odradek

Yes, better "Cafè Bleu". To this, a more "lively" one, a good 3.5. It wasn't the side I preferred during those years, but listening to them again, some time later, I had to acknowledge the undeniable class of the two.

@Jake: I tried and indeed: you click on more info, enter the site, choose the Italian version, click on "Biografia" and in the text you find a link that opens the 4 interviews. Bai

Jake, the link to the site is in "More info" (didn't you include it?) that's where you can start... - @Contemplazione: it happens to everyone sooner or later, imagine to a chatterbox like me. The funniest thing is that it always happens with the best posts :)))

Among the countless wonders of this new, pixelated, and incorporeal era, the links stand out as formidable passages for eavesdropping voyeurs. So I take advantage of the "More info" and download three tracks from the album, discovering three little essays from the young lad as well, in addition to the transcription and performance for electric bass of Bach's suites... Wow! The PDFs containing the texts have elements that prevent their visualization (I assume it's my pre-dawn machine's fault) - The links to the suites require a program I don't have (and won't install), but I'll return to listen to them.. I'm left with the three tracks: the one that opens the album is well described in the review, but aside from its pleasantness and undeniable quality of execution, it doesn't sound new to me, nor particularly significant. The same applies to the Milonga, but here a certain "mechanical" quality in the structure emerges, as if being juxtaposed is not always functional to the piece. And the adjective "poignant," which might be a child of the milonga, seems not to adhere to this attempt at "conceptual" lyricism. But it’s enjoyable, without a doubt, it’s enjoyable, with the head more than with el corazon (like some abstractions from the old Astor, for instance, but in those there’s always something pulsing in the background), especially the play of "rebounds" towards the final part, which feels a bit predictable and verbose. For "Devien Que Ce Tu Es," I agree with Jake Chambers’ words, and it is perhaps the piece that caught me the most of the three. Of course, it would be presumptuous (and contrived?) to draw any conclusions from three pieces listened to once while writing and "rewriting" board meeting minutes, but I believe a blessed first impression can be granted. And that is a sense of an overall lack of "sound", of a lack of substance, dynamics, and energy where the piece seems to almost beg for them, and a greater dryness and incisive precision when it veers towards "conceptual" lands. Here, despite the variety of "themes," a "flat" approach seems to emerge. But these are the ears of a layman, who would also be off-key with a car horn... - To dive into the discussion of Italy (and Poland, and Scandinavia, and Belgium, etc.) VS the Rest of Jazz, I insist with an ancient tricolor love: the octet of Trovesi and its escapades, highly erudite and vibrant and rough-hewn and conceptual, up to his latest trio, of which I attempted a vague portrait. Having had the fortune of some pleasant encounters, like those described in Jack's post, with Fresu and Di Castri, for example, I regret missing the one with Il Gianluigi so far. Because his music speaks very well of him. And for certain things, music does not lie. Here’s my little suggestion for anyone wanting to try: "From G to G" and "Les Hommes Armes." - To return to Pierluigi Balducci and close this logorrheic exercise, I confess that the first few times I read about him, I thought he was an old high school buddy, passionate (back then) about jazz, with the same name. Discovering that he didn't dedicate himself to jazz, but to illustrated books, I forgot about the "real" Balducci. Now the beautiful and enthusiastic review has sparked a curiosity that won’t be satisfied with this hasty listen. Because "The boy is 'immature' and will 'grow'?" Perhaps. Well, I count on that, and since he’s preparing a new album, I’ll wait for it. Thank you for the recommendation and the patience. Kisses.

Yes, and just a little higher you have the opportunity to read the gems bestowed with even greater and unfounded confidence by one of the most prominent cases on the site, in one of his many identities: Viva Lì, in fact, is none other than Bignamino Poletti, in his musical know-it-all version. Great moments, dear Supersoul, great moments.

you are turning out better and better pages, increasingly effective images. It's not the time for me to let those three in. But accept my regards nonetheless.

Yes, but it's listed as one of the first; I think I've read it somewhere on those cinema sites online. Naturally, it makes no sense to declare, "the noir was born with" and then name a title, sifting through some info on the web, eager to make bold statements and establish ridiculous rankings and temporal and value hierarchies, especially regarding "genres," whose very definition is subject to multiple interpretations and nuances. Not to mention that three years earlier "La Fiamma Del Peccato" was released, and six years before that "Il Mistero Del Falco," just to name a couple I remember... That said, I saw Tourneur's film as a kid, and watching it again many years later was a rekindling of love. But for a devotee of Mitch, it's almost obligatory. Is there a review of "Le Catene Della Colpa" in DeB? I thought there was, but I couldn't find it while searching...

P.S.2: the review is nice

My personal perspective leads me to consider your page "a bit too didactic" and, in general, all attempts at "explaining" its often disappointing texts. The other issue, regarding the prevalence of meaning and importance of the text over the music, is quite debatable, as it is precisely in the combination of the anomaly of both elements, in relation to its production up to that point, that the work finds its character. Furthermore, it is a record, and whether we like it or not, the music is a fundamental element. Finally, regarding the subjectivity of critical judgments, it has never been called into question. For this reason, I allow myself to comment, believing that the right of those who write reviews matches that of those who comment on them. Perhaps "falling into types of criticism" generated by a different angle of observation, another temporal and emotional distance, and a different overall assessment of an author's journey. Regards and kisses.

A successful example of how enjoyable a film can be, when supported by a meticulously crafted script and dialogues (as the reviewer aptly points out), is the realization of a movie with a theatrical structure and setup. If, moreover, one manages to direct and characterize with such precision a handful of divas like those present in the film, one achieves a nearly miraculous feat. - P.S. I believe that even French cinema wouldn’t bear certain viewers, accustomed to voicing their opinions even when they have nothing to say and don’t even know the subjects they feel compelled to comment on.