antoniodeste

I have just read Rock antologya's latest comment and I continue to be astonished. This person knows so, so much more than any of us could have dreamt of having sufficient knowledge in "jilmuriana." I encourage Rock antologya to write more, enlightening us once again with their precious knowledge. These are important presences.

Written by someone who seems to know quite a lot about the Zep and loves them enough to bring out the best in this beautiful work. The style is good and the information (even if there seem to be a few disputes here and there) is interesting. I like IV, just as I like III, II, and even I; ....but also "Houses of The Holy" and "The Song Remains..." and... also "Presence". Not necessarily in that order; it depends on the day....

@Contemplation: I would say that from what I gather, you fly in directions, jazz-wise, close to mine, and I find your approach to evaluating the subject to be conscious, informed, and balanced. It may not seem like it, but it’s not that easy, at least for me, to find people knowledgeable about the subject. Umberto Trombetta (Gandhi) I’ve been following for several years, albeit intermittently, but he has traveled quite a bit from Osoppo, it seems. I was thrilled to hear him in the last beautiful ECM album "Melos" that you indirectly mentioned in your latest post. I was so happy for him that I "expressed" it to him via text this summer. That very evening at the ECM festival in Athens, he was set to present the work with the trio, I believe for the first time in the world. I sensed his great satisfaction. (....!!). Erskine, I guess, will soon be considered a saint. I believe he is the drummer I’ve seen in the most diverse line-ups. The episodes that made the biggest impression on me were Umbria Jazz in '84 with Steps Ahead (Mainieri, Brecker, Bailey, etc...) and 4 or 5 years ago in Cormòns with Renaud Garcia-Fons, I think, and a guitarist I love, Nguyen Le (do you know him?). Of course, I can't forget the first time, in '80 with the Weather Report and.....Jaco, but that's another story......

I mostly agree. And just to cite another example where Mr. Colaiuta truly excelled, it was during the early eighties when, still relatively unknown, he played with Joni Mitchell. I saw him "live" there, and the impression was undoubtedly strong. He is that type of "mercenary" drummer who adapts to situations, I find. Depending on where he is, he changes his attitude and the way he expresses his style. Gadd, for me sacred, was one of the top drummers of the 70s (Clarke, P. Simon, Steps, Steely Dan, etc.), even though we remain in the area of freelancers who adapted to purely collaborative situations rather than songwriting within more or less stable bands. Do I make myself clear? As for Weckl, let's not even go there; he was (it's been a while since I've followed him) the blatant manifesto of "Look how unattainable I am"; live, he was even irritating (I saw a triggered solo of his with a computer where he dialogued with himself; some toms were set with slap bass sounds!). Instead, I have always thought that, for example, Peter Erskine's path has been much more instructive, enlightening, and admirable. Just like the old drummer of the Soft Machine, John Marshall, who, as a rather "hard" drummer, has in recent years "discovered" an even lyrical way of approaching the drums with the Greek pianist Tsabropoulos and Arild Andersen. Chad Wackerman himself is another example of finely ultra-technical drumming yet expressive in Zappa's scores. The issue you raised about the sense of hyper-technical virtuosity in contemporary music is always open. Unfortunately, it is often interpreted as the only parameter in expressing judgment to the detriment of communication and expressiveness. I suppose it doesn't have to be that way, even though it can be an extremely useful element in developing a musical language.

@Contemplation: Question: When has Vinnie ever not sounded divine? ....never seen "Live"? @Omahaceleb: Okay. Got it!

Think Easycure that the Jazzmaster was, I believe, my first "serious" guitar when I was seventeen (red with a white mother-of-pearl pickguard). Perfect for blues! Nice memories(.........) ;)

I must say that in my infinite musical ignorance, Supersoul's contribution is decidedly instructive and enlightening. As much as I may boast a quantitatively rich collection and a fair knowledge of Zappa's work, I was unaware of the interesting information that Supersoul has shared here. I believe this is a correct way to “inform” in a “neutral” manner without heated stances on certain works or issues, and the author of the comment, whom I thank, deserves credit for the discretion and objectivity with which they enlighten us about the matter. It is certainly an acceptable justification for a little piece that, in my opinion, is one of the weakest links in the entire work of “Uncle.” But, as we know well, not all cakes rise... Furthermore, and I ask for opinions on this, I would have the same thought regarding the excess of verbosity in some parts of “Joe's Garage,” which anyway is at least a notch above “Cosa Pesce.” And (oh my!) to conclude: how do you digest or perceive the exhausting and endless guitar solo sections that constitute the central pivot of “Shut up'n'play yer Guitar” and “Guitar”? I mean: is it just material for adoring guitarists, or is it also pleasantly enjoyable for non-guitarists?

I agree. But I have no strings to tune myself. But..... "with a little help from my friends....."

So you’re a friend of Bruss Springstiin!! :))( what do you think of that Yamaha model called "Pacifica," which is sponsored by Mike Stern, identical in every way – except for the pickguard – to the legendary Tele?)

@Psychopompe: and along with the sideburns... how about the "bananas" like Elvis in his early days? And... tell me another thing: besides Ford Mustangs, do you also like Fender Mustangs? :)