antoniodeste

.........Have you seen the aqualife that idiots are in my post? that’s called haste..... I apologize to those who read!

@squireisgod: "Where Have I Known You Before" is truly one of Corea's great works in the fusion realm and highlighted, I believe for the first time, Al Di Meola's talent in a big way. I preferred Bill Connors, a guitarist who took unexpected directions but released some really interesting things, first with ECM and then, in electric form, with some independent labels. However, allow me, as a listener who also loves jazz—quite a bit—to consider Zawinul's atmospheric project unquestionably more varied, open, and avant-garde. Historically, I would say that Weather Report is an absolute reference point in the evolution of jazz language towards more contemporary forms. It goes without saying that Return to Forever in its classic lineup (Corea, White, Clarke, Connors/Dimeola) remains a fantastic jazz/rock group (as it was called back then). To WHIKYB, I would also add "Hymn of The 7th Galaxy," if you don't mind. What do you think?
@aqualife: I just read your latest post today. Don’t worry; I hope the tensions have passed and that you're doing well. ...maybe next time write "correzioni" with just one "Z." No offense. Bye.

.....well, Giona, then let's bring out "Hector's House" from "Belladonna" by the forgotten (and extraordinary for the time they worked) Nucleus by Ian Carr, which you surely know. However, I would like to hear some opinions about the possible stylistic and/or technical analogies with the "other" great "twin" guitarist of Holdsworth (and unfortunately passed away), Ollie Halsall. Interested? Then maybe we can continue with Tempest and perhaps Patto (which, by the way, with Holdsworth have nothing to do....). byebye.

As usual, another testament to the class, technique, creativity, and superior understanding of the material that Holdsworth has always demonstrated. It must be said, however, that he is not a musician for all ears and that, despite having admired him for over thirty years, his bold and futuristic language can indeed be challenging or even incomprehensible to more than one. Personally, I saw Holdsworth in London in '79, and he literally blew me away; the second time was in Gorizia, I believe in 2005, and I was (again) slightly dazed to witness his volcanic approach to the instrument. "Hard Hat Area" is indeed one of his most complex and, I think, most successful works. But the aforementioned "Atavachron" or "I.O.U," or "Velvet Darkness" (the latter being his first work, I believe from '77), can also help frame this incredible character well. The reviewer made a decent suggestion. I personally would like to recommend an incredible solo by Holdsworth in "Hazard Profile Part 1," featured on the album "Bundles" by Soft Machine, I believe from '76. It's worth it.

@Squireisgod: undoubtedly, if there is a very heavy flaw that severely penalizes "Yessongs," it is the poor recording quality. However, it seems paradoxical to compare techniques and the quality of "live" recordings made over such a long time span (30 years!). We could revisit this if "someone" would take the time to properly remaster such an important chapter of prog (and so far, in my opinion, that has not yet happened). Speaking quietly, I personally remastered it myself, with truly flattering results. It was worth it (and the time). As for the different Live/studio versions, Squireisgod, you are perfectly entitled to prefer whatever you like. Personally, "Yours is no disgrace," "The Fish," and "Heart Of The Sunrise," to name just three live tracks, are irresistibly more engaging than their studio counterparts, but, as we know, taste is subjective..........

Damn, I always forget the little numbers.........

I must say that I have rarely come across a review so precise, detailed, and rich in authentic expertise. One could nitpick over some minor inaccuracies here and there, as some have meticulously pointed out, but the fact remains that Carmine has written an anthology-worthy review that speaks volumes about himself as a listener/appreciator, and about Fripp, the charismatic figure of late-century and last millennium rock. I find it difficult to discuss this counter/introversive work by the Bournemouth guitarist since I am a strict adherent of the Crimsonian cult, especially of the early period 1969/1974; I have followed Fripp since I was 14, and now I am considerably older, but objectively, I have never been a huge fan of "Exposure." I even find the collaborations with Eno ("No Pussyfooting" and the first half of "Evening Star" - NOT "Equatorial Stars") and the wonderful soundscapes that followed much more stimulating. I was about twenty when "Exposure" was released and I thought Fripp was done for. It had been a while since we had heard news of him, and when I saw him again on display, I had a shock. At first, I was surprised by the substantial difference in approach compared to the systematic nature and style of his previous works and concepts, but despite the luxury guests, stylistic variations, and content revisions, it appeared (and in my opinion still does) to be an incoherent work, vaguely disconnected, without a precise thread connecting it (assuming it should have one). It likely reflects Fripp’s difficult psycho-emotional situation during those years (75/79), which Carmine references in his review. Some moments are remarkable, others less so, and some much less. I listened to the work again recently, and my impression, 25 years later, hasn’t changed much. Usually, it's difficult to "speak ill" of an artist to whom one has been attached for many years, as in my case, but I believe the best things by Fripp, for anyone approaching him—excluding King Crimson—are found elsewhere. A big shoutout to Carmine Pescatore. I repeat, it is a review worthy of more "up" spaces.

.....Not to go overboard, but I also want to express my heartfelt thanks for the words of Green Manalishi, whose musical taste I truly admire, and to Joe Cavalli, whom I also know as a profound connoisseur and appreciator of beautiful things. Guys, Keep on Rollin'!

@Joe, I would say that given your insight and expertise on the subject, I would personally sign in big letters what you wrote. Everything is very accurate and useful for those who, perhaps belatedly, may have missed such an important author/performer/artist (also for and with the Strawbs) in the transformation of rock in the '70s. Tell me, Joe, have you ever seen Wakeman live? Best regards.

@Pi-Airot: Why? Did White not do it?...... . @Pibroch: Nice to read you again after such a long time! It's a real shame that Wakeman, starting with the second extra grandiloquent "Journey to the Center of the Earth," went more and more off track until reaching the lowest point with "The Myths and the Knights of the Round Table"..... . Unfortunately, the character did not show, despite his undeniable talent, that he could manage such a great gift with balance, and the continuous ins and outs from Yes, the "vice" of alcohol, and a disorganized and questionable production quickly diminished his reputation, even though technically he remained the monster he has always been. What I mean to say is that, personally, if we exclude this great work, Wakeman, on a compositional level, burned out a bit too early....... . Fortunately, he funded his retirement by returning (once more time) with Yes. But will he still be around for long? Who knows.....