antoniodeste

Come on Hal, you know that the subject was a "trans ante-litteram"......

I see that the suspicion about Texier was not unfounded on Symbad's part, regarding Mr. Nobody. I greet both of them. However, a special bow to Symbad. I believe I have grasped important fragments in his words, both about things concerning him and about what he reads, listens to, observes. You have a wonderful gift, Symbad, or perhaps more than one; and the fact that you wish to share with us the implicit riches in these "gifts" greatly honors you. This is how I realize I'm learning small important things. I can therefore move forward in the awareness (perhaps a consoling one) that there are people capable of showing you "real things" and sensations that may be illusory but have great emotional depth. I owe you so much. A warm greeting.

I’ll tell you that, as an old (seriously) guitarist, I’ve always preferred drummers with a predominantly "regular" beat (…). I wouldn’t have cared a bit for a Billy Cobham. (In fact, Cobham left McLaughlin back in the Mahavishnu days…). That doesn’t mean I don’t love “creative” drummers who develop the piece in progression and/or in real time. I've met a few, and for me, they have been the best adventure companions. The fact (in PT) lies in the probable protagonism mania of the still great S. Wilson, I believe. It’s better (for him, perhaps) to have a Swiss watch like Harrison than another "rooster" like Maitland. Considering that the Maitland family issue is certainly present. I know Metanoia and I appreciate it a lot since, considering myself a not despicable improviser, I therefore love jazz in this sense, along with the improvisational/expressive capacity, in general. There’s quite a bit of experimentation in Metanoia, and Mr. Maitland makes a good impression. Your comparison with the Crimso is not coincidental. In the 73/74 era, the compositional and improvisational criteria traveled on similar tracks, and Wetton + Bruford had an insane interplay for the time. However, I don’t know if you’ve heard "Dyzrhythmia" (Jakko Jakszyk, Danny Thompson, and Gavin Harrison). It’s a CD from Antilles, I believe in ’91 or thereabouts. That’s how I met Harrison, and creatively, it was quite a nice encounter, besides being an extremely unconventional work. Then I found out that to "make a living" he was also playing drums for Baglioni, which made me smile. When I saw that the nomadic drummer had "settled down" with the PT, I thought: "Nice move, Steven" (referring to Wilson). I have no regrets. Best regards.

Dangerously fascinating and a bit cunning work. I love the band, but after the psychedelic exploit of "Signify" and the great test of "Lightbulb Sun," I imagined they would find themselves at a crossroads; it’s the old story of the underground band that sees its album sales grow and the influx of audiences at shows over 7 or 8 years. Temptations increase (the requests from promoters, managers, record labels or majors, too) and the need to ask what to do sometimes clouds clarity and the balance of choices. Thus, generally, a band is no longer so underground, nor so free, and the sound begins to suffer as a result. The subsequent, albeit very dignified, "Deadwing" still falls within this perspective of a "dimly lit tunnel" that does not yet allow for a clear understanding of what it might generate. Long live (and ideas) anyway to Mr. Wilson.

It seems that Chris Maitland's departure has caused some trouble for someone. I have listened to and closely observed the work of Gavin Harrison (a familiar face in pop rock and in drumming clinics, a highly sought-after freelancer and certainly valuable session musician), and, on the contrary, I find that we are "further ahead" than the remarkable talent of Maitland. When it comes to technique, any drummer will confirm that we are indeed on a different level. It goes without saying that tastes are subjective, and those who loved the beautiful Chris can only miss him…

Clarification: the album title attributed to Pat Metheny should be corrected to: "As Falls Wichita, So Falls Wichita Falls" (ECM - 1980); the other co-author is the keyboardist Lyle Mays.

Alva-Edison-ated? Why so much more struck? Yes, I agree. A little bit of fantasy, yeah. Mr. Nobody: could we have the grace of reading you clearly next time? Thanks!

To respond to you, Gabbox, a comparison will suffice: for a long time I followed (by way of example) Pat Metheny. Yet an album like "As Falls so Falls Wichita Falls" is as wonderful (in terms of arrangement, atmosphere, timbre, sounds, emotions, sensations, structure, evocations) as "Imaginary Day" is annoying and irritating for the very same reasons as the other.
I won’t hide from you, Gabbox, that I expected this question from you and frankly hoped you wouldn’t ask it, because, in my opinion, it's not a good question. Think about it.

Here, reading "historical" quotes like the one from Symbad immediately reminds me why I mainly frequent this forum; namely, to learn more. And I must say that Mr. Symbad knows a thing or two about BV, it seems. We are clearly faced with an enthusiast (whom my friend Mauro would jokingly refer to as "of strict observance"), and that is truly wonderful. Thank you, Symbad, for what I've read, and I hope to receive more "peelings" of valuable information, perhaps also about other jazz greats (who are never lacking). Small question: what do you think of the "late" Bill Evans, just to be clear, the one with the young (at the time) Marc Johnson on bass and Joe Morello (if I remember correctly) on drums? Thanks again. Bye.

Beautiful, really very beautiful, what happened after my controversial (it's true) intervention in favor of Beat boy. I read Mr. Nobody, (Thanks, man) who pointed out some definitely important aspects (contentiously, but that's fine) bringing balance to an "affaire" that was getting tangled up in itself, given the different age approach (and cultural and mental framework) of the people involved. I appreciated Jim Morrison, Grasshopper, and others. Evidently, my provocation and somewhat "angry" stance served something and/or someone. It seems that the young beatboy has been rejuvenated and is (rightly) asking for advice wherever he can. And this, given the new reconsideration of the issue, honors his interest, curiosity, spirit. I note (for the record) that I believe I am also a few years "beyond" Mr. Nobody and/or Grasshopper, so it’s possible that in some cases I might start to "go off the rails" in the ideal search for "a better world" (....) with "better people" (.....). I reiterate, however, that I greatly appreciated the time and thoughts that Mr. Nobody had a reason to write about what concerns me on the "Debaser topic." I hope, honestly, to be able to mentally and effectively take note of them. As for the reviews: I'll see what I can do; the intentions would be there and not few; unfortunately, they are not enough on their own. A final note for Beatboy: listen to these wise older brothers (Nobody & Grasshopper). It will help you; from my side, I think I can say that you are already on the right path. Hold on!