odradek

See? I told you: I'm listening to Dave's songs. And they're just as you said. Tnanks.

Thank you, Massimof. Which one do you suggest between the two? The titles are both intriguing...

In the old sage version, Symbad? I fully agree. And I take this opportunity to forward to you (or to Hal) the request for samples of Pacino (even though I’ll end up making it mine, this musical triumph) because I notice that many reviewers are being non-committal. Come on, throw them out, these samples.

Hi, JoP. Nostalgia for the present (which I associate here with the somewhat naive idea of the future that I remember having, like everyone else, like Europe, I believe, forty years ago) is actually the title of a poem by Borges, which I have already happened to quote in the comments on an old review. To give you an idea of how "Silent Shout" sounds, you'll be able to take advantage of the samples, which I hope to throw in tomorrow, when presumably this page will have already been swept away from the homepage. Bai bai - P.S. sorry for the delay in the mail...

Look, I’ve reread some posts; you declare yourself “a great cultivator of misty melancholies” and then say: "..I consider perfect works those that go from 'the tea plant' to 'the discipline of the earth,' including the two volumes..." Well, I agree, without looking for hairs in the egg, even if it’s a perfectly respectable occupation in a conversation of this kind. Arribai bai.

I can answer the first question: enough? Otherwise, I wouldn’t have expressed an opinion. I’ve known Fossati for at least 25 years. And I’ve followed him, even live, with an attention that has waned over time. I don’t think that repeated further listens would change, if not for the worse, the few lines I posted to you a little while ago. The whole suffering thing, excuse me, seems like a load of nonsense. It’s not like the world divides into two categories, with one of them represented by what you mentioned. What would the other one be, then? Look, I am the darker version of the gray Nobody, and I’ve said a few things regarding what you’re asking. Then, since it’s quite close to my point of view, I wouldn’t repeat what you find in the article I pointed out to you. - Bye, and happy May 1st, lawyer. I really want to see this scrap of democracy come back home.

@ Symbad: I see it more or less the way you do, and I believe that the distinction you make between the concrete and historicized "body" of jazz, in its many forms, and certain "delicate, ethereal, etc. beautifully" music being discussed is true. However, I still consider objectivity to be almost chimerical: it's good to pursue it, as long as one realizes that it is practically impossible to fully possess it, when talking about music (which is already a daunting task in itself, "like dancing architecture," as someone said). I also maintain that a very significant factor is listening to records with perhaps a great curiosity and about thirty years, more or less, of heterogeneous listening experiences behind, and listening to it while experiencing the music directly, like a musician who, in one way or another, also moves concretely, instrument in hand, through a journey that has to be, in some measure, more homogeneous. I take this opportunity to reiterate that what I like about your reviews (and perhaps in this sense I count myself among your followers, having also directed more than one DeBaseriota toward your pages) is the tangible correspondence, almost physical, between what I read and what I hear on the record. I believe this depends, in addition to your direct style, on the things I mentioned. Now I say goodbye, and I look forward to your next one.

@Lello and Mullah: I thank you for the generous judgment and return hugs and greetings. Welcome to Villa Arzilla. @Copernico: No, I often find myself "cut off" from a lot of great things happening in our city. The Oregons, for example, who I believe played this summer in Rivoli, I missed them. The other night there was an unmissable concert, which I of course missed, at Procope. One of the members of the Masada string and a pianist. And there will be more coming up in this period, which I fear I will miss. Back to Towner: this record is absolutely worth a listen (I confirm what I replied to Hal) and the repetition of the same allows you to enjoy it even more.

Finally heard. A professional album, a craft at the service of an urgency to express. Words and sounds held hostage by this urgency, sometimes resulting in even embarrassing moments for those who know the talent. A talent waiting. For other moments, perhaps. For a release from the claustrophobia of the real as a two-dimensional representation of the world. It will return. Because it is the first to know that, just as music is not a sequence of notes but exists between the notes, meaning is not in the declamation of words, but in the unspeakable between them. I would like Primiballi, if he has the desire and the time, to read and comment on the review I found online some time ago that came back to my mind today as I listened to the album again. It seems to well describe my point of view as well: link rotto - As usual, please eliminate any spaces that may form in the address. Bye.

Symbad, I googled and found out that "The Cape Verdean Blues" was reissued on CD in 2000. Have you listened to it? I only remember old listens of a now-lost vinyl...