antoniodeste

It’s a pleasure to read the quote about "Codona," where three great practitioners/artists of what would later be called "ethnic" music came together in a marvelous symphony of pan-African tradition. Walcott, Cherry, and Vasconcelos sketched out territories for us Europeans that were still only imagined, and it was truly beautiful. Vasconcelos, through collaborations with great names in contemporary jazz (with Metheny being one of those who has best valued him, I believe), was able to expand his extraordinary universe with those instruments, partially listed by Macaco, which are the result of a tradition that struggles (and thank goodness!) not to disappear. Nana, too, has a truly special availability and charm.

I would like to avoid dwelling too much on the trajectory of the group in question; I believe I have argued sufficiently on other profiles of the group, so I will limit my comments to a modest appreciation of the review at hand. It is certainly not the most representative work of Tommaso's group, and there is a clear inclination towards simpler, more immediate, and... commercial formulas (Fata Morgana above all); even the arrangements of the orchestral parts (!!) seem to be directed in this sense. At the time, unfortunately, in sensing a certain inability for the group to "break through" in the Italian market, RCA (their label) stopped financing the project which, despite a decent success of the American tour accompanying this album, ultimately disbanded. I don’t think the album is bad. We’re not at the level of "Genealogia," but we are still a good ten steps above any other Italian "work" of the time, at least in its genre; assuming there was one.

Just for a moment, I take the opportunity to greet my good musical friend Shine, whom it's always a pleasure to reconnect with! Am I still in time to wish you happy holidays?! Hasta la vista!!!

I apologize and correct the aforementioned title: "Meshell Ndegeocello Presents: The Spirit Music Jamia - Dance Of The Infidel."

@Alia76: By lying, I could attempt an escape by saying that "...but yes, of course, I was referring to Ndegeocello!!", when it wasn't like that at all.... Don't worry, no problem, even though I only found out after visiting your profile. In fact, I take this opportunity to throw a compliment: "Bravo Bravo!!" and an invitation to anyone who wants to discover (besides Acqualife) what this extraordinary woman does, especially with the bass: it might be aimed at a purely jazz-loving audience, but don't miss "Jamia: The Music of Infidels," I believe that's the title; for any reviews, please refer to the one written by Hal on these pages a couple of years ago. @Terry:... and thank goodness you're not a boy.... Once again, best wishes to everyone.

I haven't listened to it in a long time, but I basically consider it another nice, edgy, and "forward" piece of the author's multifaceted, multidirectional project. Perhaps the most electric and exposed to rhythms, tensions, and atmospheres of the period in Eno's production, excluding "My Life In The Bush Of Ghosts." Or at least as far as I remember.

A dry, direct, and spontaneous style; thrilling echoes and emotionally intense. I believe this description fits both the poignant work of Meshell and the admirable human and musical vision of Alia76. Well done.

Even though I used to be a more convinced fan of the band, I've never been able to fully digest or appreciate this double live album (on vinyl), even at the time of its release. There's a lot of validity in the notes written here and there by commentators (Cavalli, Roby86, Telespallabob) that indeed portray a not very convincing image of the band in that phase. The best probably lies elsewhere, although I don't consider Yesshows to be a despicable work. If, for some, it represents an unmissable piece of the band's legacy, I have no objections, of course.

Well done Acqualife, you’ve stumbled upon a lovely fusion piece tailored for newcomers to these musical directions. Dimeola's work, first with Return To Forever and then solo, is technically outstanding and educational for guitarists looking to develop especially their left hand; however, it is also true that expressiveness and communication were heavily penalized and/or sacrificed, in my opinion. But he addressed this in a second and then third phase when, first with the World Simphonia project and then with the more "recent" works ("Soaring Through A Dream" and especially the splendid "La Grande Passion," I believe it’s called), he ignited a remarkable spirit and emotional capacity that is much deeper, perhaps sacrificing just a bit of his extraordinary technique, finally. The approach to Argentine tango folklore and South American music has been exemplary in an admirable balance of mind and heart and... hands. I don’t know what he’s doing now, but he was a guitarist too hastily pushed into a corner as soon as the winds blew against him.

Regarding a comment above: it seems to me that they have already been in the history for quite a while. Or are thirty years (almost forty) not considered history? I can understand the dislike for whatever reasons, but let’s not say absurdities, please!