antoniodeste

@ Hymnen: You confirm yourself for what you are. Rest assured I won’t respond in any way to someone like you again. Best wishes. You need them.

Curious after three years of absence following the mediocre "Secret Migration", I bought it convinced that the band had new arrows in their quiver. And for me, they do; perhaps they are not exactly razor-sharp, but this little snowflake is very pleasant to listen to and is still quite visionary. Far from "Yerself is steam" and different from "Deserter's songs", but with an uncommon ability in the post-rock scene to blend different elements. The abundant use of electronics might give some listeners pause, but it is justified by the outcome that, in most cases, personally convinces me. Perhaps a bit easygoing rhythms but undeniably engaging. The instrumental CD downloadable for free from their website "Strange Attractor" is very beautiful.

I read, Jake, your disappointment regarding the current (but no longer, I think, just current) state of Garbarek, and frankly, I feel sorry for you. Just last night, a dear friend who attended the concert spoke of it in quite enthusiastic terms, but I can understand; I mean, knowing my friend's tastes, I'm not surprised he perceived Garbarek positively. Besides the ECM titles you mentioned, I would personally add what (besides the old "Witchi-tai-to") represents the Norwegian saxophonist at his peak of "new thing" in '90, which is "I Took Up The Runes." I was fortunate enough to see him in that two-year period, first with Katchè and then with Mazur, and in the first case, the sensation was very strong and penetrating (even moving!). Less warm and convincing in the second concert, the following year, in Udine. I have been following Garbarek, as you can imagine, for thirty years, but for quite some time now, strong doubts have arisen about the quality of his future directions. Some of my friends argued (and perhaps not without reason) that it might be time to look for new musicians and definitively abandon the tried-and-true collaboration with Weber (a bassist I adore) and Bruninghaus (author, among other things, of two wonderful ECMs—the second, "Continuum," is unmissable, in my opinion). The provisional result, however, as you have sensed, was first a collaboration with the Hilliard Ensemble and then an album "In Praise Of Dreams," which is not bad, but increased my doubts. So, it doesn't surprise me that despite the standing ovations at the Verdi, your impression was, to use a euphemism, "lukewarm." But as the connoisseur you are, I suppose it couldn't have been any other way... Let's wait a bit to see what he'll come up with in the future.

I just read the comment (after examining many, to be honest) from this strange character who goes by the name "Hymnen"; I invite other debaseriani to do the same, perhaps. Besides the fact that he hasn’t bothered to write a single review (which, although not mandatory, would be very enlightening, I suppose), he often seems to enjoy throwing out opinions that, I believe, rely on the assumed ignorance of some of us. Moreover, the attitude of superiority and being a supposed connoisseur that (perhaps due to a misunderstanding) he derives from listening to works by Stockhausen, Wyatt, Gillespie, Davis, etc., leads him to believe that his opinions or judgments should be decisive or carry the "imprimatur" of truth. To me, frankly, they are bothersome precisely because of this irritating attitude. Additionally, regarding the review on Grand Funk, it is known—and I am personally a witness—that, regardless of the group's value or the record, the band enjoyed enormous popularity in the '70s, even in Europe (at least until "We're An American Band" and "Shine On"), and thus our hero's comments on the matter are completely misguided and out of place. Unfortunately, this is not the only case. It seems he wants to emphasize the period of the band's main activity (to serve his own agenda) around the '80s when that is not the case. But this is just one example. A quick look at his various interventions elsewhere can clearly show the "type." Finally, I would like to clarify that it is not my habit to "point fingers" or want to argue with debaseriani about music when possible; but this, regrettably, seems to be the case. I apologize for the length of my intervention.

@...Oh, I almost forgot: use the plural maiestatis (..."we have understood") please, with those who think that you might represent who knows who or something beyond yourself. Besides the fact that, I reiterate, you seem to have understood very little....

@Hymnen: despite your immense intelligence and depth of knowledge on the subject, it seems you haven't understood a thing (but I'm not surprised). I repeat, given that from your lofty superiority it seems you want to mess things up, I'll put it to you in a way that might be clearer: What do Luciano Berio and the Berberian have to do with this review? Why don’t you comment on "Dolmen Music" and maybe avoid describing it with embarrassing terms like "nice work"? I suppose that the debaser fans (and I as well) would find a more articulated comment much more interesting.

I don’t know Damiani (one of my many ignorances, after all), but I am pleased (once again) that beautiful and intelligent things happen in Padua. I consoled myself in Sacile with Nils Petter Molvaer, but that’s irrelevant. At this point, though, Jake, I wonder why you don’t submit the high quality of your cultured reviews to some paper "editor." I mean, it's clear that you have a strong grasp of various languages somewhat related to jazz and your understanding of Italian syntax is quite good, and your style is more than acceptable. It’s puzzling why you haven’t aimed for a higher "level" (unless you’re already doing so and I just don’t know about it) and tried to make a profession out of these words. What do you say?

@Hymnen: the question mark indicates that I didn’t understand what you meant with your post.

@JakeChambers: thank you for the compliment. I've written only a few, it’s true, but the time and concentration I would need are proportional to my remaining clarity and, of course, to the time I might have to do it; not to mention the laziness. I’m content to “round off,” as you see, and contribute to some beautiful choices or nice playlists, like yours. I hope, in absolute good faith and especially without any presumption, to add small useful elements for deciphering and delving into the (musical) languages written/recorded each time under review and, perhaps, to express my inner emotional experience (In the childlike hope that it might be "contagious"). I won’t hide that it gives me great pleasure to see how many young people are able to approach serious and important cultured expressive forms and draw the right lessons/enjoyment from them. Being able to engage with these people is often a great source of satisfaction for me. Not that I’m old, I think (48), but I see a lot of trash around, and not just in Campania.... so seeing such people around... warms the heart. Best regards and see you soon.

@Hymnen: ?