antoniodeste

I correct myself: "Einsjaeger und Siebenjaeger"..... I can't find the umlaut on the keyboard....

I invite Carmine to consider "Einsjseger und SiebenJaeger," "Letzte Tage, Letzte Nachte," or "Das Hohelied Salomos." What do you think, are you up for it, maybe calmly?

Beautiful. What I read deserves to be printed and included with future reprints of this (yet another) marvel from Fricke's group. Carmine, you have penned something extraordinarily profound and striking. It has left a deep mark on me. But even “Seligpreisung-Beatitudine” had left its mark on me when I was just a boy of 13. Yours is a vision. Universal because it places in the right light, dimension, and time a musical and biblical expression that serves as a bridge between the sacred and the human. The references to Romanticism are correct and relevant. The religious inspiration for Fricke has been the true magic for the survival of these modern lieder. Their purity in authenticity. Their spontaneous and crystal-clear outpouring. One of the most beautiful reviews, written with heart and soul, that I have personally ever read on this forum. Carmine, you should seriously consider presenting yourself as a critic at much higher levels. Heartfelt congratulations. Five stars for what I have read corresponds to half of what I truly think of this review. Truly.

...Ah for Fosca, whom I greet (do you remember the debate about Metheny's Offramp?): I agree with the reviewer: try to see the film FIRST in the cinema. Ok?

I watched with great interest Ozpetek's film, a director I have been following closely for several years. Undoubtedly, the theme addressed is not easy to tackle or digest, and the course along the line of tragedy can make it even unpleasant due to the rawness with which the sequence of events leads to a harsh ending. However, I note that despite the criticisms that have emerged from various quarters, focusing on technical aspects or superficial explorations of the psychological or character traits of the characters, it is important to realize how the theme dealt with is of enormous, I would dare say, relevance today. What I mean is that the exponentially growing level of separations, with peaks of madness from one side or the other, is a reality that has never actually been addressed cinematically in this way and with this determination. I believe that the negativity, the state of despair in which the multitude of characters often finds themselves, often against their will, is the mirror of a human condition and the relationships among humans in a state of growing disintegration, where the emotional, affectionate, and dialectical relationship between them is almost in agony. The pessimism of the perfect day is the representation of the illusion of a network of relationships among human beings leading isolated lives, in perfect solitude where only hope dwells, but without the support of a favorable "climate." Is it the mistake of a youth that promised much and delivered nothing? Is it the selfishness of unwavering convictions? Is it the absurdity of deluding oneself that it is really possible to "communicate" between human beings? Is it the madness inherent in the human race that takes us further and further from love? What truly prevents us from living perfect days? A commendation to eletto1987. An excellent review, written by someone who I believe knows a thing or two about cinema, despite the opinions (which I mostly share).

Well done, Shark. You nailed it, and that's just right. Here's a nice medal for you.

Mea culpa, mea grandissima culpa. I have only recently started to listen to and reevaluate the band of Jerry Garcia, and I began with this album. I found it frankly extraordinary; not just for the magic and improvisational interplay of Dark Star, but for the entire atmosphere that permeates the whole happening. Aoxomoxoa is an album that needs to be assessed differently and, compared to the live recordings, it comes across as more "structured" and more "sung," but that doesn't make it any less valuable or disappointing, as some have noted. In fact, I think it makes a good companion to "Volunteers" by Jefferson or "Happy Trails" by Quicksilver. Those were good years, folks. Who can play like that today? I mean with that intensity, whether lisergic or not?

To love cinema and not have seen 2001 would be roughly like saying you love poetry but have never read "L'infinito" by Giacomo Leopardi or "I Sepolcri" by Ugo Foscolo. A real shame. Over the years, I've heard all sorts of interpretations and explanations about the meaning and purpose of this film, and often they are all plausible. What is certain is that the beauty of it (as with all creations in the realm of art and human imagination) is that everyone can and wants to see what they can or wish to. It certainly isn't an obligation because cinema is a choice. Kubrick undoubtedly represented a fundamental page in the cinematic language of the 20th century, and 2001, along with many of his other works, is evident proof of that. Personally, I have a preference for "Barry Lyndon," but we could also mention "Dr. Strangelove," or "The Killing," or the prophetic "A Clockwork Orange." What is it that fascinates us about Kubrick, then? His cultured eye? His subtle and rare intelligence? The ability to tell stories that make us start asking profound questions about the meaning of existence? What?

Despite the many doubts at the beginning of their career, for some years now I have been listening to Marillion with a certain interest, perhaps thanks to the good offices of a dear friend. Or perhaps because they have lost that more distinctly "derivative" aspect (as someone has defined it) of their early neo-prog days with Fish. I recognize and attribute to Hogarth a considerable charisma and to the band an uncommon ability to navigate in an original, characteristic, and interesting rock territory. As more than one has pointed out, I too consider "Brave" and "Marbles" to be creative peaks of significant depth, while I feel I’ve noticed some cracks on "Somewhere else." Reading mj64's review, it seems there might be gold in here. Let’s hope...

First of all, last but not least, a warm welcome to Skep. Please forgive my delay, but despite promising myself to return to the review I had already noted, I couldn't do it sooner. The critique has been made in a way that I find absolutely contained, simple, and competent; all qualities not as common as one might suppose. Personally, I consider "Fictionary" a transitional moment for Mays, whom I deem one of the most underrated keyboardists of the last twenty years. But this has to do with his status as a "partner" of Metheny, and since he has never wanted to pursue a solo path, I suppose he has unfortunately paid a bit of the price. "Fictionary" nonetheless provides a very credible way for fans of so-called "Straight-ahead jazz" of a more or less traditional bent to assess the stature of this great composer, arranger, and performer. I, but I believe I am in good company, have a near-cult adoration for his first self-titled work. However, "Street Dreams," although more fragmented and directed in multiple directions, represents a significant step forward. The Suite itself is a gigantic sonic fresco of the multitude of modern jazz expression at all levels, and Steve Gadd and Marc Johnson do things that are, at least for me, astonishing; not to mention Mays' solos. As for "Solo," allow me to say that it is a masterpiece in the strictest sense of the term. As the reviewer specified in a post related to this review, the work combines piano solos (indeed) with synth pads for thematic coloring of the improvisations. It's not an album with a straightforward or universally accessible approach, but it constitutes a starting point, still without a follow-up, for a mysterious yet promising exploration. As for the follow-up to "Way Up," let’s keep our fingers crossed, Skep. There are a lot of people waiting to pounce on Metheny just for the sake of crucifying Metheny, his keyboardist, and the rest of the Group.