odradek

But when did you arrive, Alino? I've also read your other page, and I take this opportunity to congratulate you and thank you for the tips. Johnny Dyani's record is truly fascinating and one I wasn't familiar with.

P.S. :)

Yes, I noticed it later, about Ribot. Yes, they say a lot of bullshit, it’s one of DeB's best features. Yes, I have tastes that are not too common, often pretty damn weird. But it doesn’t matter, they’re just tastes. And no, there’s no need to apologize, it happens. If it repeats, I might just kill you.

This is an interesting musician and this is a good record (I think Ribot and Zeena Parkins are playing on it, but I'm not sure). I also have the subsequent one, which I liked more, "The Tower Of Mirror" (with Friedlander and Dave Douglas, no small potatoes), released by Sub Rosa (an intriguing catalog). In those years ('95-96) I saw him live, and the rendering of the frenetic montages of fragments from dozens of films in complete "synchrony" with the music was perfect. - p.s. Among other things, since Bartle is involved, I should mention that he is also a nice fellow, a very cool guy but very approachable and kind. I can see you two together on the couch, next to the Christmas tree, watching "Little Lord Fauntleroy" :))

Great. Thank you Untitled. - p.s. the cover is perfect too.

Good film, yes, a notch above some recent not-so-great attempts. Also thoroughly enjoyable is the mocking play of quotations referring to each of the protagonist’s "artistic icons": while showing them through the eyes of the protagonist, dazzled by their mythical "splendor," Woody offers us an ironic downscaling through dialogues and lines that reveal them in a very human and contradictory light. And it’s also amusing and surprising how some actors bear a physical resemblance to the "originals" (the young Bunuel, some expressions of the Dalí-Brody, the poses and figure of Picasso..)- Hi IlFreddo.

If anyone is interested in a listen of "Chamber Works" (I remembered the title wrong)... Nessessary Music: Kaija Saariaho

I have always appreciated his nature, the intricate path of his research: starting from the use of the voice and gradually moving towards increasingly deep blends between orchestral and electronic sound, with a development that seems, over the years, to produce, while maintaining an undeniable stylistic coherence, a music that is ever more "open", that <attempt at seduction, all acoustic, towards the listener.> that you speak of. I have "Maa," a record from the '90s, "Chamber music" from 2004, and a complete collection of works for cello from 4 or 5 years ago. I've also heard pieces of theater music that confirm an expressive richness that, in my opinion, will lead to further excellent works. - Once again, compliments to GiovanniA: I didn't expect to read something about her in DeB, great suggestion. - P.S. I will buy this. Thank you.

Yes, not to mention that the protagonist is Truffaut's favorite actor... But his films remain indelibly marked by the "damn human delicate" touch of K., as MORGUEOFABSINTH rightly says. Bye Geo