uxo

Generous and fun album. There is a lot of essentiality, distorted sounds, to represent distorted natures. But it is a very dignified work with simple ideas, and Bugo is a character who has taken a path, he already has shape and color.

Yesss. W Pat.

I almost forgot the vote!

Dear Symbad, your review is a real gem. I especially love one of your lines: "Music from twenty-five years ago, music from the next twenty-five years." Indeed, this album is "tough," but it deserves a lot. Listening to it, you can sense in Pat a certain euphoria in the performances of Coleman's pieces. In short, an educational album.

A clarification: the flute sound you hear in "Praise" is indeed a flute sound. Pat plays it with the synclavier, with which he actually sampled the pan flute played by Pedro Aznar. I was confused by the fact that as a child, Pat played the trumpet and knew how to work with wind instruments. My mistake and horror. As for the coldness: yes, I re-read it and the review is a bit chilly. But if you knew how my heart vibrates when I listen to Pat, how much I love him, and how, for example, today he resonated in my head at work for hours, boosting my mood... Yet I can't seem to gush when I write about him. For Pat, and only for Pat, I've spent a ton of money, and I will spend more. You are certainly more qualified than I am, you have more experience with reviews, I have a lot to learn, but with Pat, I feel capable of holding a conversation. Thank you for the advice, keep reading me and listening to Pat. It really matters to me and is rewarding.

I respond to chatnoir with humility: Pat often and willingly puts himself on the line. He does so by changing musicians, collaborators, genres, and instruments. Pairing with Mehldau was a risk, calculated, but still a risk. They are two musicians with strong personalities, and there were surely delicate moments during the creation of the album. When I speak of evolution, I mean that from one work to the next, Pat refines and approaches a "sound" that he has been defining for years. I find it increasingly rich and full-bodied, majestic and mature, clean and exhilarating. Pat plays contemporary Jazz that stems from fusion experiences, Jazz, new age, and each time he detaches from what he has done, reexamines himself, rewrites himself. I hope I have been clear.

Yes, it is indeed countercurrent. And who would have expected such an introspective album from Pat? As symbad says, it might be an emulation of Joe Pass. Anyway, it's an album that's too intimate. A curious countertrend for one of the kings of fusion...

The excellent review of symbad did not lead me to change my muted enthusiasm for this work. Artistic outlet? Too melancholy and sad, too monochromatic. But what was its purpose? How does it fit in? It's obvious that if it were live, I would pay even 200 euros for the ticket. Yes, a little gem, indeed "And time goes on" I find delightful, and what technique, guys!!! But out of the 12 pieces, I find 3 completely useless and insignificant, pure self-indulgence (?). How harsh. Despite my outburst, I would never give away this album. I’m just waiting for better ones.

I would like a little nut for every time you use it... I racked my brain to find this definition, but thanks to my woman who always asks me curiously what genre I'm listening to... and what do you want to say if first you put on Gershwin (and it was Jazz) then "still life" (and it was fusion)??? Long live curious females. Of course you can use it, I'm happy and honored.

I just wanted to, as a lover of Pat for only 10 years, recommend a couple of representative tracks for those who, out of curiosity, would like to download something (not knowing what it's about). In fact, while discussing with another fan at a concert, I found myself arguing for the value of the album, but the necessity of identifying it with 2-3 more representative pieces. My opinion, surely debatable. But what can you do? It’s de-mocrazia. It’s de-baser...