like Harlequin. The difference being that this "pirly teen" isn't funny. To manage to reason (as per his invitation), one would need something to reason about. Frankly, I haven't found anything. I await comments, because this character is well suited to receiving some good ones.