The former boy wonder is now in his sixties, and if he hasn't really lived nine lives (as his new album entitled 'Nine Lives') hardly missing: Spencer Davis Group, Traffic, the meteor Blind Faith and the Go! with Stomu Yamash'ta, the glamorous and glittering '80s of 'Valerie' and 'Roll with it', the '90s empty of inspiration and stingy of satisfaction. Until the rebirth, four years ago, with a self-produced, straightforward and streamlined album like "About time" that made Winwood rediscovered, especially in the United States, by a new generation that had little or no memory of "Gimme some lovin' ", Dear mr. Fantasy" and "John Barleycorn". Today 'Nine lives'which takes him on tour in Italy Thursday 20 November at the Milan Conservatory It continues in that groove, with a rhythmic, pulsating sound and a similar instrumental set-up as a 'live band', with a stainless 'white nigger' voice and Hammond in the foreground, guitar, sax and flute interlacing as in the old days, percussion as if it rained, and no bass (the leader takes over, operating the organ pedals). The same propensity for groove and improvisation, too, further evidence of a certain affinity of thought with American jamband, just with an extra veil of 'production' and smoothness motivated perhaps by the involvement of a major record company in the project. Someone has already levelled their rifle: Winwoodis the most frequent criticism, it simply switches on the autopilot and proceeds at cruising speed, carefully avoiding acceleration and deviations from the usual route. So what if it does? Is today's Van Morrison, to name but one, so different? OK, at times 'Nine lives' sounds far too relaxed, and at certain moments it seems that the fluidity of the music matters more than the individual songs or lyrics inspired by a generic desire for social justice and spiritual uplift. But anyone who remembers the unmotivated and exhausted musician of ten or fifteen years ago cannot help but rejoice at seeing him regain a sound as warm, captivating and vital as that of 'Nine lives'. Also the announced hosting of Eric ClaptonIn the robust and vibrant blues rock of 'Dirty City', which is very 70s, Manolenta unleashes an articulate and scratchy solo from the good old days, while the hypnotic melody of the song gloriously recalls the 'Low spark of high-heeled boys' from the Traffic album of the same name. Inevitably, the past plays an important part in an album like this. Starting with the cover image that superimposes a teenage Winwood over the present day Winwood (both with guitar in hand) and that 'I'm not drowning' performed in a one man band version, a fine acoustic blues in the old Spencer Davis style that lyricist Peter Godwin effectively describes as a 'Robert Johnson projected into modern-day Chelsea'. The good news is that in his barn in the English countryside, converted into a recording studio, the country gentleman Winwood has gone back to producing organic music, far removed from the industrial seriality of previous decades: he may have lost the support of the radio and the masses, but he gains in credibility and artistic freedom by taking his time to warm up his slow-burning engine (nine titles for over 57 minutes, an average running time of over six minutes and the door wide open to further ramblings on stage). The beautiful, spiralling guitar riff of 'Raging Sea' triggers an irresistible funk blues, and that sweet, dense mixture of soul rock, Latin jazz and rhythm & blues revival often recalls early Santana, certain Los Lobos, and late '60s/early '70s Brian Auger. Winwood, however, arrived earlier, certain things have always been in his DNA and he was also one of the first to attempt an autonomous and original approach to world music, as demonstrated here by the South African township rhythmic figure that the guitarist Neto plays in "Hungry Man" or the cross between Brazilian rhythms and Celtic whistle in "Fly", the album's most 'commercial' track, which under its pleasant skin hides a syncretic and cosmopolitan music ambition that is no laughing matter. A possible key to understanding the whole album, after all, for those who do not want to stop at its (very pleasant) appearances.
Recognition of 'Nine lIves' edited by Alfredo Marziano.
Tickets for the 20 November date at the Milan Conservatory are already on sale on the TicketOne circuit and later in the usual Barley Arts presale outlets
Sector A euro 50 + prev.
Sector B euro 40 + prev.
Sector C euro 30 + prev.
Sector D euro 25 + prev.
Le BOUQUET OF MADNESS annunciano il “Bello senza Asterisco Tour”, due date in teatri di prestigio nel 2025!
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