primiballi

When I get home, I’ll tell you the titles (there were three doubles released in three different weeks (and three different titles...)). Cheers. Some of us (us) like Fred!

Good reception, which I unfortunately don't share: for me, it's not even remotely comparable to Alchemy. In my opinion, it's far too polished and especially too much space is given to the obsessive and ubiquitous slide guitar, which, since it's not played by MK, is not of interest to anyone in a MK/DS record. Don't get me wrong, the album is good (the DVD is better...) but nothing transcendent (just to be clear...: MK's last tour, if it were released, would certainly be better). Salùt

Buscaglione was an absolute genius. Colonized just the right way, original just the right way, Italian just the right way, and Piemontese just the right way. Absolute credit goes to Chiosso, a lyricist never praised enough. Assonance with Conte...? Well...: they don't refer to the same jazz, that's for sure... but..."before this cigarette... finishes..." sung by Conte I'd picture that... As for the record, it's certainly not the best collection. The absolute best was published by l'Unità a few years ago, which in (I believe, if I remember correctly) three double CDs gave us the complete works (but really, really complete! For the first time). That was indeed a high-quality philological operation.

beautiful album, but it's not that in the next one, which is also beautiful "UP" (the one after... I know... in between there's OVO), there's any sunny music like Casadei... PG has always been blessed with a pleasantly dark tone. perhaps here it's just more evident. anyway, I confirm my assessment: beautiful album.

try on e-mule... it might not be very regular but there’s really everything... what a shame though... Tom Waits compared to Benigni...

The relationship with Faber can only stand if we compare their respective explorations (which are actually very different from each other) of the "song form." With Real Gone, TW takes a distinctly guitar-driven, distorted song discourse to the extreme, certainly very good at first listen (etc...), while Faber, with Anime Salve, effectively develops the concept of "pure" singer-songwriting, perhaps conceiving one of the most important albums of the genre in history, undoubtedly beautiful and profound, and certainly the swan song, if not the last gasp, of the entire singer-songwriter movement. Thus, they can only be compared in being two baroque styles and not two grignolini.

What if we dared to say that the band is frighteningly overrated? What if it had "born" in another era, an ancient one, like the sixties-seventies, when people still had a critical sense, the market didn't decide for us, journalists roamed without checks in their pockets, and the competitors were called Beatles, Stones, Hendrix, etc...? Rightfully, nobody would have cared... ?

I share and endorse this. It’s one of my favorite albums both overall and in terms of Waits... it probably also has significant historical importance, being one of the greatest and best possible evolutions of the song form. A masterpiece in every sense. In your review, I see three albums mentioned at the end, which I assume are your favorites... well: I completely agree on Rain Dogs, but I prefer Frank's Wild Years and Alice... but it’s always just a matter of taste. TW is up there, among the unattainable.

the album is compositionally absolutely beautiful. there's no doubt about that here. today, with Pezzi's arrangements, for example, it would be a true masterpiece. even the same tracks from Miramare, in the various live performances, gain a lot...

I intervene again: Regarding the look, it was a jab (which, however, I believe: for me it’s false – also – in that... with all due respect for the pianist Benedetti Michelangeli), about pianism, for many reasons that I won’t explain otherwise (I would) end up being lectured, I believe I know a thing or two. The only limit I admit is that I’ve never heard SC live: records definitely do NOT suffice to qualify him as either a good or, even less, a great pianist. On Italian jazz pianism, from Sellani to Pieranunzi and through dozens of others, if you want we can talk. I’m more than willing. Here, what I can assess is a product, which I judge to be poor and not original in any way. That said, voiceface, you like it, and there’s absolutely nothing wrong with that, but to say that from his studio albums emerges a pianism akin to Jarrett’s (come on... admit it, you let slip a blunder... come on...)