Hal

Miles was an artist, a free artist from everything, except for his inner tensions. This has been said in the review, true, but as mentioned, Miles was also described as someone who changes "to stay on the crest of the wave." Well... that seems like complete nonsense to me. Then I think that this album should also be read in light of what Miles was and represents an additional moment of artistic freedom true to his own impulses. In this, in the artistic approach, Miles is jazz, which to think of only as a musical genre, instead of a mental attitude, is senseless. A little too much jazz in here? Who cares. Yes, it may not be a jazz album, but it is an album that arises from a jazz approach to music, a curious and free approach, let’s not forget that. A low-profile craftsman would have taken easier, more comfortable paths free from criticism, maximizing profits. Miles, on the other hand, despite everything, during that period chose – as always – to change again, turning to new sounds to blend with his trumpet, perhaps less brilliant than in his youth (understandable), but always fascinating. However, he didn’t have time to fully complete this transition either, and one should (kindly) take that into account when evaluating this work. Death was waiting for him just around the corner, and we cannot fault him for that. One might wonder what he would have done further with his character and his genius. (to be continued)

I have a different opinion compared to Mullah and others, but not out of a reverential respect for a sacred monster of music. The review, in my opinion, is very trivial because it quickly skims over the salient aspects (for genesis and influence) of this work, getting bogged down in (easy) prejudices and useless, dull assumptions as tired and worn-out as they are. Throughout his life, Miles faced a great deal of criticism. Every time he made a musical shift, there was always someone, clinging to labels, who had nothing better to do than highlight a "traitorous" Miles. This happened with bop enthusiasts, with purists of acoustic sounds, with the irreducible classifiers of musical categories, not understanding that for Miles the continuous search for new ways of musical communication with the audience was an inescapable inner necessity, a constant tension. He experienced it not as a choice, but almost as an obligation. Miles was never a sycophant trying to renew himself simply to "stay on top of the wave." (continua)

Certo! Inviami pure il testo che desideri tradurre.

Really, luk? For me, they have been one of the most beautiful (and ongoing) listens of this year. So if the sound here is "even more spatial and expansive," I have to listen to it without a doubt!

Dear Antonio, perhaps I didn’t explain myself well, but the adjective “unnecessary” (understood as not needed) referred not to the observation itself, but rather to its provocative/ironic/sarcastic tone (or as you yourself described it, pretentious), which failed to convey your subsequently declared playful intentions. The tone was unnecessary/unwarranted in relation to what you wanted to communicate, which you had to clarify afterward. You could have expressed the same idea with a different and perhaps more effective tone. In my opinion, clarity—here too—is never free; it comes at the cost of balancing the not so easy relationship between what one wants to say and the way it is said (what-how). Of course, if there’s a misunderstanding, one can always clarify later. As for the rest, your comment is far from dull, quite the opposite. Perhaps you are right to highlight a creative crisis in Garbarek; then a break is welcome for change to be fruitful. However, I wanted to ask if you also noticed that Garbarek’s sound has changed a bit in Katchè’s latest album, or maybe it’s just my impression. Bye :)

I know very little about Murray Perahia's piano playing, but I have to say that reading about it makes you want to listen. The description of Schubert's melodic strength is truly beautiful. Chapeau.

Cool! But I certainly won't find this from my suppliers of manna tarts. However, if you assure me that, for example, "la casa del disco" on Via Roma in Cagliari might have it available, you'll give me one more reason to take a trip out that way before Christmas :)

I would have loved to see this concert because although this music can be appreciated on the record, live it should have an even greater charm. I believe that the physical setting of the concert can enhance the very high sense of the profound spirituality of these sounds. The photo in the insights (it was beautiful!! all that blue... psycho, why did you take it down? I would also like to see the others) reassures me regarding this feeling. I would also like to say that I found the integrations of psychokiller interesting, and I have always thought that this space - when possible - should/could serve precisely this purpose. So, dear antoniodeste, I wanted to tell you that - beyond the joking intentions you mentioned later - your observation has a tone that's ironic/sarcastic, which in this case probably wasn't necessary, it seems rather gratuitous, but perhaps it was unintentional. The usual problem of written communication. It happens. The important thing is to understand each other even afterwards. Bye :)

John, I was writing to you, but I'm so happy you beat me to it because I could never have done better. It's one of those end-of-year albums that I might understand fully in a few months. It's an album that fits well with the cold of this winter. It's an album that gradually gets under your skin, even though it doesn't leave you indifferent right from the start. In fact, the first listen left me with a strange feeling that's hard to describe, an almost uncomfortable pleasure that disturbs. Emanuele is light-years away from "Sings palace music"; it has a dirty, rough sound and a constant sense of unease. But there's no need to add more; it's all in the review. Bye :)

ahi kz garbarek and Hilliard Ensemble... I believe it, it's one of the concerts I would love to see. Thanks for the clarifications about the DVD, I think I'll definitely add it to my collection. The subtitles will be useful for me :) Ah one thing... I was reading about Jarrett's annoyance with the electric piano, but in the end, he considered it a compromise (or a toll) to be able to play with Miles.