Copernico

Aside from everything, as for the recordings from that period (pre "Electronic..."), I don't own anything either; I only gather information from news and books. I think that moment is now bordering on legend. From there on, classical composition takes over, namely Stockhausen, Ligeti, Cage, or even further back Varèse, not to forget our own Maderna and Berio (I've made a few references, but they fit well). Hello everyone.

The vote.

I’m going to read you now! Great review and you’re exceptionally knowledgeable, I apologize for my initial arrogance.

Once again, I agree with Grasshopper. Great review.

I always read it again afterwards, for me it's a good first draft, sorry for the repetitions and errors, I promise to be more careful from now on, greetings to everyone.

Totally different was Zorn, seen at Hiroshima more or less around that time. Concert start at 11:45 PM, concert end at 12:15 AM. John Zorn pouring himself at the back of the stage, blowing his alto sax into a beer glass, Yamatsuka Eye screaming like a madman and spitting on the audience. A devilish concert. I forgive Zorn this and more, probably in the case of his concerts, I caught the wrong one.

With pleasure, Nobody. I don't remember the date well, I think it was November 1995. I usually keep all my concert tickets, but that one was a simple and anonymous SIAE ticket. Returning to the concert, it was special because the synergy between music and film was, for me, a novelty, if we set aside the discussion of soundtracks. Frisell was strictly dressed in black and was accompanied by the duo Driscoll, Biron, with a screen behind them projecting three films by Buster Keaton. Given that at the time I didn't know the two works "The High Sign/One Week" and "Go West," namely the two CDs that bear the titles of the three films of the Sad Clown, everything seemed a bit daunting; I couldn't find logic in it, the pieces were short and syncopated, jazzy yes, but it wasn't the Frisell of "This Land," to understand, whom I had seen the previous year at the Teatro Nuovo. Of course, the technical aspect I had immediately grasped back then, but what I didn't realize was that what seemed like improvisation to me was actually a grand work of composition and synergy between music and film. Perhaps I have a bit of regret for not experiencing with more awareness one of the most beautiful periods of Frisell.

Beyond any polemical aspect, we all agree on appreciating Tangerine and recognizing the greatness of Pink Floyd, so you will find me perfectly aligned with a healthy musical approach. That said, I wanted to remind cazputini... (whom I find very knowledgeable, by the way) that the debut of Tangerine Dream under this name dates back to 1966, when they recorded "Lady Generations," which was a single released only later on, but the real work was "Rainer Werner Fassbinder Memorial" (not to be confused with the one that came out in the 1990s), also released later as an E.P., at the time credited to "Froese, Hombach, Herkenberg." They entered the recording studio in 1967 with Paul Dutch (English), Lense Hapshash, and Conrad Schintzler, to begin a work of pure experimentation, which would later lay the foundations for "Electronic Meditation." At this point, Klaus Schulze enters the scene with ideas completely opposite to those of Dutch and Hapshash, who were too tied to the Beatles' pop movement. In fact, the two left the group, or rather the project, and thus finally in 1970 saw the light of the elusive "Electronic..." which was nothing but pure electric experimentation, with noise influences inherited from Schulze's classical/contemporary culture. Honestly, I don't care who was first or whether "Ultima Thule" is liked or not; the point is that whether we like it or not, the Germans have always influenced music with their electronics, at least let the krukki have that. Regards to everyone, and I apologize to mauromauro and airone if I used any offensive terms.

You probably read the publication year, but it's pointless to discuss, we are in deep water here.

Heron, you forget "Electronic Meditation" by Tangerine, from 1967, not to mention Bongmayer, what should I listen to, "everyone indebted to Sourceful.." insane!!!!!