antoniodeste

Tommy Bolin was an unfortunate and underrated guitarist who died of an overdose. It's interesting to hear him in one of the early columns of jazz-rock, "Spectrum" by Billy Cobham, where he shines as a session musician (great solos!), or in his beautiful "Teaser." The move by the Purple can probably be seen as a golden opportunity to emerge, nothing more; after all, Steve Morse did the same following the disbandment of the Dixie Dregs, which, in my opinion, were (and are) on another planet compared to the Purple. "Come Taste" is not a bad album; I even prefer it to "Stormbringer," and CycoCiccio has captured its essential lines well.

I attach great importance to the "live" moment of an artist, as I believe that art, in this sense, should be evaluated while it happens in its most congenial form, preferably on a stage, in front of an audience. I have a somewhat faded memory of Pieranunzi (UJ 78?), likely due to his elusive and reserved profile. However, I cherish pleasant memories of those fragments. I admit to having preferred other colleagues, not necessarily just Jarrett or Mehldau (for example, I hold Franco D'Andrea in high regard) or simply not having understood him deeply, which, in light of what I read, can only disappoint me. I have fresher experiences with Johnson and can only confirm the impressions already mentioned by Symbad in a previous discussion. The same goes for Joey Baron, who, I reiterate, in my opinion, is the natural heir to Paul Motian. So, applause for the mature review, to which I must make just one, albeit minor, note: wasn't "third STONE from the sun" the astronomical reference related to our globe? ciao mariner

I would like to add to the 2 albums rightly mentioned by Copernicus also "Rambler" during the ECM period and "Is That You?" during the Elektra period. I, however, consider his first "In Line" to be one of his finest works, and also "Psalm" with the Motian quintet, around '80.

Let's not exaggerate, it's not "pure garbage." As the Anglo-Americans say, though, it's full of "fillers" (not "killers"). Ultimately disappointing.

I love self-deprecation, Dante, and consequently I appreciated your recent signature quite a bit. However, know that in traditional (paper) correspondence, I sign with much more gruesome and vulgar nicknames, shamelessly putting myself on display in a childishly embarrassing way. All to the advantage of those who read the letters, of course, who usually end up cracking up. Uncle Frank didn’t just teach me things about music... (just to be clear, Frank is NOT Sinatra). When I was a kid, I confess that I always eagerly awaited on TV or at the movies the moment when Emerson would start the scripted dagger scene on the Hammond. A delight rivaled only by the glances directed at the 2 or 3 stunning girls in school. Sighing regards, Engineer.

Thanks, guys, It's true Hal, it's not a work that captures you instinctively. In my opinion, Metheny, with a particularly reasoning approach, may have sacrificed some spontaneity. However, this is certainly well available in some of his other works. Here, the approach is more cerebral, if you will, with a "calculated effect," obviously in good faith. It is undoubtedly for refined palates and for ears accustomed to navigating through multiple styles. So you shouldn't have any difficulties in this regard, I believe. Yes, listen to it again, Nob; I too, after some time, have periodically revisited it. And each time (as usual) there were new surprises. bye.

Great job makeloveeveywhere (nice nickname!) and also a smile for Knebworth '79. Some of my classmates saw them there (they sent me postcards to make me envious...) and I missed them by just a handful of days. Well done anyway, and especially to Miki. All this flowering of comments (some provocatively useless) still shows the ever-great interest of music lovers for the Zep and, let's admit it, as I reiterate, for another great review. Makelovenotwar. Cheers.

Regarding the 76,000, assuming that this matter holds any real importance, I suppose Miki was referring to a record from that era. Not compared to the attendance figures for current concerts. Otherwise, I believe the Rolling Stones, U2, or Springsteen might have something to say about it. (Maybe even Coldplay, Oasis, or Take That, who knows.)

Ah....yes., "honky tonk" is roughly that....but the country & Western piano or ragtime can sound similar too.....it's a matter of nuances.....

No problem boy! Keep it up, it's OK! :-)