"Homo Volans" by Arsen Dedić (1973)

Ambitious and somewhat sprawling double LP album where 1960s romantic balladeer tries to spread his wings and try some different subjects - commendable decision and definitely artistic statement, but here is where Arsen Dedić evolved into cult artist and perhaps lost his commercial mass appeal. If during previous decade he was very much beloved, popular and even poster boy for certain generation of girls, now he moved away from romantic "boy/girl" songs and was obviously ready to explore other pastures. Even though "Homo Volans" have its share of romantic ballads, now he also sings about lonely life of quiet tenant, small gardens of suburban houses, nomadic life of musicians and to top it all, there is also a very witty & humorous ditty about relationship where food replaced the passion. 

The title "Homo Volans" is a nod to 17th century bishop from Šibenik (artist's birthplace) who is remembered as probable inventor of parachute (however, Leonardo da Vinci was there before him) - this already gives you some idea about Dedić's perspective and erudition which has almost nothing in common with the rest of popular mainstream entertainers who graced TV shows in the early 1970s. This brought a lot of adversity from large audiences who now found singer too serious for popular radio waves and from now on he will be supported by small but passionate following, where previous decade he enjoyed actual conventional appeal. Dedić will continue on, specially in demand as a songwriter for other artists, but his own discography will be an acquired taste. 

Personally, it took me some time and patience to warm up to "Homo Volans", probably because its cinematic atmosphere is a bit removed from singer's previous romantic repertoire and music recorded here often borders on atonal - creepy, disturbing strings and somber subjects are not exactly easy listening, while singer's declamatory style ("death, death, DEATH!") is not something you sing along. Brave experiment, but it might test listener's patience. 

"Dawn Upshaw Sings Rodgers & Hart" by Dawn Upshaw (1996)

At the time when "I Wish It So" was released, I lived in UK and clearly remember how much critics praised that album and lovely American soprano Dawn Upshaw who highlighted repertoire of Broadway composers. In fact, her concert in Royal Albert Hall might have been my very first visit to that place. (I was very young and didn't know anybody to go with me so I just went by myself and had a great time) It wasn't too long after that when she came up with a sequel, this time a songbook by Richard Rodgers and his lyricist Lorenz Hart. 

In some ways, it was perhaps even better than its predecessor (for one thing, her voice was not overwhelmed with huge orchestra) but it lacked the surprise effect from the first time around - now we knew that sparkling voice behind celebrated recordings by Donizetti, Mozart, Mahler and Debussy (not to mention unforgettable ""Symphony of Sorrowful Songs") was also capable of Broadway confectionery and my initial reaction was that this was quite predictable step. As much as I enjoyed the recording, I kind of hoped this will not become artistic cul-de-sac where performer gets pigeonholed in a particular box - soprano singing popular songs - Upshaw herself must have been aware of this because she quickly moved on to other things and finished the trilogy with album tribute to Vernon Duke. 

"Dawn Upshaw Sings Rodgers & Hart" is nevertheless a very enjoyable experience - how can it be different with a songs beloved as "Manhattan", "Sing For Your Supper" and "Ev'ry Sunday Afternoon" where that silvery voice parts the clouds. This time around orchestration is less intrusive and at one point Upshaw is even joined by special guest Audra McDonald whose voice sounds extremely similar to hers, its almost as singer is duetting with herself. Its very uplifting collection, done with utmost style and care, I dare listener not to hum along. 

Concert: Yola in Paradiso Club, Amsterdam 28.08.2019

On a lighter note, I wanted to mention here a concert that I recently enjoyed, birthday gift from an old friend who was very thoughtful and correctly guessed this is something that might appeal to me. Yola (real name Yolanda Quartey) is up-and-coming British soul singer who has recently released her very first solo album "Walk Through Fire" and a hit single, glorious "Faraway Look" immediately caught my attention so off we went to "Paradiso" club here in Amsterdam - my very first time there, since apparently I was always visiting other music temples like Koncertgebouw, National Opera House and famous Royal Theater Carré, practically everything but pop-oriented Paradiso and I was pleasantly surprised with its nice atmosphere, acoustics and enthusiastic, unpretentious audience. 

Yola is absolutely charming girl - right now she is still at the crossroads, not really a huge superstar so this small, intimate club performance was just perfect to present who she is and what her music identity is. The album, recorded in Nashville, is appealing mix of soul with country influences and audience lapped it up, it looks like locals really love outsized personalities - Yola is definitely one, since she is unabashedly, unrepentantly extrovert girl with playful streak, clearly enjoying the attention and adoration of the public so clearly showering her with affection. This might be the first time that I went to a concert of someone I am not really familiar with - after all we knew just one hit single and "Faraway Look"  is actually not really representative of who she is musically - but we both enjoyed the evening immensely, mostly because Yola herself was so happy with response she got from the audience. Her music is a robust combination of soul and country, with endearing chatter between the songs (she seems like a genuine person, kind of friend who just happened to be on a stage under the spotlight) and backing musicians were also very, very good. In fact, this might be the very first time I have seen pedal steel guitar in real life - it has a very recognisable sound and its interesting that the instrument was initially connected with Hawaiian music before it became trademark of American country music. 

The energy really build up towards the very end where Yola performed several songs as encore - not her own, but her favourites: its impossible not to love singer who sings "Big Yellow Taxi" and Spanish Harlem" out of sheer joy and love for music. We left Paradiso drenched in sweat and excited, it was excellent evening and I thoroughly enjoyed it.

The Big Five-O

So I turned 50 years yesterday and now I am officially middle aged.

To my biggest surprise, I don't really feel it - except occasionally in the morning or if I am sitting too long at computer - in fact, perhaps I am in a better place mentally, spiritually and physically than a decade ago. I have managed to turn my dream into reality and re-located to another country where I wanted to be, building my new life from a scratch, at the age where most of my friends back home think about retirement. The strength, the energy, the intensity is still here + I am healthy so not much difference from before, except that maturity has given me slightly different perspective and I don't really crave company as I used to do when I was younger. It also could be that all those years of working on cruise ships and having to deal with lack of privacy made me into solitary person who loves his own space above anything else but maybe this is just natural process common to everybody. 

I got a wonderful surprise present - famous Viennese cake delivered to my doorstep directly from Vienna with a lovely note + few other things. I have spent the day exactly the way I wanted - without big fuss, initially I wanted simply to treat myself with a lunch in a restaurant and to celebrate it quietly, than changed my mind and ended up drinking with a good friend until we were both pleasantly tipsy - but what surprised me the most was complete lack of attention from my numerous virtual friends on Facebook - for many years I was always very careful to send a message to each and every person on the day of their Birthdays, no matter how casual our acquaintance might be, but now on this very special day when I turned 50, I got a message from exactly two and a half people. Hm. That was a bit cold shower and it made me re-think the whole subject of virtual world, virtual friendships and the enormous time I spent on the Internet for what? For exchanging silly jokes, pictures and spiritual messages that basically mean nothing. Perhaps its good that I had this realisation so from now I won't have expectations that these things are serious or meaningful, since they are not. Obviously nothing can replace the real world and this is all that matters. 

Here's to another 50. 

"Once Upon a Time in Hollywood" by Quentin Tarantino (2019)

I still remember the thrill of watching my very first Quentin Tarantino movie, fantastic "Pulp Fiction" many years ago - it was a explosion of adrenaline, a work of over-excited movie geek and I loved every second of it (& played its soundtrack on the radio where I had worked as DJ). However, his subsequent work failed to excite me - very quickly I got tired of cartoonish violence and one dimensional characters and I just didn't find all this brutality entertaining. In fact, I even skipped completely his 2015. movie "The Hateful Eight" because I wasn't in the mood for more blood spurting all over the big screen. Apparently, everything I loved two decades ago about "Pulp Fiction" somehow became predictable and perhaps I am not the same person anyway. So this time I approached latest Tarantino movie with some caution.

"Once Upon a Time in Hollywood" might be my second-favourite Tarantino movie ever. 

It was overlong - three meandering hours, with occasional flash of genius and very,very gripping finale - but still way too long for me to genuinely enjoy without glancing at the watch. But I found myself talking about it and discussing it long after I have seen it so I guess it did left an impression after all. This time Tarantino focused on late 1960s when hippie movement, piece & love era was suddenly destroyed when drugged followers of cult leader Charles Manson massacred actress Sharon Tate and all her guest in the house at Cielo Drive. From that moment, people didn't leave the doors open and fear moved to Los Angeles - Tarantino has Leonardo DiCaprio and Brad Pitt next door to the place where murders happened and in his re-imagining of the story, they are the ones dealing with Manson Family. Without spoiling the ending, I must say that it all ends in a typical Tarantino bloodbath but not in a way we expected (or what actually happened). In fact, some teenagers sitting in a cinema next to me were giggling all the way trough, not knowing or understanding that Tarantino describes something that actually happened in real life - they were too young to actually remember Sharon Tate. 

The movie has a cast of thousands, with a feeling that Tarantino included every acquaintance, neighbour and a friend he ever met - critics praise came by Al Pacino but I don't see why this particular actor instead of any other. On the other hand, some new faces were excellent, like child actress Julia Butters, intense Margaret Qualley as dangerous hitchhiker or Dakota Fanning as her lethal red-haired Manson family buddy. Scenes at Spahn Ranch where drugged hippies set their commune on a land of blind owner were genuinely spooky and menacing - here Tarantino approached level of danger not unlike his famous predecessor Alfred Hitchcock. In fact, this is the first time I could tell Tarantino is not a young, nerdy geek he used to be - this time he worked very carefully on pacing and characterisation, reaching certain level of maturity that is interesting to note. Initially I thought it was flawed masterpiece but now I think it might not be flawed at all.