Copernico

Beethoven belongs to everyone, and it’s enough to know how to grasp it, I would dare say to breathe it in. Benedetti Michelangeli infuses each of his performances with a unique sacredness. P.S. Above my house lives a very talented pianist (whose name I won’t mention, but she is well-known at a European level and soon to be global) who was a student of Michelangeli, and she told me that his house was remarkably modest and that he had a room with only the piano and a crucifix in front of it, where he played, reaching moments of religious ascetic exaltation. Well done, Hal, Beethoven deserves the best, even learned quotes; after all, the books are there, you just have to go read them.

Hi Antonio, and thank you for providing some clarifications regarding Garbarek. I wanted you to read my post because I felt there was a certain common line of thought (regarding Garbarek's latest works), and more than anything, I was hoping for your comment on an artist you probably know better than I do. By the way, do you know "Esoteric Circle" by Garbarek - Rypdal? It's really beautiful, it came out in 1969 and has now been released on CD; it's worth getting. Talk soon.

Antonio, I just want to lighten the discussion between you and Odra, and I’m far from wanting to get involved. I read your posts on Towner and it unintentionally connects to mine about "Twelve Moons" by Symbad; I just wanted to refer you to my post to ask what you thought. Regards.

I love Genesis in all their many facets, and unlike other bands, with albums like "Invisible Touch" or "Genesis"—I won’t mention "Abacab" because if we're talking in a more appropriate and cognitive manner, it deserves a separate place—I find that they have managed to ride the wave of at least three generations with dignity, not merely imitating themselves like Yes or Deep Purple still do (whom I also really like, by the way). That said, every listener knows the objective value of various "Nursery Cryme" compared to "The Lamb Lies Down On Broadway." Why do we always have to dig up the past? In a broader context, it fits well, but here it’s pure parlor sophistry. Can you imagine if the good Banks had started to craft something baroque in the style of the '70s in the '90s? Perhaps it would have pleased some nostalgic folks still clinging to those years. Instead, they have even managed to break into the North American market with an album of undeniably lesser caliber, filling stadiums. Subjectively, I prefer to immerse myself in the notes of "Supper's Ready," but come on, enough with the demagogic phrase, ...and yes, but with Gabriel.... Well done Andrea, I share your review and find it well done.

As soon as I bought it, I made a recommendation more than a proper review. I note with great pleasure that this work is starting to circulate among the debaseriani; I find it beautiful and I keep recommending it to those who love the genre. Well done, Symbad, for two reasons: one, for having bought the CD on my recommendation (just kidding), and two, for having done it justice with a more thorough review.

Personally, I find that this album suffers from a sound that is too rounded, one could say a sound that seems to want to bring out even more the qualities (which I find excellent) of Garbarek's melodies, almost trying to cater to different listeners, a trend that would repeat itself with the subsequent "Visible World." Technically excellent, it's obvious to reiterate, I believe that with "Twelve Moons" began a sort of crisis more in intent than in ideas, a crisis that seemed to have faded with the splendid "Rites," where the use of the synth didn't merely soften the sounds but outlined a possible jazz path that he could pursue. Instead, here he falls back with the album "In Praise Of Dreams," where there is no longer a heavy use of the synth; rather, we find an excellent Kashkashian on viola, but the tracks, besides being relatively short, display an embarrassing melody. My intention is not to have a trivial discussion about the commerciality of the product; in fact, if someone has ideas accompanied by melodies, bring them on, as they are what truly moves us. However, to revisit what Symbad himself emphasizes, what is Garbarek today? Or rather, what does he do? One could say that music has no genres, which is entirely true, and that Garbarek is not easily categorized. But then, what about albums like "It's Ok To They Gray Voice" or even more "I Took Up The Runes"? Were they merely transitional works? Personally, I tend to believe they were from a Garbarek who was immediately recognizable in the landscape of European avant-garde jazz, like his friend and colleague Rypdal, who has never compromised.

I also only partially know Ralph Towner; my first encounter was with a beautiful album by Oregon, "Ecotopia," followed by one of his solo works, equally valid if not more so, namely "Lost And Found." What can I say, I certainly don’t consider myself a great connoisseur of the aforementioned guitarist, but from what little I have listened to and will continue to listen to, I can comfortably say that he resonates with me. I find the review excellent; I noticed Hal seemed a bit perplexed about the album, so at this point, I urgently need to buy it, as I don’t think I’ll fall from such heights anyway. Odradeck, were you aware that Towner came to via Pomba (at the French cultural center) for a two-day seminar about a year ago?

Oh finally here we are, hi Odra I read JoP with pleasure, and now I read your review with equal pleasure. I can finally listen to the samples and this has allowed me to get a clearer picture of the work. Essentially I agree with Punisher. By the way, did you hear Fagen's latest (Morph The Cat)? What do you think? Bye, see you soon.

Hi Odra, it’s been a while since we last talked, I come and go. Regarding the Punisher, I have nothing to say, indeed after an initial misunderstanding, I find him amazing at scripting his reviews, especially the one on Baglioni, which is devastating. My 2 isn’t implicit in his way of viewing the album, but it’s a rating that allows me to disagree only with his perspective; I think that in this case he could have been a bit softer. Good ol’ Jason sells like a desperate man, peddling us the same stuff, all too predictable and already done, yet when you listen to it, your feet move on their own. It’s also true that if the Punisher changed his critical approach, he wouldn’t be the Punisher I’ve come to know.

Useless review, and come on guys, time has proven me right, this album sucks, from the first review I read I voted 3, then 2, now it deserves a 1, next time I'll go with a minus.