Contemplazione

I only know him from the previously mentioned "Goodbye, Children" and "Elevator to the Gallows," both excellent films. I've always heard his name mentioned and everyone speaks highly of him, so I have no doubt that he is significant! Good review, too bad about the few comments!

The bongo players....the bongoloids. A movie I will watch soon!

By the way, speaking of Bertolucci, would Io ballo da sola be a great film and The Dreamers be complete rubbish?

And let's be honest, Hancock and Williams are much more sophisticated compared to Tyner and Jones, without taking anything away from the number twos!

Of course, the biggest group in existence is Miles' Second Great Quintet. In second place, I would put Coltrane's quartet, and in third, the Bill Evans trio with Scott LaFaro and Paul Motian. ALFREDO, let’s not exaggerate! Let me rephrase: Let’s not say bullshit!! ;-) Moreover, the second quintet was almost a group of Shorter, considering the number of compositions (the finest of his career!) and arrangements by Wayne and the almost total freedom that Miles granted to the musicians. And they were the best musicians in the world! Try comparing "Footprints" from "Adam's Apple," his 1966 solo album (with Herbie Hancock, Reggie Workman, and Joe Chambers), with the version from a few months later found on "Miles Smiles." It’s another planet! Ron Carter and Tony Williams simply annihilate their predecessors, Hancock, pushed by those two, works wonders and what emerges is the greatest improvised instrumental masterpiece ever heard. Who knows what would have happened if they had played a "Night Dreamer," a "Virgo," a "Juju," or all the compositions on "Speak No Evil" (the masterpiece of Shorter as a soloist, with Herbie Hancock and Ron Carter, what a coincidence)!

Read! And approved. A consideration on the rhythm section: at that time McCoy Tyner (along with Herbie Hancock) was almost the "house" pianist at Blue Note, and the same goes for the drums with Elvin Jones (along with Joe Chambers). Therefore, they were used to handling very different contexts than their quartet with John, and they didn't play the same way for other leaders (not to mention, where would they find a hurricane like Coltrane who could match them?). The Coltrane parallel, therefore, as you rightly say, is out of place, and not only that, but I would add that I can hardly think of a saxophonist more different in style and sound, in "intentions" and temperament! As far as I'm concerned, I have a particular fondness for Shorter, ever since he was the musical director of Art Blakey's Jazz Messengers; his memorable compositions, his original and versatile style, his brilliant improvisations with those crazy, sliding glissandos make him dear to me perhaps even more than John, especially in light of the peaks reached with the greatest group of existence, both in the studio and live! Another saxophonist often compared to Coltrane was Joe Henderson, in this case, there was a hint of truth, just listen to his "Inner Urge," coincidentally from '64, and coincidentally with Tyner and Jones (and Bob Cranshaw on bass).

I was about to leave debaser for good after the mess of a homepage that happened in the last week, THANKS!! I'll read it later, now I'm running!

YOU DON'T HAVE TO DO THESE REVIEWS, DO YOU UNDERSTAND?

Who knows, Tom, maybe the next cover will feature the first phalanx up the ass, and the rest of the finger will recite "Anal Fixation," and it will be a Rocco Siffredi Production ;-)

Oh my, Shakira again? It's no surprise that the jokes are flying, with that cover especially and that title... I confess I have never delved into the artist's work, and I probably never will, too busy as I am listening to high-level music ;-) How strange that you're Venezuelan, I thought Latin pop appealed to everyone except Latinos! I don't know, you're like an Italian living in Australia who tears her hair out over Laura Pausini... after eating pizza and playing a bit of the mandolin of her mobster cousin.