antoniodeste

Well, I have to share my two cents as well: right now the word that’s blowing my mind is "sfrucugliare." I wonder what Mr. Schmidt would think ( "about Schmidt" ). Damn, you stole another smile from me with John Holmes. Another point for you. One point less for Kumo.

Yes, yes, let's found a cult of night losers dedicated to the consumption of Chianti DOCG! And instead of sniffing glue, we could use it to piece together the shards of the glasses after using them (Russian style...). We could call the lamp... I don't know,... the "lampada di alaVino"! The idea already excites me. I can already hear the sessions with the background of Frank Sinatra crooning "strangers in The Night." And then I can also hear, clearly, my wife's voice saying, "ahò, svejate, devi annà allavurà!" Bye, man, I like dreaming. :D

Thank you, Dante, for the trust and the proposal. Don’t take it the wrong way; the offer might even intrigue me, but I just can’t take any more gazzosa. The kids keep shoving it at me (to finish the can, already opened, they don’t like it anymore), and just hearing it mentioned… As for the glimmer, now I understand those guys who sometimes stare at me, all dazed, on the street, around town. They’ve seen “Shining” by Kubrick twelve times and… then looking at me… they’ve gotten a “glimpse.” But I’m getting a bit tired of playing the “messiah of the poor” for these unfortunate souls. What if I gifted them some UV-A lamps? Huh? What do you think, Dante?

I'm sorry for the curiosity that might sound morbid, Mr. Nobody, but... did you manage to hook up with those two girls (the tall one and the little one), maybe singing together "Triad" by David Crosby afterwards? You're free not to answer if you think it's too personal. I want to emphasize that in any case, it's not my intention to hurt or "bruise" a pleasant memory. :)

Beat, I don't know the album, but the review gives a good idea of what I can expect. Back then, I confess, I snubbed it only to come back to it with "Smogmagica," because of Marton's guitar. I'll take what you say as good, and if I get the chance...

Well done, Ferdericozz. Let's shed some light on yet another masterpiece from the German quartet. "Babaluma", as I have already pointed out on another occasion, is a mature work, dense, hypnotically "ahead" of its time, as you rightly observed. "L'aria minacciosa" is indeed present; and there is still an absolutely unusual and original way of approaching rhythmic material in Europe for those years and the dreamlike climates. One question: What is Irmin Schmidt doing now?

Mr.NobodyNoParty: I'm sorry, but your "nostalgic little pee" has been observed, justified, and understood. They're beautiful things, though, to keep in mind forever. I'm not joking; it's precisely because of those emotions and those memories that you are the way you are. And to me, like this, you aren't unpleasant. Don't try to hide them and/or give them a new meaning of uselessness or negativity, as it seems to be inferred from the tone you use. Nostalgia is not necessarily a bad thing. Getting back on topic: Beautiful work from the "good" Sorrenti. Also "l'incensiere," but this one more so. The review from Mr. Tollani is lovely too, and I commend him for his sensitivity. One detail: as a guitarist back then, I had to learn the "leitmotiv" of "Figli delle stelle" (it was played in clubs to make a few bucks...) because people wanted the song. In the end, I even started to like it... (oh my...)

I sincerely thank Jop for his kindness, understanding, and open-mindedness. Let it be clear, the three titles mentioned, (all quite distanced in time from one another), are called into question for the various shades and facets of Townerian music beyond Oregon. "Solstice", plain and simple, is unequivocally a masterpiece. Christensen, Weber, and Garbarek are very young, and it’s a quartet that needs no commentary. We're in '76 or thereabouts. From '80 (the dates are approximate) is the live "Solo Concert," where Towner, all alone in a (cold) concert hall in Germany, astonishes with his 12-string (Guild) and classical guitar. The third, "Blue Sun," from '83, showcases a Towner (as usual) multifaceted and incredibly inspired, grappling with various instruments in overdubbing. The atmosphere is light yet concentrated; modernity is just around the corner, but the setting remains classical and somewhat jazz-oriented. I would also mention "City Of Eyes," more recent, for the presence of excellent musicians, all perfectly immersed in the atmosphere of one of his most successful works, in ensemble. It is obvious, however, that to fully understand the musician, the reference to Oregon is almost mandatory. Here, though, a separate chapter would open. Let's see if I can manage to review something. A greeting to you, dear music lovers...

If I remember correctly, I had just come fresh from a terrible incident at Leoncavallo where a friend was killed. I was there for a concert by Treves Blues Band and Guido Toffoletti & Blues Society + Tolo Marton. Thanks to the murder, the concert went up in smoke. I had also just been through demonstrations in Bologna against the regime, and the scuffles and trouble with the police started to annoy me. No, I wasn’t at Lambro that year, and maybe that was a good thing. Milan has never excited me. It took me just three editions of Umbria Jazz and more than one gathering of youth proletariat to realize that there was a lot of confusion and ignorance around, despite my ideals and "good intentions"; but since it seems you were there..... any interesting notes regarding the Area and something else, Mr. Nobody?

Another piece of our history. How do you vote on history? Well, I'm lucky that there are the stars. And also a Stargazer who brings it out ("it" brings; not "him" brings) and a Symbad who visualizes it better for us. And all the others who know what we're talking about. Damn it, make yourselves heard! Now we need you. To play and play it.