primiballi

And to think that -at least to me- "Dustin Hoffman doesn't miss a film" had made me think very highly of him... back then...

Someone with a GREAT past who got tangled up all by himself... well done Punisher, I completely agree (and I have loved this little man -musically speaking- so much in his 5 great albums...)

Dear Fabbiu, I appreciate the sincerity and honesty of those who, without any reverence, tackle jazz, a field we often believe is entirely ours as enthusiasts. This record is beautiful, and above all, very interesting. Certainly not CB's best, but definitely beautiful. I've always heard a somewhat "poor" little orchestra behind it... but that's fine. Well done, keep going (jazz brings great happiness).

I spoke voluntarily about Fossati precisely because -in my opinion- he is a great "wordsmith" and a wonderful musician, with undeniable preparation (he has made a couple of very beautiful instrumental albums), a high cultural level and good piano skills. Enrico Rava, who has worked with Fossati, how do you evaluate him? (I swear, not a provocative question). Of course, given your explanation, to put Ramazzotti and Fossati in the same sentence... well... I believe this is a classic blue error within the rules of sentence analysis...

On music/medicine, the agreement is total and enthusiastic. As for the rest, well, even though the respect for someone who expresses their ideas so well and kindly is absolute. Let’s take an example: painting. If we apply your principle, Caravaggio is a god, Kandinsky is worthless. Or not..? Mozart definitely has a capital M, but just as De Andrè and Dylan have a capital D. And the Pink Floyd have a capital P...
I believe that the second half of the twentieth century, a period of exceptional ferment, will be remembered for its (best) light music, meaning great songwriting, and for jazz.
I will conclude by saying that between the sentimentalities of some of Verdi's works and one of the best songs by Fossati, I would have no doubts. But isn’t it easier to succumb to the (apparent, only apparent) banality of the Ellingtonian principle of good/bad music... and what about it...? Be careful, Tua.

and it's uncomfortable...really uncomfortable...

and there's a mess in there

piergiorgio...but I had intervened on eros...I believe...I'll go check

we are in the midst of the best Battiato (for me, from Patriots to Fisiognomica), that is foolishly regarded as commercial by the last-minute pseudo-intellectual hipsters...

There's not much to laugh about in the eighties... there, something new was being experimented with, at least (in all genres, still...). Those that really make you laugh are the nineties (and beyond)... the years of great copying...