trickykid

So we are both on the same page, dear JACK. I just want to point out, regarding the topic, the position of RINO GAETANO, an artist who never aligned himself with any party (listen to, above all, NUN TE REGGAE+) but was certainly leftist. In those years, the recently constructed myth, driven by remixes and clever movie titles (see, MIO FRATELLO è FIGLIO UNICO by Luchetti), didn't sell much (his success was well-known for a few singles) and he was almost marginalized by the whole "engaged singer-songwriter" intellectual-chic clique that was so trendy at the time. For once, a bit of healthy "revisionism" has brought to light the unmissable records of this unfortunate singer-songwriter who never achieved the deserved success, largely due to his troublesome persona, particularly on the left. In the STATES, it's a whole different story. It's clear who supports whom because there’s this political game that involves everyone. In this regard, I recall an anecdote about YOUNG, who in the 80s took a stand (was he drunk?) for REGAN. Recently, his records have been inconsistent on the theme of war (ARE YOU APPASIONATED? and the recent one whose title escapes me...) This doesn’t take away from his qualities as a singer. Regarding BATTISTI: you are right, and I’ll add that today, in 2007, I know people who hate him, despise him, etc., just because he wasn’t on the "right side."

Only in Italy is there (or rather, there was in the 70s) this dispute between right-wing and left-wing musicians, the latter often cloaked in an aura of superiority (let's face it!). But how many illustrious figures have benefited from concerts at the Feste dell'Unità and the party's drumbeat?

I can only confirm: *****, across the board. I saw Petrucciani live years ago, accompanied by his father on guitar. Amazing.

I was referring to the price just to indicate that for SOME ARTISTS, people will always be willing to spend OUTRAGEOUS sums, even though their "moment" has passed. It's also true that with this kind of music, you never know what the evening has in store for you... but let's say that the intent to make music spectacular or to turn it into an intellectual-chic event brings the artist and the organization much more than the intrinsic quality of the concert.

That Jarrett behaves like a prima donna, living off his past and putting on airs, acting like a show-off and having ridiculous ideas... doesn’t take away from what he has accomplished: as a sexoman, soloist, in a trio, etc., performing on various stages with certainly varying results and playing music that can be defined as jarrettiana, since there is no other phenomenon like him in the history of improvised music. He has revisited Bach, played with Miles in an electric setting, formed a jazz trio, and the solo experience that made him famous (and popularized a niche label like ECM - his albums are the bestsellers of this record company), etc., etc.... Now, whether he has lost his edge in recent years and acts like a DIVA... well, what can I say? There will always be people who, after all, are willing to pay 70 euros (or more) to hear him play the same old stuff for 50 minutes. I will look for the box set and listen to it (maybe a friend has it... who knows!)... I know that to really absorb it, with my pace, it will take me at least a year.

The review is so good that it even makes me, someone who isn't familiar with the album, contemplate purchasing it. I'm already familiar with the Jarrett trio...and this work, if I understand correctly, should be the epitome. *****, ex officio.

poor review for a glorious album that confirms how record labels are just fluff. Here's Punk long before '77 (confirming that, excluding prog, all rock music has American roots).

do what you want, say what you want, fight over a C# if you must, but the COHEN BROTHERS are off-limits!!

happypippo is right: THE KOLN CONCERT is not a jazz album. That said, it is still a valuable record, albeit the most POP of Jarrett's solo music.

The errors in the review have already been noted. However, it offers some interesting insights, particularly when it emphasizes the SECOND DAVIS QUINTET, which truly served as a breeding ground for talents and bandleaders, as well as producing records of unparalleled quality, albeit less known than KIND OF BLUE and BITCHES BREW. The great intuition of DAVIS has always been to surround himself with excellent YOUNG musicians, from whom he could draw inspiration, ideas, and visions for his records. Specifically, during the time of the SECOND QUINTET, Miles is in a creative CRISIS. Indeed, few of his pieces are his own; many belong to SHORTER, HANCOCK, and so on. There are numerous insights and "advice" that the disciples provide to the MASTER. Davis will create outstanding albums between the works with BILL EVANS and the electric sparks post IN A SILENT WAY, thanks to the invaluable contributions of these barely twenty-year-olds (Williams joins Miles when he is just 18!) who were discovered and vampirized by Mr. MIGLIA (already around 40 at the time with a prestigious and lengthy career). The ideal bridge between electric and modal can be found in the jazz of this GREAT GROUP. After DAVIS, he will create a series of ever-larger and more diverse ensembles, again with great talents (JARRETT, McLAUGHLIN, ZAWINUL, KOREA, HOLLAND, etc.), but the synergy of this band is exceptional.