odradek

What a kind intrusion, Mr. NoFake. Naturally, I am wickedly sensitive to flattery, so I would ask you to stop, in order to avoid excessive blushing and scenes of pathetic self-satisfaction. I would ask you to stop if I weren't so foolish as to be here rambling, in search of a kind word, the comfort of a stranger to my wavering self-esteem. So I kindly ask you instead to insist: be excessive, don't back down. - Kisses to everyone - Minnivaiu.

Natoli, are you referring to my ending? It was meant to make a bit of painfully humorous fun, I needed it to play with L'aura. I like to joke around sometimes. But if you want, I'll stop right away, okay? No, no one says they shouldn't exist, nor does anyone dream of thinking that someone implied it, and among those people, certainly not you. And I'm not joking, I swear. (A friend of mine actually used to say that often, he was really upset with ECM and Adelphi, but he doesn’t say it anymore. Maybe because he’s dead. And I’m not joking now either, I swear again.)

Ah, it’s true, sorry, it’s my fault, I’m getting confused: this is Lesto Bang, Stronko is that other one and you are The Punisher. Right? And I’m the one who drank all the absinthe? You’re a character. Anyway, just replace Stronko with the exact nickname and we’re done. The sentence seems understandable to me and it refers to your way of "looking" and consequently "speaking" about the record. In fact, you confirm it: "..it's just that if I HAD BEEN in her I wouldn’t have done it "like that". - I believe you understood the meaning perfectly. But since Hal seems to have explained it to you in a more detailed and reasoned way, I don’t think it’s necessary to repeat it. Now though, I want to listen to this blessed record. Bye, nè.

Thank you, Surferkangaroo :))

No, at the threshold I like it: it's a static ecstatic in balance. Walk in progress. I’ll buy it!

P.S. But it's the review of Patti Smith's album!!! I haven't heard it, Hal. I went to read yours, and I find out that you recommend listening to it. I feel tenderness for her; I expect nothing but her sincerity. From the review and your comments, it seems to me that it's there. I'm looking for it – P.S. 2: Stronko, I know it's your review, but it seems to me that you're talking about an album that doesn't exist: a covers album by Patti Smith by Stronko. I believe this is actually Patti Smith's album. Luckily, she doesn't give a damn about the fame of being a "badass Amazon priestess" that she had. She makes a covers album, perhaps without the intention of leaving an indelible mark in the heart of some old nostalgic. These are songs she likes. She’s a singer; she sings them. Like an old singer, who, unlike many of her fans, is probably fed up with the continuous mythologizing of her image. It's a somewhat bold opinion perhaps; I don't know her personally, but some of my friends have known her over the years, and I believe I'm not far from the truth. Bye.

Damn, an interesting chat! A bit with Hal, a bit with Natoli. Not because the truth lies in the middle, rather because often its multiple fragments radiate and then intertwine. What Natoli says about Blue Note is true and it's obvious for ECM: but aside from the almost physiological restlessness of many jazz musicians towards ECM's uniform sound, and it's easy to guess the reasons behind it, in many cases I share them, how many records have instead found their splendid dimension precisely in that sound, a dimension far from being "decorative"? And on the winding paths of approaching music (often trails and rivulets and narrow passages and then squares, expanses, vastness that provoke agoraphobia) the routes are not necessarily predictable. One encounters the exhausted parabola of Garbarek's sound (for me, he finished saying what he had to say years ago; I would love to be contradicted by the next record, but I fear it won't happen), one traces back to his early works on ECM, discovers other sounds, and ends up who knows where. Certainly, in the gaze of a jazz musician, there is often a reading that is also their personal history of jazz, made up of cuts, choices, boundless loves, and irrevocable condemnations. And it's nice that it is so, because there is an element of visceral quality that keeps it alive. For me, it's different: perhaps I listen with greater detachment, and I’ve mixed too much sonic substance, too varied, antithetical, to even understand what tastes I have. I let the record spin, and I wait for it to reveal everything I am capable of feeling about it. Obviously, when the aesthetic imprint of a label is so decisive, the risk of dying from self-satisfaction is high. Nevertheless, one can still encounter surprises even among its titles, zigzagging. Adelphi: well, the parallel with ECM is very fitting, in fact. Only that Eicher's imprint informs the product; with books, what Natoli defines as the aura works more effectively, which is determined by editorial choices, but does not define the characteristics of the work. But even just for the likes of Walser and Tommasino Landolfi (Schnitzler has already been played by Hal:), it’s worth existing: Adelphi and the aura too (isn't it there? Has it gone away?).

Did you manage to see it? It didn't let me in from the link I posted... Thinking about it, the title is translated correctly, don't you think? Walks into is a motion towards a place, right? Vuolcando enters into the room: for a moment, she's on the threshold, neither here nor there. But then again, I don’t know English.

For example, the one that Ghemi wrote about, "Merciless" by Andy Stott is a nice little record. I recommend giving it a listen (and visiting that page so empty of comments....)

Beautiful, yes. Maybe you're too enthusiastic, but if it's "catching you well," I understand. I listened to it a lot when it first came out; now it's been a while since I've heard it. But it's true, it has a strong personality, a nice balance.