primiballi

What I think of the album I've already mentioned in my review, which I refer to...(punisher, with whom I often completely disagree, should have made more of an effort here...)

I’ll share my thoughts (I swear as politely as possible): compositionally, SC is not original at all, and almost every track reveals references to other pieces to an attentive ear. The lyrics, not his (so there’s half a mitigating factor), are embarrassingly poor. The voice is frankly anonymous, if not somewhat ugly (but not the ugly, brilliant, and distinctive kind of Capossela, let’s be clear...). The piano playing is skilled, but has a piano bar style. Without calling upon the great Jarrett, one still needs to look elsewhere in Italy to hear truly good pianists. The look is exactly that of Arturo Benedetti Michelangeli. Thus, in my opinion, it’s a profound bluff, with strong trashy undertones. Total disagreement, I hope expressed with respect.

Sorry... I was actually mad at others, and you came into my line of fire...(and I'm not even a woman...). No, you’re mistaken...: if you talk to me about Sellani or Basso from the eighties, I’ll agree with you, but before (the Valdambrini period, to be clear) and now (the Rava and Bollani period, to be even clearer) they are highly regarded, and rightly so (unless Rava doesn’t understand jazz... a pretty tough theory to support...). If you didn't know some records where they play together, I’ll point them out to you, it's worth it. And sorry for earlier...

To tell the truth, about the Ellington pianist (not composer and conductor), they said all the bad things possible... but never mind...: history has given, as always, the right reasons...

Sure... what I wanted to say is that there isn't much harmonic exploration in the Professor's pieces and many are even superimposable... but he has written a tremendous amount, always beautiful and never useless lyrics, and he has a great "sense of the song." I repeat: he is definitely one of my favorites, so these critiques stem from an excess of love. And every sin is absolutely, and always, venial.

Sorry... I never do this... Anyway, I have to tell you that I'm from the old, old school, meaning that perfection was an unreachable chimera, and a 10 was never given... here the maximum is five, and therefore I never give it (I might have some difficulty with A Love Supreme and Anime Salve... but that’s another lengthy discussion...). Anyway, jazz enthusiasts who listen to and love certain stuff must team up. Your review is written very well, and the record is wonderful. One more small note (this time correct, otherwise those transparent teachers will get angry and hurt me): I don’t think this is a record to start getting to know... I would define it instead as "not for beginners"... To start, it's better to listen to any concert of the Duke between the '40s and '60s and, I would say, Giant Steps by Trane. But that's subjective. The way the two protagonists approach this record as a pair is highly advanced, in its seemingly millimetric coherence to the themes.

Guys...please get into the chat!!!!!!!

Madonna, Jodo has intervened (that is, Yoda as said by Abatantuono...?). Well, now I too have my Oracle of Delphi to ask what jazz is and what it isn't. Thank you for existing, imperishable fool.

Alright... and here you can justify the purchase of the DVD, a different and less pointless product precisely for the use it is intended for: I assure you that goofing around on the couch with digital Guccio telling you the stories is a lot of fun.

Of course I remember it (also because it was recorded in a recent, beautiful live performance). I’ll also say a word for "il cielo capovolto," but, above all, for "sogna ragazzo sogna," which I consider the true masterpiece of the recent past. The only real flaw of the Prof.: an embarrassing poverty/repetitiveness in compositional and musical terms. A problem (which, for heaven’s sake, is minor) common, mutatis mutandis, with Guccio and, in another field, with Liga. Sometimes knowing three chords is a limitation...