nightwalker10

It seems to me like a rather presumptuous and slightly acidic review, despite the harmonious quotes, very similar in its arguments to those of the detractors of the prog genre.

Let’s be clear, the album is nothing essential, but it should be viewed in the context of an extensive production by masters of the genre like Yes, which, like with any artist, from Pupo to Miles Davis, also includes some colorless efforts.

Perhaps we should remember that these are people who know how to play, and not many do today.

Mister, I understand you; many have reacted the same way you did... with rejection. But Gino, in a way, provides an answer in the inner cover of "Live in Montreal," perhaps his last tribute to the Vannelli of the '70s, in his open letter: the need to continue on his path without simply wanting to please the fans.

I too am attached to "Sturm at Sunup" or "Gist of Gemini," and of course, that's music that goes far, but I also respect the integrity of the artist who has paid a heavy price for it.

You mentioned psychological difficulties? I can confirm that; he himself says that after "Nightwalker," he ended up in the grip of psychotropic medications and wandered through the Zen monasteries of Tibet... and I would like to see anyone who wouldn't have had a crisis!

There remains the regret of an artistic treasure that is not known as it should be, but once discovered, no one forgets it. Every time, it seems incredible to hear someone say, "Who do you listen to? Gino Vannelli?... who, the American DJ?" (referring to Joe T. Vannelli).

A live concert by Gino is an extraordinary experience where the pop star blends with the elegant jazz singer, and the classic hits are re-imagined in a kaleidoscope of hard bop and cultured music, which I hope you will be lucky enough to see on the next tour.

Without delving into the specifics of the review, the mere fact of dealing with a PURE artist like Gino deserves commendation. Music is now completely in the hands of show business, which creates and destroys its cardboard idols (you know music farm, right?) and a coherent artist like Vannelli can only aspire to a CULT audience like us. Vannelli can be loved for many good reasons: classy pop fusion, refined artist, great voice, absolute originality, sophisticated introspection in the lyrics… but there's actually a more important reason, in my opinion, unknown to most. Gino during the times of Brother and the subsequent Nightwalker was a number one even in terms of sales, signing a mega contract with Arista; but when the label tried to control his production by intervening in the artistic domain, our man didn’t hesitate to tear everything up. Naturally, it was the right choice but an expensive one: he had to buy himself back from Arista, which led to a severe professional and economic crisis, as well as a personal one: from number one to nobody. And here lies the explanation for his subsequent "easy listening" production, which many, myself included, criticized without suspecting the reality. I wonder how many have done something similar… that's why it's easy to love Gino, a true artist. I have been playing jazz for many years, and I assure you that it is as much overlooked by the general public as it is esteemed by musicians of all genres. Brother to brother?... yes, it’s his most famous and sold album, but Gino says that he didn’t like it much because it was made just to satisfy the demand for something "more commercial" from A&M Records... if only there were commercial stuff like that today… sigh.