antoniodeste

oh, good! :-))

"'cause we've ended as lovers" should be experienced in the DVD recorded at Ronnie Scott that Beck released about a year ago, in its updated and... sinuous variations. Chills of intense emotion... And in the audience, Mr. Plant and Mr. Page... ;-)

I listened to the work of this graceful namesake of the other Schneider, and I enjoyed it. Perhaps less carnally than the protagonist of Bertolucci's film :-). Let me say that this is probably your personal and quite respectable, as well as understandable, flirtation with something that obviously escapes me. There is everything you describe, undoubtedly, but... the effect it has on me, at least on first listen, is... different from yours. This doesn't mean, of course, that my judgment should diminish anything! On the contrary, I am very happy that you have experienced moments of such great intensity!!
I promise to listen to it again with more attention, perhaps.
P.S.: I met Donny McCaslin twenty years ago when he was starting his career with Gary Burton's group, at a concert nearby, and the talent... was already there!!

@teenage lobotomy: nice the thing about the orange beach, and also ironic the title.... As far as I know, though, Fripp and the KC have been doing this kind of stuff for more than twenty years, and better too. Take a look and you'll see for yourself! I truly believe, in fact, that the guys from orange beach probably have Fripp's holy cards on their nightstand ;-)). Have fun.

Sure that... with us, live, Hackett would struggle to survive... :-) (ref. to the free nature of the shows...)

It's a work that can easily generate controversial opinions. The Metheny fans, in my opinion, are perhaps the ones who "suffer" the most. For the detractors - led by Punisher and Kosmogabri - the issue doesn't even arise. Without the introduction made up of Metheny's and Uxo's childhood memories, one perhaps doesn't understand why to rely on mechanics rather than the human element, and the meaning becomes elusive. It's also true that not all the work unfolds through these tracks, and that’s probably where the reviewer - and I too - notes the static nature of artistic becoming. If we exclude a couple of pieces that are truly extraordinary and dynamically overwhelming, the rest could appear on an old good album by PMG. We'll see what future steps bring...

Extraordinary work and discovered almost by chance. I practically fully share the reviewer's point of view and the references cited. For big ears and open minds.

Curiously for "someone," I find *starless and bible black* to be the peak of Crimson's expression in the 1973/74 period. It’s probably due to pieces like "we'll let you know," "the mincer," or especially the title track and "fracture," but for me, the best incarnation of the king lies right there and in the tinsel of lark in meat jelly, one step just below. As a good accompaniment to this, and of course for those who consider this period important for the frenetic and hyper-creative improvisations, I still remember the unmissable 1992 box set *The Great Deceiver*. In that box are the best-kept secrets of that unique quartet. *The Great Deceiver*, for anyone who might trust it, has recently been reissued as convenient and less expensive single units. The magic is still there. As for *Discipline*, very beautiful, it belongs to a later incarnation and frankly quite distant from these alchemies. The current Crimso, I would say, are something entirely different.

Oops, I apologize. The reference should be attributed to the review of focus 8 (mj64) and not to your "moving waves"!

Dear green, first let me return the favor :-). When I quote the source... it's not out of "hearsay." And... it's not even out of "bragging" to mention that I was told this in person by thijs van leer. I also refer you to the comment made on mj64's review of "moving waves." If you weren't in Trieste on the evening of July 30, 2010 (and... steve hackett on August 1), you missed a GREAT show!!!!!! Let me know.