uxo

If we're talking about class, Pat has it in spades here. The album is exciting, with an exhilarating sequence of tracks, now classics and the foundation of fusion and Metheny-style fusion. The review is well done. However, I believe this album deserves an entire book as a review. In my opinion, this album rightly belongs in the pantheon of the greatest of all time. I can only say HAVE IT and you will never regret it. Never.

It's a bit lean. I absolutely love the album and find "Waltz for Ruth" and "The Moon is a Harsh Mistress" extremely expressive and effective. The CD is indeed rich, I agree, and it's perfect for the evening; it kept me company. The mood is very Haden-like, undoubtedly enhanced by an effective and expensive setup, but these basses just hit you, wow!!!

The review is pleasant, personal, enjoyable. Here’s my take. I think of a young Pat, somewhat unfulfilled by some of his previous works, thus in search of a decisive evolution, something experimental, as he somehow chases one of his lifelong idols - ORNETTE COLEMAN - (see the track OFFRAMP). A pretentious, difficult work, at times annoying. Great technique, a desire to dare, to penetrate and to intrude (he was not in search of sonic fulfillment). A work with little identity, (which will surely define itself more in the years to come). There is no doubt about Pat's talent and that of his group.
If one seeks a logical thread, a continuity with American garage or Wichita Falls, one makes a mistake. The album stands on its own. You can sense a desire for change, which, however, will remain unexpressed. Without the support of other big names (Haden, Coleman, Scofield), Pat for the moment will remain "unfinished." However, I highly recommend the tracks "James" and "The Bat."

The review is excellent. Impossible to do better. I loved and dissected this album to the point of annoying my neighbors. Months and months savoring it, never wanting to replace it with another listen. One quiet night slightly disappointed me, maybe too hazy, yet pleasant, but the way up is a real injection of energy. Listening closely, it even makes you reevaluate the previous "speaking of now" and surprises with the new concept of "symphony" expressed there. I am reminded of "the epic" (american garage): twelve minutes of pure-gritty-energy garage jazz, and after almost 30 years, this magical flow arrives in 4 "movements" (as Antonio defines them) that allows the listener to enter a whirlwind that only stops after a very pleasant hour (it magically feels like half an hour). I take the plunge. I would call it new jazz. From the ashes of fusion, it is reborn vigorously, and it impresses even the skeptics who doubted Pat's strength. Astonishing.
As for good Antoniodeste, I would like to ask him to step out of the room of divinities to come touch the hand of the plebs, who have been asking for an audience for a long time without being considered in the slightest. Do you need the fax of the degree or should I ask good Symbad to send you a greeting? Best regards.

I'm annoyed that I can't give the good Symbad a higher score. Reading his review was a delight (the quote about Cattelan was extraordinary). I would like to say a little something about the genre. In light of previous experiences, and the roughness of the sounds, I would define it as "garage jazz." I'll briefly comment on a couple of tracks. "Ozark" is an anthem to spring, "September Fifteenth" is absolute and fragrant, unforgettable... help, THERE ARE NO ADJECTIVES for this track, a 10 with honors!!!! The rest is enjoyable, bold, and leaves a mark, planting precious premises... (three years later, the excellent "The First Circle" will arrive).

Alexander!! your review is truly excellent. I can only add that it’s a highly memorable and beloved album, whose tour was a smash hit. I have fun and define the genre in question as POWER fusion, because it is embarrassingly rich, so full of influences, as you specify, metaphysical jumps, ethereal shifts, that you can't help but love it. Really brilliant. One note: take a look at the cover of the album... while I was explaining to my girlfriend (she adores the romantic and delicate "as a flower blossom") what fusion was, I found myself being supported by the photos in the booklet. Explanatory: they are multi-ethnic, incredibly rich, numerous and colorful, like a globe, like a world... a wonderful world.

We are in the midst of Metheny's fusion. "Letter from Home" echoes and brilliantly reaffirms the sound of "Still Life." "Letter from Home" is the continuation, I would say the intermediate passage, of Pat's fusion peak, which will receive immense acclaim in the following album, "Secret Story," which will close (or almost) an essential and invaluable musical cycle in the history of the Group (and of fusion). Extremely attractive are "Better Days Ahead," for which I strongly recommend the live version, "Beat 70," and "Letter from Home." An album, in short, without weaknesses, mature and succulent, personal and decisive, satisfying and rich. YOU MUST own it.

Mr. Iko, I wanted to sincerely thank you for handling the review of BRIGHT SIZE LIFE in such a proper and dignified manner, which, among other things, is the first album I recommended to a friend who a few years ago asked me where to start with Pat. It’s certainly not the best record ever, but it has immense historical value, and its historical significance is fitting, due, and necessary. To hell with those who interfere at all costs just to be a nuisance. I would gladly get arrested just to be able to smash the teeth of those who ruin such noble intentions. Instead...

A truly complete album. The artist is at the top. Each track is a squeeze of genius. Metaphysical and light, the review fits perfectly. What amazes me about Bowie is his ability to continually reinvent himself, daringly exploring sounds that reveal an incredible freshness while maintaining his precise hypnotic style. Bowie is not an artist for "housewives" or top hits; he is a refined artist, a duke engaged in a boundless introspective musical quest. He has his weak moments in his long discography, but he knows how to astound with a terrifying continuity. Thus, his music speaks a language that is not very commercial, and it’s a pleasure to discover it gradually. A leader.

YOU CAN, dear DEBASER delete all this useless crap and keep only what pertains to the album. THANK YOU uxo