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Well, just to stir up a bit of controversy, while Santana invented a genre, Hackett didn’t invent a damn thing. Technical skills are overrated. The greatness of a guitarist lies mostly in their recognizability, and you can recognize Santana after just two notes, just like Fripp, but not Hackett. And regarding the influence on other guitarists, listen to Mick Taylor's solo, one of my favorite guitar heroes, in "Can't you hear me knocking." Who influenced him?

It may seem strange, but I love this album. I don’t see what Hackett has to do with it... Sabtana, anyway, has his own damn lysergic imagery, like pure peyote, which I think was amazing in the very early albums. Then, obviously, let’s forget about it. But in the beginning, it was really Learyan (is that how you say it?)

Strangely, I agree with Alessio :-). They never really drove me crazy either, and I did try to like them since everyone was speaking highly of them at the time. However, among all the SST bands, they were definitely the ones I liked the least. No one can take away the 5 from the review, because in the end it’s just a matter of taste, and the band, as mentioned, has always been considered among the "greats" of indie rock.

To me, Porpulan's intervention seems splendid :-). Kisses to everyone.

Drank too much coffee, Melissa? :-). I didn't reply only because I come on Deb either at lunchtime or after dinner, and I'm only seeing your post now. The movie, as I said, I adore. Not just for the soundtrack, although that helps. I generally like noir and French cinema, especially Malle and Moreau. In short, a whole series of ingredients that lead me to consider it one of my ten favorite "noirs."

Indeed, the prose and the errors, both grammatical and spelling, are worthy of an elementary school child. In particular, the second paragraph is frame-worthy. Can't one do better? How about studying a bit and proofreading what one writes?

I'll attempt to say something myself, although I hope Odra and Contemplazione arrive as well, as they know much more about this than I do. Miles Davis emerged from the breakup of the first quintet and from the orchestral experience with Evans for Miles Ahead. He therefore finds himself in a well-known state of grace. Before forming the legendary sextet, he went to France and met Malle through Juliette Greco. Malle declared himself enthusiastic about his music and asked him to record the score for the film. The recording was practically done live: Malle rolled the film while Davis played along with a mixed French-American quartet, whose French members he met for the first time on the night of the recording (?!!). From what is known, there were only two takes, meaning the film was rolled twice, and Miles and his associates played the themes according to the scenes, totaling about fifteen. In short, a truly revolutionary way to create a soundtrack. One critic wrote, "The most solitary trumpet sound you will ever have the chance to hear." Jeanne Moreau, who is featured in some photos from the session, was preparing drinks, and Boris Vian was present. The latter recounted that a piece of skin had come off Davis's lips and he inserted it into the trumpet to modify its sound (?!!). After this classic, Davis returned to soundtracks only thirty years later with Siesta and The Hot Spot (the latter is noteworthy because it featured Johnny Lee Hooker).

Perhaps it would be more appropriate to call them "Little steaming shits of requiem." Also, Santa Patti is spelled this way, not Patty. Regards.

I adore it too. I agree with Odradek (I mention it because it happens rarely:-)) that something more about the soundtrack by Miles should have been said. It's considered one of the most beautiful soundtracks of all time, indeed.

Non hai fornito un testo da tradurre. Per favore, inviami il testo in italiano e sarò felice di aiutarti con la traduzione.