antoniodeste

...well... I’m still on a very old 56k modem, so YouTube is offshore for me. The doubt remains. Anyway, Sanborn or not Sanborn, the important thing is that you enjoyed Berg and his "Brevi Storie," and it seems like you did. I believe that was the point of the note, right? Regards.

Well, opinions. As far as I'm concerned, I will tell you that Devadip fascinated me, and not a little, in the "mystical" era, around '73/'74 with "Caravanserai" and the splendid "Welcome". The triple live "Lotus" (in a beautiful double CD edition) also caught my attention. And also at Woodstock. Then came chapters that were definitely less interesting and disappointingly predictable in their repetitive nature, unfortunately, as I have already mentioned, for me it became commonplace. "Moonflower" and then up to "Amigos" showed a constant curling in on itself with the guitar solos and in the creativity of the approach. It’s a bit like Stern, who in the end (in recent years) plays two thousand solos that are all the same (and therefore boring). There’s no doubt that Carlos has been and still is a great stylist of the instrument, but personally, I’ve grown tired of him because he always tells me the same thing in his solos. Said affectionately, even with love and great passion, if you will, but in the end, it’s always the same, and having understood the lesson (for some time now), frankly, I would look for something else. Do you understand me? I mean, even though I am a convinced McLaughlin fan too, like you, I can't help but observe that in this case as well, a similar risk exists. Fortunately, John, with the diversification of the projects he has and in the different contexts in which he operates, seems less predictable. At least I hope so.

I don't think I read it correctly, Mukkiodossa: David Sanborn would have done things with Pere Ubu? Are you really sure? Sorry, in which works? Just out of pure curiosity. You know, it honestly seems improbable to me, but hey, anything is possible. Let me know, thanks.

@omahaceleb: well, I found someone sharp, but I already noticed; I just got confirmation. You know, "I can't see your house from here," but that's fine because "Mi casa es su casa," as the Spaniards and Mexicans say, so if you were to cross the Rubicon (to the north), you'd find a safe place to take shelter, which is with me. You're welcome, man! It's always a pleasure to have a long chat with you. Forgive me if I'm so verbose; I have that ugly tendency to want to tell stories, explain excessively, sometimes... . Talk to you later ^_^"

.....my dreams are not over yet. I don't know about yours.

.........ah, and since I'm here talking to someone who knows how to appreciate the beautiful things, tell me: have you heard the reissue of Crosby's album, remastered with the unreleased tracks, and all the rest? Is it worth it.....and the expense? Goodnight.

.....all right, Terry !!

Well, come on ajeje, in any case it doesn't take much to phrase better than Santana, with all due respect, and in a less predictable, repetitive, and obvious way. You know there are 6587 better phrasiers out there.

Well, Terry, I suppose you can't complain! With your first review, as I understand it, you received about fifty comments related to the album in less than two days. In any case, I would say it was quite the "occasion," for one reason or another. Indeed, "Quah!" is a small masterpiece that splendidly marked a part of my life. We even played two or three tracks live (of course "Genesis," which my dear friend Enzo taught me, "Song For the North Star" that I still adore: "They give me money...to find the sky...." and "Hamar Promenade," which sometimes comes back to my memory and I gladly play on my own). I found it on vinyl at a convention three or four years ago in a decent reissue, and I was very happy to buy it for the first time. My TDK cassette from the '70s had, in fact, passed away, and I hadn't been able to find it on CD. But you did, and you have one of the many beautiful things from those years in your hands. Allow me to suggest an album that I think you might appreciate (and where Jorma also plays, unless you tell me "of course I've already listened to it!"). It’s "If I Could Only Remember My Name" by David Crosby, and the year is 1971. It’s less sparse than Quah, but if you’re looking for strong emotions, you'll really find them there. Kisses.

Two years later, and riding the emotional wave stirred up by Nettadebaser in a direct and appropriate way, I renew my enthusiasm for this masterpiece. Yes, because it IS a masterpiece. And I’m voting for it again, here it is.