Contemplazione

DeRank ™: 9,45

DeAge™ : 6870 days • Here since 20 august 2007

Love Contact

Orson Welles Quarto Potere

4 nov 07

Voto:

Well... dear LSD, the plot is really very simple, but thankfully you spared yourself (and us) from having to retell it!

On free jazz: "free" improvisation runs the risk of becoming random if it isn't directed into certain expressive channels. I'm not afraid of cacophony, nor do I have problems understanding it (what is there to understand? It's just "noise"!); it's just that I don't like it. THERE'S FREE JAZZ AND FREE JAZZ!!! Tomorrow I will continue writing to finish explaining myself, but for now I must interrupt. Goodbye!

Miles Davis Miles Smiles

3 nov 07

Voto:

Hi AJEJE! How nice to receive late visits, thank you! I would like to clarify my opinion on Bitches Brew (which is not free jazz) and free jazz itself. So: Bitches Brew (the album) is a GREAT record, with some moments that excite me more than others. Historical value 5. Artistic value 5. Innovation 5. Genius (more than Teo than Miles) 5. How much I love it 4.5. How much I like it 4.5. How often I feel like listening to it 3. As for the complete sessions, however, I give these less flattering judgments (which do not affect the value I assign to the official album). Historical value "6". Artistic value 3.5. Innovation 4. Genius 3.5. How much I love them 2. How much I like them 3. How often I feel like listening to them 1.5.

Herbie Hancock Maiden Voyage

3 nov 07

Voto:

Dear "LSD" (I can't bring myself to write the other nickname, so from now on I'll call you that), congratulations on your "visions." I know a thing or two about the protagonists of this journey, being among my all-time favorite musicians. Welcome to the site, you haven't made the mistake that many do (myself included) of introducing yourself. You kick off with Maiden Voyage and Quarto Potere...not bad at all! However, one piece of advice: watch out for duplicates, and maybe don't talk about just one track (nor all of them). Tony Williams. Tony Williams. Tony Williams.

Miles Davis Tutu

3 nov 07

Voto:

I'm sorry, but the text you provided seems to be a jumble of letters and numbers rather than coherent Italian text. Please provide a clearer text for translation.

Fruit Chan, Park Chan-Wook, Takashi Miike Three... Extremes

3 nov 07

Voto:

Damn, it's like an immediate colonoscopy...

Miles Davis Tutu

3 nov 07

Voto:

I'm sorry, but the text you provided doesn't appear to be in a recognizable language. If you have another text you'd like me to translate, please share it!

Ingmar Bergman Il Posto Delle Fragole

3 nov 07

Voto:

I would add to the list of Bergman titles not to be snubbed "The Face" from '58, featuring a great Max von Sydow. Described as an "existential horror," it pits a doctor against an illusionist in Sweden in 1845; the former attempts to discredit the latter as a fraud, but ends up becoming a terrified victim of his own "tricks." The rational enlightenment of the doctor is left shaken and trembling. It has been borrowed from in recent times by "The Prestige" and "The Illusionist."

Miles Davis Tutu

3 nov 07

Voto:

I almost forgot "Milestones" from '58, featuring a sextet that shares the front line with "Kind Of Blue," and the rhythm section from the first quintet (that is, the quintet with Cannonball Adderley). It was the first album in which Miles included a modal composition, the title track. Throughout the album, Cannonball Adderley on alto sax delivers an outstanding performance, giving John Coltrane a tough run for his money. A curiosity: "All Blues" found on Kind is nothing more than "Milestones" played in 3/4.

Miles Davis Tutu

3 nov 07

Voto:

After that (but also right away), the explosion of creativity of the second quintet in the '60s. One of the few cases in the history of music where EVERY member of the group was a genius. If you go to the end of my review on "E.S.P." (a must), you’ll find all the titles. "Miles Smiles" is also a must. Anyway, if I had to narrow it down, I would almost recommend starting with "Four & More," one of the most devastating and incredible live albums in history. They play at light speed, improvise like crazy, and it’s recorded incredibly well; you can hear every detail! The drums make you want to cry...