JohnOfPatmos

Great Antonio! I completely agree with Hal: a brilliant debut! You have no idea how much I love the "new conception of jazz from the cold north"!!! As a fan of ECM, I can advise you to keep an eye on the label of the good Manfred Eicher, always full of interesting proposals in this regard (but to be selected carefully, though). And let me mention one name above all: Arild Andersen. Bye... and you deserve a re-vote!!!

Hal, thank you. I will return to Gould "soon on these screens" :))) In fact, the Goldbergs are just one of the many outstanding things he did with Bach. Then there's his way of interpreting, of experiencing music so physically... The 1982 version of the Goldbergs is also beautiful, little known, but just as surprising as the historic one from 1956. Anyway, Gould was a creator, not just an interpreter. He knew how to draw out in Bach, but also in Beethoven, Hindemith, or Richard Strauss, that hidden, ecstatic, and transcendent side as perhaps no one else has done. The 32 little films are fantastic!!! If you get a chance, try to look for "Un genio in fuga," a fascinating biography that well outlines his isolation, his genius, his "anxiety to make music."
As for Grass, that's very true. Handel is so immediate and joyful!!! And indeed, it's a shame that classical music has somewhat abandoned him... Aside from the "Fireworks," the "Water Music," the concertos, and a few operas, the rest is no longer being recorded, damn it. What a pity!!! I've been looking for the oboe concertos for a long time, but they're impossible to find!!! Thank you and bye :)))

Brave, brave, the Labeque. And Katia, above all, has a lovely presence. Which never hurts. Really, congratulations on the mention, antoniodeste. Bye :)

Hey, Herbie has really hit rock bottom here... I wouldn't be so categorical about him not being a great pianist, but I do like the expression "tendency towards pure whoredom," primiballi. Record rightly buried by Hal's review, requiescat in pacem. Amen.

Yes, it's true, Hal. We talked about those sonatas for harpsichord and viola right around here! I know Savall well, but I must say that I've never heard a furious interpretation like Jarrett’s of the third sonata (the one in G minor), and in my opinion, it truly deserves it. But maybe it’s once again the fact that we filter everything through our personal experience :) As I mentioned in the review, Jarrett is sometimes embarrassing in classical music, but on Shostakovich, I must say that I don’t agree with zigghio. That is a fantastic record, and the interpretation is superb. However, I have doubts about the French Suites, or worse still, the Goldbergs. As for Gould, I could write a book, so it’s better to refrain from discussing that here. And finally, regarding Venexiana: thank you for the advice... Sometimes I may go overboard!!! Bye :)

The adjective "lancinante," for some reason, always draws me in. Especially when paired with "interiore." At this point, I must make a public confession because I don't know this album... Beautiful review, as always. Thank you, Hal.

Thank you Hal, I didn't know it either. As for "Estate" by Bruno Martino, I'm reminded of a wonderful cover by Joao Gilberto, heard at Umbria Jazz and then captured on record by the Italian label IGEA. Cheers :)

Odra, I'm sorry about your piggy bank!!! Hal, I agree with you about "Night and the City." By the way, I was lucky enough to hear Haden and Barron performing live in a duo at Umbria Jazz with Monk’s music... A memorable evening!!! Better not to think about it, or I'll start tearing up again from the emotion of that bass sound... Bye :)

Ah... "Shock In My Town"!!! A song that has covered with its "screams of fury" a silent period of my life... I also know that Battiato is working on a symphony: a multifaceted artist who truly deserves attention in his entirety.

Odra, "Nightfall" with John Taylor on piano is truly another great album... The label, NAIM, is the same for this album (recorded in 1997 and released the following year). Compared to "Nightfall," this one is perhaps a bit more intimate; it almost seems like Haden wanted to adapt to Anderson's ultra-lyrical mood. The only exception to this rule on the album can perhaps be found in "CC blues," with a beautiful and vehement bass cadence introducing the piano... Cheers and thanks, J.O.P. :)