Contemplazione

@Duane: the decline of style is yours when you say that anyone who doesn't give this album a 5 isn't worthy of discussing music. It's a bit extremist and aggressive as a statement, hence the term 'Nazi'. And I said Nazi jokingly, of course; it’s not like every time someone makes a joke they have to add this :) or this :-) or this other ;). Since I feel perfectly worthy of discussing music, I’ll also tell you that I couldn't care less about musical archaeology; my judgment is MUSICAL AND AESTHETIC. For example, I think "Four & More" (acoustic live) is more BEAUTIFUL than Bitches Brew (studio, cut-and-paste, and electric), and in this judgment, Macero's tricks or cleverness to save what could be saved have nothing to do with it. Bitches Brew, in my opinion, is more HISTORICAL than beautiful. It's still a great album, to which I would give a 4.5, BUT IT SHOULD NOT BE UNTOUCHABLE! (and there are people who gave "Kind Of Blue" a 3!!).

@Charley: I’m not biased, in the sense that my preference is not like that of a sports fan! Generally, I prefer acoustic jazz not so much because it's “classical,” a term that is, by the way, out of place. Just think of three groups: the Bill Evans Trio, the John Coltrane Quartet, and the second Miles Davis Quintet (these are anything but classical; they were revolutionaries)! Simply put, I find the results achieved by Miles Davis as an acoustic innovator (cool, modal, freebop, etc.) to be more interesting, more beautiful than those achieved by Miles Davis as an electric innovator. My judgment is a posteriori, not a priori. Nonetheless, quality fusion drives me CRAZY! The debut of Lifetime, some of Weather Report, the first two Mahavishnu Orchestra albums, Jaco Pastorius' debut, Billy Cobham's Spectrum, the first two Return To Forever albums, etc. are all stunning in my opinion! If they had used acoustic instrumentation, they probably wouldn’t have reached those heights... can you imagine Jaco playing the double bass instead of the fretless electric bass? We would have missed his unmistakable sound, just to name one... and how could we think of Joe Zawinul's compositions without his keyboards and synthesizers?

Well, sometimes you need less demanding listening periods! Happy wandering...

@Duane: exaggerated, don't be a Nazi! I gave it a 4 (I would have given it a 4.5 but I was tired and didn’t feel like posting again; I’m doing it now) to make a distinction with other Miles albums that I believe are better, and I won’t say which ones for the sake of peace and brevity. Some of Miles' albums, like this one, besides being beautiful, are also shrouded in an aura of untouchability. The truth is that they are really in the 4-4.5 range, but no one "dares" to rate them lower than 5 because of their historical reputation and importance. The same goes for me with Bitches Brew, an album where the genius was more Teo Macero than Miles! And now I'm ready to receive insults from those who ignore the true genesis of Bitches Brew!

Premise on Kim Rossi Stuart as an actor: watch "Cuore Cattivo," where he delivers a performance of a great artist. It's nothing like the various Accorsi. Of course, he might have had some less than stellar early roles, but perhaps that was partly due to not recognizing himself in the parts assigned to him (pretty boy with no character, boy in the golden kimono, fantaghirò). Beautiful soundtrack (as expected) and a strong connection to the great pianist Bud Powell, who also went mad, underwent electroshock, and became a "victim" of a slow decline like Luca Flores. He was the first jazz musician Flores listened to. A curiosity: in the film, Massimo Urbani is played by his brother Maurizio, who is also a saxophonist. It must have been psychologically heavy for him to act in a film that talks about the short life of a brilliant, unfortunate jazz musician who died by suicide, especially when his own brother (the brilliant Max) also, in a sense, committed suicide (died of an overdose). @mien_mo_man: it’s a TOTALLY APOLITICAL film!

That's not fair! No... today after lunch I had jotted down a few lines for the review of this magnificent album kindly pointed out and linked to me by the good Odra (coincidentally the first commenter), and then you come along and steal my thunder... that's just wrong.
Well, I’ll finish it up and send it anyway; maybe a duplicate in not too long will be less annoying than usual. I promise I’ll make an effort to consider other aspects! P.S.: but does the Bosendorfer Imperial really cost over a billion? I'm so scared to play it!
Hi MisterNo, long time no see! Did you manage to listen to Jarrett's complete Blue Note collection in some way? Hi to Morningstar too!

I have a love-hate relationship with this incredibly important album. With Silent, the experience of the greatest acoustic quintet that ever existed comes to a definitive end, and a trapdoor to the unknown opens up. The fruits will be shocking, sometimes beautiful, sometimes embarrassing... Have you ever wondered what would have happened if Miles had stayed acoustic? And perhaps created a new formation with Paul Bley on piano, Charlie Haden on bass, and Han Bennink on drums. And on tenor sax? Maybe someone a bit mainstream who, under his guidance, could have brought out a lot of imagination... Joe Lovano? Jan Garbarek? Or maybe a reunion with Sonny Rollins? I got it! EVAN PARKER

and a half

Listened to several times, finally! What a wonder the piano of Petrin... anyway, reading the cover notes by Steve Lake translated into Italian on www.ecmrecords.com, perhaps "Vaghissimo" could be interpreted differently. The first track, "Primo Apparir," reminds me tremendously of "Peace Piece" by Bill Evans! Likewise, another piece reminds me a lot of "Greensleeves." How beautiful to mix so many lovely melodies from different centuries! Anyway, Alfredo Piatti seems to have been highly appreciated by Liszt, as well as by Mendelssohn. I would also lean towards a 4.5.