antoniodeste

Watch out for the viados. Have a nice walk.

I would raise doubts about Cope's mental health. Assuming we're talking about Julian Cope. That it might be the Germans who brought it to him or maintained it would be like saying that traffic in Milan promotes transcendental meditation. But if this refers to Cope, I could understand. Please, let's stop with "Dark Side" and the flashy, parlor nonsense. Let's put an end to denying the evidence of undeniable "historical phenomena"; whether we like it or not in this specific case, it is no longer useful in any case.
For Dante: I prefer Faust IV. Cheers.
P.S.: But... can you beat "La Isla Bonita?"

"Everything must go", and this one is gone too. And it went well. Every time I'm stimulated by FagenBecker, I get a kind of psychomemonomic emotional thrill. "Katy Lied" is a "nice" piece, even though I personally adore "Aja" and tend to swoon over "Gaucho", the track. Dear philosopher Socrates, you have undoubtedly displayed a fine sense of style and a considerable sensitivity (which I, by the way, had no doubts about) and described the work in a widely shareable way. And since sharing is what gratifies you, well, you've found another who thinks like you in me. A nice pat on the shoulder. Keep yourself cool.

I'm curious about you, Henriksen. I haven’t listened to "Chiaroscuro," but what I've heard from elsewhere, as well as the influences and/or descendances, are quite evident. I consider Hassell, Isham, and Molvaer to be more than credible forebears in this regard, and frankly, they are more highly regarded. I would add to this lineage of "animalistic & breathy" trumpeters the extraordinary figure of Cuong Vu. I reserve a few years of "aging" before forming a judgment on the stylistic identity of the Nordic trumpeter. He shows promise, and I wish him growth. But he will need to do more in terms of instrumental originality. Of course, I am on the lookout for the album.

I will tell you Ragamorse that despite all these years passing, every time I stumble upon this fetish of my adolescence, similarly to you, and even though I've listened to it countless times, I manage to catch new details, perhaps tiny ones that had managed to elude me before. It's the beauty of the live (repeated). Just in case you don't know, a version of the album has also been released in DVD audio format (Dolby 5.1). Regards & thanks.

No, I think he would wake up at..... "half past 8". My wife wakes me up earlier.

I'll just add that Discofrisco is run by a group of nice guys with whom I've been discussing cross-genre music for years. It's in my city, and not to advertise for them, they're often accustomed to promotions similar to the one on Can (I remember one, very advantageous, a year ago on Zappa). If you want to stay in this city, there's also "L'altro" store, which is good too, called "Mezzoforte": there are two of them: the other is.... "mezzodebole"..... bye.

I don't agree, Symbad, on Rocket Science, which I think borders on masterpiece. I’ve been following Henderson for quite a while, I believe (he first appeared, I think, on a Ponty album, "Fables" from '85, perhaps...) and this work is definitely the most advanced peak of Henderson's bizarre contaminated world (and Willis, because there were two of them thinking and playing, plus the other two fools just two centimeters shorter). Since "Spears," Scott has come a long way, and the inevitable technological-modernist fever of the latest works brilliantly mixes with his undeniably bluesy flair and the typically Berklee-jazz setting. Exaggerated technicality, madness, quirky ideas, armolodia, and attempts at groundbreaking neo-creative styles are the foundation of the latest, perhaps random, TT things. Definitely way more advanced than Ferrante & Haslip or Mainieri & Brecker, whom I greatly respect and admire. I only regret that TT have been inactive for too long. Henderson's double live album is a nice punch of unconventional blues. Scott, even in a trio, is truly formidable, and when he "pulls" his solos, it’s hard to understand where they might end up, often pulling me in so deeply that I risk losing control of the car…. Let me know your detailed thoughts on TT, guys. As for Caz: I don't "claim to be old"; I have my not-so-green age, but the community of musicians and enthusiasts I’m fortunately surrounded by often stimulates me with things I might not even imagine: Zu was one of those. They’re not bad, but for the free (aside from Ornette) I have some issues, unless I’m the one leading the dance when I play. (Those few times it's been happening lately). Best regards to you all.

Hello Nobody, it was nice to read you.

you know what, I don't want to say some hedonistic bullshit, but (I'll ask the friends I was with) I think I saw them, the Zu. bass, drums, and tenor? a greeting and a request for confirmation or denial. bye.