Rumore, October, 1994
By Giorgio Valletta
Submitted by Sai
Translated by me
The first Italian appearance of the natural (genetically such, even if he prefers not to remember), heir to Tim Buckley is an affair for few: the entrance is free, but the room has reduced capacity and to signal that we are not really at the Sin-E in New York it is the sincere enthusiasm of most of those present.
The screens, tuned to VideoMusic, show Kurt Cobain; Jeff shouts to immediately turn off "those fucking monitors to let that man rest in peace." Mojo Pin can start, and then it's up to Dream Brother, So Real, Last Goodbye; all the autographed songs of his debut Grace follow each other in the lineup and, as on the record, now accompanying him there is a real band that highlights, intensifies the dizziness of passion that the extraordinary voice of Jeff draws.
Of course, as a debutante, Jeff seems too sure of himself and his charisma, and plays to stretch and enrich further pathos to the already prized So Real, Lover, You Should Have Come Over, as well as offering a version of Grace with authentic goosebumps, his own presence on stage seems magical, out of time, being frankly unacceptable to that of any contemporary performer and then, believe me, words really serve little to explain a musician like him.
If his artistic affair, like his own recordings dare, he will be successful, it will be a victory for good music.
By Giorgio Valletta
Submitted by Sai
Translated by me
The first Italian appearance of the natural (genetically such, even if he prefers not to remember), heir to Tim Buckley is an affair for few: the entrance is free, but the room has reduced capacity and to signal that we are not really at the Sin-E in New York it is the sincere enthusiasm of most of those present.
The screens, tuned to VideoMusic, show Kurt Cobain; Jeff shouts to immediately turn off "those fucking monitors to let that man rest in peace." Mojo Pin can start, and then it's up to Dream Brother, So Real, Last Goodbye; all the autographed songs of his debut Grace follow each other in the lineup and, as on the record, now accompanying him there is a real band that highlights, intensifies the dizziness of passion that the extraordinary voice of Jeff draws.
Of course, as a debutante, Jeff seems too sure of himself and his charisma, and plays to stretch and enrich further pathos to the already prized So Real, Lover, You Should Have Come Over, as well as offering a version of Grace with authentic goosebumps, his own presence on stage seems magical, out of time, being frankly unacceptable to that of any contemporary performer and then, believe me, words really serve little to explain a musician like him.
If his artistic affair, like his own recordings dare, he will be successful, it will be a victory for good music.
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