primiballi

someone said the last beauty, referring to Edo's swan song... in my opinion, it was more like a dying gasp...: Edo, at that time, was already a musical corpse. fortunately, he had a brilliant idea and pursued and realized it. what a shame about what he was already doing in parallel and especially about what would come after (you know... it's a limitation of mine that I can hardly bear to listen to even the old things anymore, he has disappointed me so much...?)

I see that we understand each other...

but who are these 2 hot chicks...???

I assure you, as a humble multi-instrumentalist (and also a saxophonist), that Guerrini in this tour does not make you miss Arcari (in the previous one, I agree, yes...)

Mr. Green, go check out my other piece on Chet... it's the last one recorded in his studio life (it can't get more recent than this...)

Sure, absolutely. The acrimony I express regarding the term (you are obviously not at fault) comes from the fact that the great Italian cabaret has become blurred, completely flattening itself into the entertainment typical of holiday village animation. This is sad. A god of today's cabaret is Fiorello... and for me, Fiorello and Jannacci represent the same genre as Livia Turco and Jenna Jameson… (but, I repeat, this is a general discussion, not directed at anyone...)

no Justice...: for jazz you have to start, otherwise the laziness that comes with the passing of years screws you over, and you miss out on an immense musical joy...

Thank you all. I see traces of Queen as very indirect, if I may say so in a certain type of "baroque" that characterizes Prince, in my opinion, worse. To summarize... where there are two vocal tracks, he puts at least 30, making everything, at times, unnecessarily redundant (that's why I love the "minimal" of "signes" or the live rehearsals, official and unofficial...). That's all, for the rest I love Prince while I like Queen much less. Regarding the comparison with Zappa: they are both geniuses, but very different. Zappa was a genius of a certain type of refinement, definitely a great instrumentalist and an excellent composer, how to say... simplifying... "sophisticated." But, let’s be honest, Zappa had no "sense of songwriting," and therefore cannot be counted among the authors who can be defined, in a broad and absolutely positive sense, as "pop." Prince can. There was a beautiful period when he was liked by everyone: musicians, jazz enthusiasts (Miles adored him and called him the new Duke), casual fans, and critics. You see, that’s a prerogative solely and exclusively of the greats...

Thank you, really. The fact is that I, too, deep down, prefer the "sad period," and I consider "macramè" and "la disciplina della terra" to be two of the ten most beautiful Italian singer-songwriter albums of all time (let's make it among the fifteen... okay...). Anyway, what I said and believe strongly is that that stuff is there, frozen in its beautiful space/time. Today IF is a more relaxed and happy man; you can see and feel it. I forgot to mention in the review a special mention for the saxophonist Mirko Guerrini, who stands out here much more than elsewhere. The very long solo in "traslocando" (which in the original was for trumpet and much shorter) was the musical highlight of the evening. One detail that I didn't want to include in the review but can affectionately add here is that Ivano arrived at the end of the concert objectively very fatigued, yet without losing any of his great personality and his unmistakable professionalism.

Thanks to everyone: Jannacci is certainly a boundary figure, I would say, between modern theater and jazz-inspired singer-songwriter music... before using the term cabaret let’s decide whether to distinguish the Milan of the '60s and '70s from Zelig on Mediaset or, please, let's avoid the term altogether... one certainty comes from the fact that Jannacci has been able to make people laugh and cry, and this is a prerogative only of the greatest.