Contemplazione

Aesthete for sure, but cold not at all! I don’t know how many of my reviews you’ve read, but in many I overflow with enthusiasm... and then it doesn't occur to you that if I love music that is "personal, passionate, and inspired" maybe I’m not a robotronic?

At this point, after the 4 from Muffin and Jake, I have no more doubts; it's definitely going to be a great album!

For me, quantity=quality is almost never true, unless you're John Coltrane. As for Di Meola, I have the already mentioned "Friday Night...", which I find artistically hideous, just like a Malmsteen album. Fast fingers and empty heads of ideas! Anyway, I knew that at the beginning of his career he had done decent stuff, so I will try to listen to this album! I really like the review!

I recommend everyone I have reviewed, for example!

A Gustà, what a drag! You’re a man, can’t you understand that I like the potato? Get used to it ;-)

I fear you wrote it to prove something, as you somewhat declare at the outset. Among other things, I have the impression that some passages of the review I have already read (or heard) elsewhere, so at this point I wouldn't be surprised if you didn't even watch the film, just doing a nice copy-paste! As you say: "everyone is talking about this film, but who knows how many have actually seen it." Not one of Bergman's greatest films, but I still can't give it less than a 5.

Fuck. With love.

Good job JazzProg, but if I had something to say about the statement that Lyle Mays and Nana Vasconcelos are "two musicians of fundamental importance in jazz"? ;-) It seems a bit too triumphant for an album that's good but not excellent for my tastes, and a lot of little writing errors slightly tarnish the reading (but I care almost solely about the content of a message rather than its form).

Oh, Pulp! In the end, I think I'll keep the photo, partly because I'm a bit vain, and partly because I tell myself: after all these queer folks, surely a woman will bite, right? I'm awaiting with hopeful anticipation... I'm very, very glad you're listening to them; it's the ultimate reward for a reviewer when someone pays attention and takes the trouble to listen to what they suggest! Thank you and enjoy your musical journey.

Hi Lavalin, we were writing together! Regarding Ella's commerciality, I reiterate what I already told Muffin, namely that Norman Granz sometimes went a bit overboard, even making her sing some truly dreadful stuff like "Hotta Chocolatta" and "Mr. Paganini." We must remember that female singers had far less freedom than instrumentalists in their artistic choices. It's obvious that her sunny disposition and joviality made her perfect for interpreting cheerful pieces (and thus more "commercial"), and less suited for very dramatic pieces, unlike Billie, who was also a slave to her role as the "damned." Compilations often, by definition, contain the most commercial tracks, so if someone were to listen to "Trane Plays For Lovers" (or whatever it's called; I don't know because I don't have it, of course), they might think that John Coltrane is commercial, for example, which is simply ridiculous ;-)