Voto:
It took a century to read everything... and I must say that the discussion was beautiful nonetheless, aside from a few tones that might have been, shall we say, superfluous and not particularly pleasant, but it is what it is. Honestly, many of the quotes provided by Emanuele are quite mysterious, and that's the most beautiful part :) I read it with a notepad to jot down names, even though I strongly doubt I will find anything from what he cited, but it doesn't hurt to try, thank you. On the other hand, I am a bit perplexed about some things. I don't remember them all, but let's see what comes out. Certainly, the most interesting part is the discussion on Davis. I had read that some do not consider him an innovator. However, I also recall different opinions. I think of "kind of blue," which is generally regarded as the progenitor of modal jazz, something I have tried to have explained to me by those who knew technically much more than I did. Yet at other times, I have heard of Miles as an innovator. Just last Sunday, for example. I heard Paolo Fresu (he doesn’t seem like a fool to me, but I might be contradicted) telling the audience about the value of "Birth of the Cool" in relation to bop; it was discussed in that context in innovative terms, highlighting its worth. He then performed it from the original scores of Gil Evans, and it was a beautiful experience to hear him. Furthermore, there are numerous statements from musicians affirming the influence and value of Miles on their music. People like Jarrett, too (another one who doesn’t seem like a fool to me, but given the context, I fear further contradictions) accepted significant compromises to play with him, for example, and that gives one something to think about. Then, regardless of its genesis, I believe "Bitches Brew" is an album that has had a hardly deniable influence on subsequent music. Honestly, I am a bit perplexed because what I have read and heard so far is quite different from what I have read in this space. In front of such contradictory sources - and all well motivated - it gives one pause for thought for those who are not lucky enough to be a professional in the field. But frankly, as a layman (and I emphasize that), I see that contrary to the judgments expressed here, other views have developed elsewhere. And as a layman, I must also give weight to their authority. I don’t know... all this reminds me of a concert from many years ago, where Sonny Rollins was playing and the audience was ecstatic. He closed the concert with "Isn't She Lovely" by Stevie Wonder, and then as I was leaving, I encountered a series of local jazz musicians who kept angrily repeating, "Stevie Wonder... what a sellout Rollins." Perhaps they were right, perhaps not, but honestly, at that moment, I cared very little because I had had a great evening. Rather, and I'll close, I read among the many comments a quote from Massimo Urbani, and it made me happy. I later learned while doing my research that Emanuele played with Massimo, which ignites an infinite curiosity in me. In fact, just a short time ago, I watched the documentary "Massimo Urbani nella fabbrica abbandonata" (which you certainly know, Emanuele) and I was particularly struck not only by the artist but also by the man. Given the presence of someone who knew him personally, I would love to know more about Massimo: a memory, an anecdote, a story, anything, and maybe even understand why - in your opinion - it is so difficult to find his records in a regular store, which seems crazy to me. Sorry, Emanuele, for taking advantage, but I couldn't resist :) Then I’ll listen to your album; a guitarist friend of mine should have it, and I’ll borrow it from him. Bye!
