trickykid

Usually, I enjoy your reviews; this one, however, not only says nothing about the album but isn’t even entertaining, despite the idea and the premise being more than good. Above all, I didn’t understand if the album is beautiful or not—no description, no tidbits or details... TRICKY had a golden period with good and sometimes innovative albums, but unfortunately, he has gone off course or perhaps lost his inspiration, who knows; the fact is he has made some (heavy) missteps... I rate the artist considering that we are dealing with remixes.

It seems strange to say what I'm about to say: PORILLO must be read, if only for its seriousness and because he was the most important jazz critic in Italy. Then, clearly, there are a lot of things that one cannot agree with or are downright rubbish, but it is still an excellent manual that time has not tarnished, especially for the more classic authors and subgenres (note that POLILLO hated the electric MILES à la BITCHES BREW). Already with FREE he starts to make some mistakes, as CHARLEY pointed out. Especially for me, who knows little about the OLD stuff, it's an authoritative guide. Moreover, the price is reasonable (ed. OSCAR MONDADORI). Still in the realm of BOOKS, the jazz monographs published by STAMPA ALTERNATIVA are remarkable, while a total disappointment for me is RONCAGLIA, IL JAZZ E IL SUO MONDO, ed. Einaudi. To date, the best book about jazz is MILES, THE AUTOBIOGRAPHY. Fun, caustic, and full of anecdotes. Highly recommended for all lovers of the Divine Davis.

Charley, you’re right to reread the great book by Polillo that everyone who listens to music should read at least once. I completely agree with you on all points, both in debunking good ol’ Polillo (what does MAX ROACH have to do with FREE JAZZ?), and in considering the piece THE EGG to be close, structurally, to FREE JAZZ, of which Coleman was only ONE - certainly the most important - of the interpreters, certainly the standard-bearer, but not the sole holder of the "free sound" that involved, during the crucial period of the 60s, dozens of artists and had, therefore, multiple declensions.
During that time, the DAVISIAN musicians (i.e., 4/5 of those on this record) were undoubtedly attracted to FREE, even if the Divine Trumpeter - at least in words - always claimed to be against the genre (see, MILES, THE AUTOBIOGRAPHY, ed. Minimum Fax). It is sufficient for this purpose to refer to the LIVE recordings of the Davisian quintet from the period before IN A SILENT WAY to actually hear - at times - in the musicians’ solos definite free nuances...(on this interpretation, see, MILES - THE ELECTRIC SHAMAN, Stampa Alternativa).

Charley, you’re right to reread the great book by Polillo that everyone who listens to music should read at least once. I completely agree with you on all points, both in debunking good ol’ Polillo (what does MAX ROACH have to do with FREE JAZZ?), and in considering the piece THE EGG to be close, structurally, to FREE JAZZ, of which Coleman was only ONE - certainly the most important - of the interpreters, certainly the standard-bearer, but not the sole holder of the "free sound" that involved, during the crucial period of the 60s, dozens of artists and had, therefore, multiple declensions.
During that time, the DAVISIAN musicians (i.e., 4/5 of those on this record) were undoubtedly attracted to FREE, even if the Divine Trumpeter - at least in words - always claimed to be against the genre (see, MILES, THE AUTOBIOGRAPHY, ed. Minimum Fax). It is sufficient for this purpose to refer to the LIVE recordings of the Davisian quintet from the period before IN A SILENT WAY to actually hear - at times - in the musicians’ solos definite free nuances...(on this interpretation, see, MILES - THE ELECTRIC SHAMAN, Stampa Alternativa).

I confirm the message above.

what else to say?

What a great recovery!!!
The year 69-70 is the best!

STRATOSPHERIC review for a group to rediscover.

I notice that someone has picked up the red pen to indicate my error. Clearly, MARLEY's song (my favorite) is REDEMPTION SONG. Apologizing once again, I notice that the most beautiful thing about this site is the persistence and presence of censors, teachers, and various know-it-alls who, avoiding any fruitful discussion, are ready to dismiss – without appeal – the opinions of others by qualifying them as utter nonsense or by pointing out typos...

Let me start by saying that REGGAE is not my favorite genre and that Bob Marley is not my reference Artist. That being said, how on earth can anyone write certain things about this FUNDAMENTAL album?!? Someone wisely remembers the influence this ALBUM had on serious people like the ROOTS... For my part, I note that it also influenced the earliest MASSIVE ATTACK. BOB MARLEY had unsuspected supporters and fans in people like Clapton (remember his cover of I SHOT THE SHERIFF) and Harrison...
In any case, it’s an album to own even for those who don’t love the genre, alongside NATTY DREAD and LIVE BABYLON BY BUS.
After this album, P.TOSH will embark on a respectable solo career.
P.S. In my humble opinion, the most beautiful song by MARLEY is REDEMPTION SONG, curiously not in line with the REGGAE genre.
P.S.S. I detest campgrounds, happenings, reggae concerts!! I hate banging on drums, djembe, dreadlocks, the soundsystem from morning till night, and all the related pseudo-alternative subculture that reggae lovers feed on.