antoniodeste

It was a great honor for me to have attended a concert by Monk last June in Mantova, after "Dolmen Music" had been resting in my heart for so long, having shaken it the first time. I was able to witness one of the most beautiful concerts of my life, and I don't think I've seen too many... In the end, having the fortune and, once again, the honor of being embraced by this lovely sixty-six-year-old deeply moved me and shook me once more. One of the fundamental works of my "listening education" and a splendid review.

I spoke with Giovanni Tommaso on a couple of occasions when, as a boy, I went to see him, knowing that Perigeo was truly exciting "live." Despite having a stutter, he made himself understood perfectly, even when in Mestre, the day after the release of "Non è poi così lontano," a certain disappointment surfaced in his words during the post-concert (and also in D'Andrea's) when he told us that Perigeo was closing its doors. I believe it was '78, and thirty "beautiful" years have passed since then. I then followed, somewhat sporadically, the separate careers of the members (Biriaco initially with the Sax Machine - exceptional! - Sidney with sporadic appearances, and Fasoli in Treviso during a near recital by D'Andrea and at his Siena jazz seminars in the '90s) but I knew little to nothing about Giovanni Tommaso, who enchanted me with "Genealogia," except for reviews in "Musica Jazz," which I followed rather infrequently. I am very pleased, Jake, that the Lucchese (Torre del Lago?) is in great shape because, as you say, he is (always has been) a top-notch bassist. I had also thought about the "Pollini" (I saw Terry Riley there last year, I believe), but then, unfortunately, that idea faded away. And even more pleasing that he speaks of almost a blessing in having found precious lifeblood for his music. God bless him, again. Great report, Jake, thanks again, man.

Just to be nitpicky, emphasizing the pronunciation of his last name, I know for sure that the correct enunciation is "Còbern." The "ck" should not be pronounced. The name is of Welsh origin and unfortunately, I fear that this puts an end to hopes of continuing to speculate on it for further "inventions"; (although Stoney's "brutality" above gave me another laugh :)).

I believe I can consider myself a "cousin" of the reviewer, given our shared passion for this extraordinary artist. Briefly and quietly, I’ll also say that Sfasciacarrozze and the two subsequent pieces made me laugh, because I had never imagined such a meaning behind the artist's surname… I too have followed Cockburn for quite some time, roughly from '76 to '82, and I fell in love with the figure and the works from the early part of his career. "Joy Will Find A Way" and "In The Falling Dark" above all. The album in question is one of the live records that I deem essential in any worthy music lover's discography. Maurintosh's review is well done, precise, and accurately represents the fundamental characteristics of the Canadian artist. Like him, I had the chance to see him live in '79 (in Vicenza) with Dennis Pendrith on bass and Bob DiSalle on drums, and despite the incidents caused by the autonomists, the concert was memorable. I was able to see him again, I believe 7 or 8 years ago, in a markedly different setting, and although we were far from the "climate" of '79, the show wasn't bad. The occasion was the release of his beautiful album "The Charity Of Night," one of the few that I really loved in his "second phase" of career. Certainly, the acoustic period was the most fertile and deserves great attention ("Sunwheel Dance," "Night Vision," "High Winds, White Sky") to rediscover atmospheres and emotions that seem to have vanished. As Maurintosh mentioned, however, listening to the anthology and beautiful "Speechless" can be enough to reveal the creativity, spirit, and extraordinary mastery of the Canadian with his beautiful Larrivèe guitars. One last thing: in his country (and even in the States), Cockburn is known at a high level of celebrity, whereas in the Belpaese (as usual) he is a remarkable Mr. Nobody.

@Jake: Frankly, I don't really feel like checking something that doesn't seem that important after all. Maybe they are right.... The point is, however, that you've unearthed a great piece and group of jazz-rock history and turned it into a Classy Review. That matters. Another nice little medal! (made of cardboard) :) I look forward to your next step. Best Wishes!

Well, despite Harrison Ford's 157 years and a few naiveties, as yet another comic book serving the purposes of a pseudo-exotic adventure aimed at entertaining, it's not that bad. Spielberg isn't at his best (but he probably needs it to make money for another one of his "serious" films, maybe...)

It's truly embarrassing to consider this period of Yes. The continuous changes in direction, lineup, and image adjustments of the '80s actually served to keep a group alive that had probably already given its best in the '70s and maybe would have been better off stopping there. Yet I myself, pleased by the return of Howe and Wakeman (and effectively the reformation of the classic lineup), eventually came to realize that not all bad things, sometimes, come to harm. This live album is what it is; a flash from that very brief timeframe, the '80s, when looking good was more important than building elaborate or complex sound images. They, Yes, managed to stay afloat as many have written above, amidst frizzy hair and annoying and/or youthful declarations or "easy" musical compositions. Rabin, however, was truly a Great Guitarist....

Not to sound like a "privileged" person, but I was fortunate enough to see the band in 1979 at the "Venue" in London during the presentation of their (mediocre) album "Product." The impression, however, was great. I had been following the band with interest since "Unhortodox Behaviour," and it might not be entirely true, as Jake claims, that their value was recognized late. Those who listened to Weather Report, Mahavishnu, Corea, and the jazz-rock "phenomenology" of the time had already noted them with growing enthusiasm. Their only problem was that they were English while most of the jazz-rock phenomenon was emerging from the States. They seemed somewhat "out of trend" formally, but in substance, the results were excellent (and then there were also the Soft and Holdsworth for support...). This is truly an excellent album, and I’m sorry that in the mention of some tracks, Jake did not cite the stratospheric "Malaga Virgen" where the Great Percy does things that are beyond words (in comparison, the version on "Moroccan Roll" pales)! Kenwood Dennard really does stellar things (less so with Pastorius, whom I saw in '82 – and I even had a couple of chats with him: he was thrilled because he had played for a season with the Manhattan Transfer, who were quite popular at the time, and his eyes were shining...). Frankly, I don’t know if Goodsall played with Atomic Rooster, at least on record: I own almost all their albums, and it doesn’t seem so. "Masques" is, in my opinion, their most complete album, but "Moroccan Roll" is not bad either. I would like to suggest to anyone wanting to delve deeper into the subject a double album from the band's later period (roughly from '85 onwards): it is a double CD titled "Timeline" and contains two shows recorded respectively in Chicago in '77 and in New York in '93. Obviously, for aficionados of the brand x. Bravo, as usual, Jake!

"It", um... not "lit"! Sorry !!

@Omahaceleb: just to cut the "problem" at its roots: the so-called "reprimand" was not directed at you at all. In any case, the provocation thrown out (Parker or Non Parker) was meant only to indicate a very long period during which Davis expressed the genius of his creative ability, which should be duly considered before making decontextualized judgments about individual "episodes." (I hope that's clear!!). If "Amandla" is liked more or less, that's absolutely legitimate. I have already expressed my appreciation for this work. However, it’s also true that if I had to observe the entire Davis oeuvre, for example, I wouldn’t even feel comfortable comparing it to the works you mentioned or to one of my favorites - "Miles Ahead." But we're talking about very different eras and climates. Is Iit Plain? PS: I am NOT a professional. Regards.