antoniodeste

So, for Hobbit and Sylvian:
It's very, very nice that from you, I mean the young enthusiasts, there is so much passion about the "cause." The clarifications made regarding this should be understood exclusively in support of the truthfulness of some statements or the "historical" accuracy of certain facts and NOT to devalue your ideas and positions, which are indeed commendable.
ELP, Genesis, Giant, Tull, Yes, etc., really faced tough times at the end of the '70s under the wave of punk first and then new wave.
A bit like David Sylvian (I believe the reference is not coincidental...) who in the early '80s, at the fading of new wave and his magical Japan, began an extraordinary solo career (which I've been following closely since then).
It is in the nature of time and music, therefore, that characters, groups, stories, trends, idiosyncrasies, and maladies come and go, altering our perception of things (and sound waves...).
If prog (which, by the way, wasn’t even called prog back then...) has remained a subject of controversy, it is also true that at least there’s something to discuss about.
Some so-called contemporary "genres" don’t even have that. It's also a curious symptom that English bands and not only (Marillion and IQ, whether you like them or not) have "revived" that way of writing and understanding music, in the spirit and intentions of the "old" prog. It means that some seeds have been planted.

For Hal, kind G_à to give you the URL of Molvaer. It seems that the work is not yet available right away. At least on Amazon, that’s the impression I get. However, there are indeed some tasty downloadable samples on Nils' site, so...
An off-the-cuff thought: when is someone going to decide to dereview something by Uncle Frank (Zappa)?
Hasta siempre

I would say, hobbit, that you show prudence in your judgments, and I acknowledge that. Personally, at 13, I was a fan of ELP, and I’ll tell you that some of their pieces can still move me ("Take a Pebble", parts of "Tarkus" and "Trilogy"), but being a musician as well, I found their hyper-technical adventures VERY stimulating (even if, as you say, perhaps too long-winded, and at the expense of the development of compositional ideas).
In this sense, but with a largely commendable and admirable meaning, the figure of one of the great bands of the so-called prog (which, in the strict sense, is not really prog) that is Gentle Giant deserves a re-evaluation. Shall we discuss it?
In reality, I don’t know how far all these bands can be considered "seminal" for the audible results in contemporary times. Aside from Jordan Rudess of Dream Theater (and a few others, like Steve Wilson of Porcupine Tree) who lavish praise on Rick Wakeman or Keith Emerson and on prog in general, the latter, despite the "regurgitations" of the current "neo-prog", seems a "genre"… dissolved, evaporated, without having left appreciable traces.
VDGG and especially the copious production of Hammill are a rather singular and very particular case (of an unclassifiable type) of creations "detached" from current trends or prevailing genres. It is obviously a point in favor of our heroes who have indeed excelled (and I repeat) amid the current chaos of NOTHING, in a successful and splendid double work. "Present" has the courage to come out as a double album with a whole volume of improvisations (!!).
Then you listen to it, and as more than one has noted, it seems that 25 years have never passed; I believe, in fact, that the improvised sessions are the most convincing and creative expressions from the band ever, despite their nearly total 240 years.
Some time ago, I had the chance to exchange ideas with Peter Hammill during a brief Italian tour; he is an intellectual that I would define in the '70s style as "organic", cultured, and very clear-sighted in analyzing the things, facts, and events that have characterized his life and activities. His artistic flair and interpretative vocation, never blurred, except for brief moments, have thus exemplarily sublimated the admirable course of an admirable artist. Even if in the early '80s, when reggae was very trendy, Hammill, forced to support Peter Tosh, was heavily booed in the sports halls of Italietta....

Beautiful and "heartfelt" review. It's nice to hear about Hammill and Banton again after such a long time.
As much as Hammill swore and "re-swore" about NOT reconstituting the lineup, it’s better this way: "Present" is a work that gives a platform to a lot of people who seem more "qualified."
A clarification for Sylvian: I, when VDGG released "Pawn Hearts" (71?), bought the record... Honestly, I don't remember them being snubbed, at least not here, mind you. Their concerts were always sold out, and "Ciao 2001," the only magazine that treated pop rock decently, reported on substantial sales of their albums even abroad. Even that idiot Johnny Rotten from the Sex Pistols (who had venom for all prog bands) didn’t dare to throw Hammill into the circle of the damned and, in fact, admired him. The "deleterious" example of rock music, as you define it, perhaps can be attributed to other so-called "prog bands," but towards the end of the '70s.
A round of applause, anyway, to Hobbit. Good choice, good taste. Rediscovering these guys also means having the courage to move into territories that are sometimes not very clear, where the "murky" becomes an absolute reference. Of course, having the expression and vocal timbre of Peter Hammill DOES make a difference, and having agile and confident drumming like Guy Evans’s is a pleasure... It’s a shame (despite Banton's pedalboards) the chronic lack of a stable bassist. As for "Vital"... well... it’s a late and very rough work, not easy to digest, even after many years. Rather, I would gladly talk about the "Godbluff" - "Still Life" - "World Record" period, that is, VDGG in their second phase and... a bit less "dark."
Saludos

I have to tell the people who have "shared" this choice that I’m feeling a bit confused and, at the same time, gratified. I hope, as I have (and still do) always aimed for, that my interventions are exclusively related to the "discovery" or the deepening of "areas" or "directions" that, in my absolutely justifiable opinion, deserve sensitive attention for their implicit depth or for the supposed (by me, of course) value. Too philosophical?
Hear ye, hear ye!! Just now, I discovered in my email inbox a news alert notifying me of the fresh release of NP Molvaer’s new work; it’s called "ER." It seems quite timely, doesn’t it? Just today, I re-listened to "Live" from "My friend Bugge" (Wesseltoft—as he calls it) and it would definitely be worth chatting about...
I’d be thrilled with John for a review of "Triangle." It’s an album I love, just as I adore the album that Tsabropoulos made with Anja Lechner featuring Byzantine music and Gurdjieff’s works. Have you heard it?
As for Weber, who has always moved me (I must have been 16 when I first heard "The Colours Of Chloe"...) a proper monograph should be made. Guys, I mean, okay, Holland, Peacock, Garrison, Pedersen, Pastorius (whom I LOVE), but Weber is something truly special.
I’m waiting for fresh listens from Hal, though. I know he’s circling around something, so... I await with just curiosity.
sii iu leiter (alligheitor)!

A wink to JohnOfPatmos; I really thank you for reviving the "old" Andersen. I was just talking about it with Hal, I believe, regarding his latest "Electra." Personally, I found his work more stimulating in "The Triangle," (truly an ECM gem!) alongside a great figure in European piano (of Evansian derivation) which is Vassilis Tsabropoulos. A worthy follow-up to "Achirana," also on ECM, from a few years ago; I saw this superb trio (which I personally believe rivals Jarrett's supertrio) live a couple of years ago, and I guarantee there were chills and thrills.... You know, John, there’s also an ECM bassist for whom I’ve always lost my head, and that’s Eberhard Weber. It’s a shame he has reduced his work over the years. ECM has ALWAYS been a reference for me since I was just a kid, and although I can now follow it less punctually, I strive to catch its freshest releases (often failing and realizing it much later.....). A warm greeting to Hal and a heartfelt thank you for the warm and encouraging welcome. It will really be difficult to keep up with him in terms of Debaserian faith, willingness to "un-review," and... why not, perhaps open-mindedness. As for Baricco, undoubtedly the question marks are more than legitimate and I understand you (perhaps I also feel I can share that). Nonetheless, the initial quotation stands there because it's he who wrote the introductory cover notes for the work. Nothing more. At most, he deserves credit for promoting our heroine's work at the avant-garde festivals of the peninsula thanks to his influence, but this ultimately benefits the music itself, right? To conclude, two nice pieces of news: in November, around here there are two great concerts with Porcupine Tree and Robert Plant. (Have you listened to his latest "Mighty Rearranger?") gudbai.

this is for Hal & Odradek.
well, the Labeque review is online!

A thank you to JohnOfPatmos for the feedback and ... the eye; Katia is truly a very beautiful woman.
Give me, John, some ideas to dream about...
I take this opportunity to revive the "meetings" with Hal and Odradek, given their anticipation regarding it. For the moment, on the horizon, I am drawn to the "new conception of jazz" from the cold north. We will hear from each other again.

I was missing the Hollywood stars... even though "The Merchant of Venice" featuring such an inspired Pacino cannot go unnoticed. Hal and Odradek continue to inspire good feelings in me, not so much for flattery but for their intuition and sensitivity. Clarifications can be useful if misunderstandings, typical of human language, can generate worrying questions. Nevertheless, music speaks for itself; and it is a universal language, without double meanings. That’s what makes it beautiful. I’m REALLY happy that you listened to Dream Theory and Aka Darbari by Hassell and his late '70s works. The latest (Maarifa Street) isn’t bad, but personally... nothing new under the sun. Listen to realize it. However, there’s another trumpet player to keep an eye on in the ECM family. You can catch him in the recent Arild Andersen (Electra), and his name is Arve Henriksen. He seems to be a "strictly observing" Hassellian, and we’ll hear more about him. I also hope you’ve listened to Cuong Vu’s works outside of Pat's circle. He has a trio (and a shooting, to play with words) that can only be described as "explosive," which is a bit reductive.
The "torrent-like" (in the sense of "character" like certain rivers...) Antonio concludes (it's terrible and funny to speak in the third person...!) like this: "Nunzio Vobis gaudium Magnum: at last, the review choice has fallen on an exceptional work (the double z is mandatory):
"Unspoken": author: The Katia Labeque Band - Year 2004. Coming Soon!
baibai

For Odradek and Hal, certainly two "worthy" music lovers, a couple of clarifications.
I do not intend to regard the constructive exchange of discoveries, experiences, emotions, and sensations as an "attack."
Furthermore, I don't believe that age differences can constitute significant discriminants in any way.
Regarding Lyle Mays, I wasn't referring to his Metheny business but rather to his much juicier and more substantial solo work. In particular, "Street Dreams" (must be from '88 or so) and then the extraordinary "SOLO: Improvisations for expanded piano" (Warner 2000), where the boundaries between jazz piano and the horizons of new age in its purest sense literally disappear. I hope I don’t have to elaborate further on his first, beautiful work.
As for "Passaggio per il paradiso," I don't believe Mr. Mays participated in it. In fact, I remember an interview with his partner in which the guitarist from Lee's Summit mentioned how complex it was for him to record all the parts. (But Metheny was already used to that; I imagine you remember the soundtrack, which wasn't bad, of "The Falcon & The Snowman," right? But who has seen the film "Passaggio..."?)
Regarding Molvaer: I always find the "this is better than that" notion a bit amusing. It's like saying that early Jovanotti is worse than the one from 2000... they are just different things, right?
In a musician's life (as is the case for human beings, I'm trying to be a bit rhetorical...), there are phases: some "happier," others less so, for both the musician and their "audience." Also, the ongoing evolution of the phenomenon of musical creation often makes what manifests something so fluid and changeable that it frequently becomes, over time, something completely different.
I could say that NP3 by Molvaer is "superior" to Khmer (which I also adore), but... what sense would that make?
Moodswings, for example, does not shine, in my ears, of any magical light. It's a nice album that leaves no particular marks. (One, indeed, is Mehldau.) Not to mention the fuss that was made at the time about Joshua Redman, with Metheny and Haden pampering him and holding his hand (Wish isn't bad!), and Downbeat dedicating covers, interviews, and blindfold tests to him. And then, what has remained? A normal, good tenor player. But his father, poor guy? He indeed, Dewey Redman, worked hard in the '60s and '70s. But few paid attention to him. The usual elite.
Old stories. Already heard.
Let’s see… does Jon Hassell interest you?
gudbài