Contemplazione

Perfect, like the quote from "I Am Legend." The best is Zombie.
....COME OUT NEVILLE!!

@Tiny: Maybe you’re right, but over time, after reading others’ reviews and writing a few myself, a certain “objective” lexicon that tries to describe music objectively tends to form almost spontaneously. Of course, it should be kept in check to avoid it taking over and turning the review into a technical-theoretical lump! Thanks for making me reflect on this; however, I certainly haven't complained about the rating you gave me! Even J&R gave me 4 (nice score!) and I didn't say anything to him. But if he had said to me: "you were too ironic in this review!" I would have asked him why to better understand his thoughts!
@Donjunio: maybe not the very next time... I had another thing pending before and I forgot about it! Anyway, in the next three, I think so. Bye

In my opinion, this album is dominated by the splendid solos of Stefano Bollani in "Cromosomi," "Sand," and "Rain." A mix of Herbie Hancock and Bill Evans... the CD is recorded EXCEPTIONALLY WELL, my hi-fi system rejoices. But over time, the other tracks become tiresome; I agree with Hal. Rava plays in a somewhat "rhetorical" manner, although he delivers a decent performance; as for the other horn... I dislike Petrella, in my opinion, his solos are random, lackluster, and weak. And the sound he produces is soporific, and it doesn’t depend on the instrument. In contrast, listen to J.J. Johnson, Roswell Rudd, Grachan Moncur III, and you’ll understand what I mean by NOT soporific. The best moments of the album are when the rhythm section plays solo!

Guys, this is truly a great album! What's with that disgraceful average of 3.33? "Nero Vivo," "Tradimento," and "Momento morto" are the highlights of the album. A masterpiece by Quintorigo: Grigio, a wonderful and genius album that comes after this one.

@Donjunio: since you enjoyed the "return to the past," I might almost do the next review on something by Haydn, which is absent on DeBaser, or on Rachmaninov's Piano Concerto No. 4, in my opinion the most beautiful of his. Or maybe Beethoven's last quartets... mumble mumble. Odra, why don’t you write something “classical” too?

Hello beautiful people! Gvazie di cuove...@J&R: you’re right. @Ole: don’t complain, fix it! Get this record, it’s easy to find. @Tiny: why “technical and detached”? Is it because of that “B flat major”... @Hal: the last three are all beautiful. I don’t have a favorite, so I reviewed this one because it was missing! @Odra: what happened to the loggione? @Domo: thank you, but I don’t think courage is needed to talk about a work by Beethoven! I mean, it’s not right to feel reverential fears or psychological subjugation even towards the greatest. Respect yes, but a lot of respect. P.S.: it’s time! @Lariana: and if next time you write "W"olfgang Am"A"deus, the site will really take off ;) @Charlie: go ahead with this, it flows smoothly and it’s beautiful!

@Uxo: here I am as promised! So, it's true that between the two archetypes, Lester Young and Coleman Hawkins, Sonny was definitely more influenced by Coleman, and in part he "draws" from him in his style. It's no coincidence he was a fan of his and once waited for hours outside his house just to see him and get an autograph! However, from your statements... 1) "If Coltrane's style was absolutely innovative and in vogue, Rollins' was directed at trying to recover the hard bop of Coleman Hawkins." and 2) "HE HAD THE GOOD IDEA OF RECOVERING HAWKINS' IMPORTANT LESSONS FOR HARD BOP.", it emerges (anyone would conclude this) that in your opinion Coleman Hawkins was an important figure in hard bop. WHICH HE IS NOT!!! And to recover the hard bop? But hard bop hadn’t been lost along the way; we are in '56, IN THE FULL SWING of hard bop (which was, I repeat, created by Horace Silver, Art Blakey, and our very own Sonny in the group of Max Roach and Clifford Brown)! Perhaps you meant to say that Sonny internalizes the OLD (in the sense of previous) stylistic lesson of Coleman to then redirect it towards the birth of a NEW way of expressing oneself jazz-wise (the hard bop, indeed)? If that’s what you meant, it can be agreed upon! But you could have expressed yourself better ;)

The means.

In my second year of high school, he was my idol...blessed, naive youth! A great instrumentalist, a good entertainer in his concerts, captivating in his solos and sound, and also capable of a songwriting that, although inconsistent and fluctuating, sometimes managed to produce small masterpieces. "Cool #9" live at G3 is magnificent! And the gem of this record, one of the less compelling ones in our (in my opinion) catalog, is definitely "Down, Down, Down," a slow ballad full of sincere and heartfelt pathos! However, contrary to what you say, it has nothing to do with prog...I think you picked the wrong track! My rating for the song: 5. My rating for the album: 2.5. My rating for the review: 2.5. When you say that being almost entirely instrumental one might be tempted by boredom, I got irritated! Do you think "instrumental"="boring"? What would happen to jazz or classical music or certain wonderful instrumental rock if everyone thought that nonsense?

What's this story about "better at writing than me"? Everyone writes in their own way... don't pass the buck and give DeBaser something with your own writing! And besides, the idea came to you; I could never claim it as my own... come on, put it on in the background while you write the review, and by the time it's finished, you'll be done too!