antoniodeste

For Mr. Nobody on Furio Di Castri from antoniodeste: You have truly seen and heard well. You're not mistaken.

I smiled after reading the comments following mine. A smile of understanding and tenderness, nonetheless. For a moment, Perigeo is still a subject of discussion, and that's what matters to me. Ajeje is nice and has his reasons too; after all, Ajeje, believe me, the list of those who were good (and Napoli Centrale and Dedalus certainly were) would have been, for me, very long and perhaps tedious in this context. Among the lesser-known ones (only in terms of "popularity"), the list would be even longer. Arti & Mestieri, it's true, too bad about the brevity of their experience. Rather than nitpicking ("well, there would be this and that... you forgot about the other one!... oh... what a shame! these are better than those..."), I focused on the "place." In the sense that I commented on a review of the album "Azimut" by the group "Perigeo"; since I know them, I tried to bring that little I know to the attention of those willing to read these things in the hope that it might offer an interesting perspective. I consider them, and I repeat, pioneers of a certain way of "thinking about music" in Italy, and I believe I have given them the right and deserved space. Then, if we want to talk about the entire Italian "scene" (70/79) in terms of the music of those years, I couldn’t ask for more. I experienced it "subjectively," and it also shaped me culturally. During those years, I saw dozens of "Italian" concerts, in addition to the "foreign" ones, of course. Frankly, I believe Debaser should open an appropriate "study department" on this matter, as the topic is not without "weight." Let it be understood, with all due respect for the 90 percent of authors and groups that made great "nova" music during that happy season in our peninsula. I warmly thank and greet Symbad and Mr. Nobody for their valuable contributions (not just because they seem to support me directly or indirectly...). For Ajeje: if you're looking for the first Dedalus (on CD), we can arrange something. It’s still "fresh"; I've had it for about ten years. Fiorenzo Bonansone recently talked to me about its "strange" titles. Marco Di Castri (source: Bonansone) would be working as a "technician" at Mediaset. I hope I don't disrespect the memory of Mr. Nobody if I mention with great interest "contaminated" all three titles of Aktuala (truly stunning): "Aktuala," "La Terra," and "Tappeto Volante." Three Bla Bla albums - Natale Massara (the first "Ed. Ricordi," if I remember correctly) all reissued in the catalog of the "Artis" label of Alfredo Tisocco (ex Opus Avantra). Now I'll stop with this display of memory and say goodbye. It has started to snow heavily here.

The presentation concert for their "Genealogia" (1974) was the very first concert I had the fortune to attend. (afternoon concert: at that time, there were often two; the other one, obviously, in the evening.) For me, it was a genuine revelation. I followed them throughout their brief career in their attempt to modernize music in this country. To be precise, at that time, there was no group in Italy that could be classified in the so-called jazz-rock genre, as it was then defined. Later on, when Perigeo had paved the way, Agorà, Baricentro, the first Toni Esposito, and smaller groups emerged. It's true that there were the Area, but Stratos’ great group decidedly transcended the boundaries of jazz-rock. Perigeo's era, inaugurated with the promising "Azimuth," was a happy season of Italian electric jazz back then, and the group had to stop after "Non è poi così lontano" due to serious financial issues with their label (RCA). The value of the quintet is undeniable and widely demonstrable, and I believe I can say the same about their historical importance. Exceedingly refined and prepared; visionary composers and courageous pioneers. Their individual technique is superb (particularly the great pianist Franco D'Andrea, but the others are no less). I agree with Mr. Nobody (hi, we’ve been in touch often lately, huh?) that the review is frankly too brief for the significance of the Italian formation and this debut album. However, if it can help shine a light on a group that seems to have fallen into oblivion, then so be it.

wow! the grades!

This is the second review that Miki Page dedicates to the Zep, and once again it radiates all the passion and love he wants to reserve for the English quartet. I read another nice assessment, Miki, competent and balanced, and I believe you can do even better. No one, for example, has yet reviewed the first LP of the Zep... In fact, "Presence" was an album that had a somewhat strange and unusual gestation, following Plant's accident. The title itself underwent several changes. (You'll remember that it was originally intended to be called "Obelisk," with a nod to the Hipgnosis cover.) However, as you rightly noted, it contains two of the toughest things that Page & Plant have produced. "Achilles'" & "Nobody's" are truly two giants. This, therefore, at least partially redeems the success of an album that is transitorily "stable." Unfortunately, "Tea for One" (recently re-listened to) is really embarrassing. Well done, Miki. I’m looking forward to more beautiful things from you. Thank you. Rock on!

Invitation to MuSo, given its "Emersonianity": a nice bite like "Trilogy" would be missing from the ELP list. Why don't you review it? Come on! Regards.

To all "Emersonians": did you know that a couple of years ago the lovely Keith released a triple (sigh!) live album with the reformed Nice (Lee Jackson and Brian Davison + the rhythm section that makes up the current Keith Emerson Band)? Title: "Vivacitas: Live in Glasgow". Regards.

I will skip over the further sparks that Symbad has ignited, deepening apparently simple concepts. However, Symbad, I thank you once again for this, and (how wonderful!) for having, thanks to your info, discovered the existence of a bio of the great old reportian of whom I knew nothing. I have been following Zawinul since '75, more or less, and among the great things I always love to remind my friends of, whenever it comes up, is his "Dialects," a precursor to many things to come. Finally, Symbad, don’t be embarrassed by those poor words I found to show you a minimum of gratitude; no one sees you beyond the debaserian lines... and, at worst, the blushes in this season can always indicate an inner warmth. That's not nothing. So long, friend. P.S.: my kids love my jokes (take that).

for Pierino: wow, what style!

Gabbox, I believe it's time to move on, believe me. This exchange of opinions is no longer interesting (for a while now). I will not reply again (on this board). Best regards.