Contemplazione

It's not that I understood much about these musicians (if they are musicians)! I only figured out that this CD contains a series of sweet little songs to soothe our hearts... well, if it works, why not?

I don't know this album; I only have the Bluesbreakers album with Eric Clapton, which is a great record! Mayall is certainly an important figure in British electric blues.

OLE, by completely understandable, I don’t mean shareable, eh! I wanted to say that every single word is perfectly distinguishable. Anyway, you’re right, the problem must be in the brain, in the limbic system I’d say, because the cortical functions beautifully! I have always been amazed by the fact that people so capable of creating beauty and art are often so lacking in sensitivity and respect in human relationships. I mean, how can one reconcile the ability to conceive such delicate, introspective, passionate, sweet, moving music (I’m thinking especially of solo piano), so to speak FERTILE with feelings and emotions, with the pettiness and aridity of behaviors?

Hoglan, but you can't vote for yourself... this practice is allowed only for self-destructive double ones ;-)

Hal, rankings are good for the brain as long as one doesn’t take them too seriously! They’re a bit like bar chatter among debasers... just like they debate which football player is the best forward or defender, we’re talking about musicians! As long as it doesn’t turn into stadium fandom but rather a comparison among true enthusiasts, where everyone justifies their preferences, I don’t see anything wrong with it! Plus, they can be truly tasty (as you say)! FIRST OF ALL, I really don’t know what you think about “signorinismo” (I don’t even know what that is), but I think I can guess something; correct me if I’m wrong: do you think that if a musician is well-mannered and honors his audience with good manners, smiles, and encores (besides good music), he’s acting like a sycophantic dandy? In short, you prefer wild and angry characters, tough and pure, and it’s either fine by you or fuck off? ;-) As far as I’m concerned, the only thing I care about at a concert is the music, and I’d like it to be “great and abundant”! So if Miles turned his back to the audience and never acknowledged the infinite ovations (let alone smiled) and the affection and warmth he was given, if I had been there, it wouldn’t have bothered me in the slightest (tanso? tangiuto?), as long as he played great music for a reasonable duration. However, if you stop playing due to diva behavior or a lack of tolerance towards some jerk who can’t resist taking a souvenir photo (so he can say, poor thing, even to himself: I was there!), then you’re damaging me too! The “punishment” for those 10 who take a photo becomes trampling on the right to listen and the good humor of the other 3000. And then I get angry. But did I take photos? No, I just brought my eyes and ears to the concert, and I paid quite enough, so what? Everything depends on the specifics of the situation; I don’t know what exactly happened in Verona, but in Perugia, even before starting to play (and no one was taking photos!), Jarrett started to THREATEN and INSULT the audience and the city itself, ruining the mood for many (not for me), who just wanted a PARTY of good music. After that, the concert went smoothly, the audience was very disciplined, NOBODY ever took a photo during the performance, but… at the end of the concert when the three got up and lined up to greet the audience (the pre-encore routine), some naive soul must have thought: “hey, but now they’re not playing, I won’t disturb them if I take a photo! Then, with all this ovation chaos, there’s no way it’s a problem!” And instead, Jarrett goes to the microphone and says: “ok, THAT means we don’t play ANYMORE!!!” he suddenly turns and leaves with the other two. Problem number 1: the concert was a bit short. Problem number 2: often the encores of this trio are among the most succulent parts of their concerts, and I missed them because of his tantrums. Problem number 3: it left a sour taste in everyone’s mouth, to prove what? They weren’t playing anymore anyway, so I find the behavior really childish. I mean, that flash didn’t distract him! It didn’t ruin his inspiration! My hypothesis (I defended him too!) is that he has a problem with his eyes, so flashes can disturb him a lot, especially since he’s been wearing those little round dark glasses for years. But then he should say it! Anyway, HEAR HEAR, that evening I recorded EVERYTHING, including the angry speech (totally understandable)! I’m almost tempted to upload it for anyone who wants to have a laugh!! Anyway, the music was of good quality, so I’m fine with it too!

Well, now it will be good for making broth...

Oh, let's be clear, I ALSO prefer Peacock to Patitucci, eh! However, in terms of historical significance, for the contribution to the instrument in terms of harmonic freedom, liberation from the walking line, SOUND, originality, and for the fundamental albums he helped create with Miles (the most beautiful in all of jazz, in my opinion), Ron Carter holds the scepter. If Scott LaFaro were still alive (from whom Peacock drew heavily), perhaps he would be the king! Charlie Haden also has enormous historical importance; his records with Ornette would be enough, not to mention the quartet with Jarrett and HUNDREDS of other collaborations across various fields. Peacock, for his part, besides free jazz collaborations with Albert Ayler and Tony Williams in the '60s, is mainly known from the '80s onward for his work with Jarrett's trio. Perhaps in the jazz world his figure is less central than the other two, he has a slightly lower "specific weight," but still, I repeat, he is a GREAT, and my third (actually second with Haden) favorite bassist (among the living)! Anyway, like his "boss," he has quite a character... let me share an anecdote: at Umbria Jazz this summer, you all know about the dust kicked up by Jarrett with his insults to the audience, right? Well, an audience member sitting in the front rows near me, apparently deeply offended, seeing his gesture of love (being there after paying 90 euros, months in advance for the event) returned with such "rudeness," in the middle of the first piece, gets up dramatically, tears the ticket in front of the stage, and strides towards the exit. Peacock stops playing for a few seconds to give him a double middle finger with arms wide and waving (miming the entry of the finger), with a vulgar grin plastered on his face. What a display of good manners... that great gentleman Ron would never have done that in my opinion!

Just tone it down a bit, and they'll welcome you! The actual review is brief, but you manage to convey everything in a short space. These guys seem a bit hippie to me, I don't think they'd be my cup of tea...

Basically, you've listened to "A Love Supreme," "Kind Of Blue," and...?? Not bad at all anyway ;-) It's not like you started with dessert (in the sense that you ruined your meal); let's say that maybe you'll be able to appreciate "A Love Supreme" a hundred percent after hearing some of John’s earlier works. Since in that album he "takes off," it detaches from everything else, it's good to know how he got to take off! Listening to it cold is like watching an airplane that's already in flight, but you don't know where it comes from or where it's going... which can be nice too, mind you, I'm not saying that outside of context the music in it loses value! But can you compare to hearing the engine of the airplane starting up, then positioning itself on the runway, a minute of full tension, the acceleration... and finally the takeoff? Which would, of course, be a rather simplistic metaphor for his stylistic evolution, which you can grasp step by step (GIANT step)!

Mmmmmmhmh... in my opinion, it's RON CARTER, and I would put CHARLIE HADEN in second place, perhaps tied with Peacock. What about Steve Swallow? Clearly, we’re talking about greats here, right! No matter how you slice it, it’s going to be great. Then there’s a whole host of technically amazing bassists who probably outclass them too (technically, though not musically), like John Patitucci, Arild Anderson... and others who are very valid both technically and musically, like George Mraz, Larry Grenadier, Anders Jormin, Marc Johnson, Barre Phillips, Palle Danielsson, that unsung genius Peter Kowald, author of a masterpiece solo bass CD ("Was Da Ist"), Anthony Jackson, Tarus Mateen, William Parker, etc., etc., I’m getting tangled up.