Contemplazione

Thank you, Woodcock... he really is a "FUCKING WOOD"! Not like you, floppy dick of Pippo...

A couple of considerations about age need to be made: that is, if the right conditions are present (intelligence, talent, mental balance), one can be VERY MATURE even at a young age (and in music, examples abound!). In this case, as one ages, they will also gain more experience and wisdom, and they will improve, although in the case of child prodigies, the brightest gifts often fade at least in part. VICE VERSA, if someone has always been a fool, oftentimes as they age, they can only do one thing: get worse! Of course, because they carry the consequences of years and years of foolishness on their shoulders, in addition to losing their hair and gaining a beer belly! Since foolishness, among other things, marginalizes, it also happens that one becomes dry, isolates themselves, becomes bitter and then goes online to vent by insulting people.

@that jerk Pippo: how does it come to your mind to insult me? You can't afford to call me an asshole and a fool, got it, brainiac? Among other things, entirely for no reason! And you call yourself "mature and with a strong personality"... I bet in "real life" you're a submissive little dog, here you act like a doberman because you know a punch from the monitor can't hit you. PALLEMOSCIE

As a pinnacle of the Preludes, alongside the rightly mentioned Cathedral, I feel compelled to add in equal measure the Serenata Interrotta (truly brilliant), and then Passi Sulla Neve (exhausting, very slow), and the Vele. This last piece begins with seven sequences of chords that remain INDELIBLY in the mind. It torments me endlessly when I can't sleep, yet I can't bring myself to hate it! Even now I have it in my head and it refuses to leave...but it's beautiful. I admire you, Grass!

A music that replaces the unpredictable rhythm of nature with the human one. The impression becomes contemplation of figures and situations that are motionless, static, deserted, devoid of passion. The Cathedral is not described to us by the music, nor by Debussy, but it SELF-DESCRIBES through them. And it is solemn, and terrible, and ruthless. And the winds follow their rhythm, free, cold, erratic.

Thanks also to Hal and dear Ole, too nice (who knows why, but from the sound of your nickname I had it in my head that you were a girl named Eleonora... and instead, not a nail gets hammered!!). Odra, I will read something from our Symbad soon and then I'll let you know.

Thanks to ThirdEye, W Steve Gadd! @trickykid: lucky you for having seen him! And blessed are those fathers and sons who play together; it must be a very profound experience...like Denardo Coleman, dad Ornette's drummer! How cool is that, he's been playing with him since he was TEN years old...and what about Clifton Anderson, trombonist of Sonny Rollins, who is none other than HIS UNCLE! I mean, not only is Sonny his uncle, but he has been playing with that great for almost twenty years and even makes money doing it...how lucky!!

Of John Taylor, I only have the intimate and melodic Rosslyn, a 2002 album from ECM, coincidentally featuring Marc Johnson and Joey Baron! The latest gem made in Japan, "Live In Tokyo," a solo concert by that great pianist and thinker Brad Mehldau! Au revoir...

Bravo to quote "Fleurette Africaine," the jewel of the album. Throughout the record, a "percussionist" Mingus on double bass, very different from the usual! "A triumvirate, not a trio!" (quote from the liner notes). What a peculiar combination of musicians... and just imagine what would have come out of a trio like that in 1964 or 1965: John Coltrane-Charles Mingus-Tony Williams. John and Charles never played together, not even in jam sessions! Even though John claimed to feel alien to Mingus’s music, can you imagine the uproar those two together would have caused? And with that genius Tony on drums... maybe it would have turned into a disaster, who knows! It would be nice to go back in time and conduct experiments, like in a chemistry lab, with reagents and products, right?

@odradek: I know the trio from the beautiful album "Play Morricone." Pieranunzi describes this group as "the trio of my heart," and indeed the other two are true masters. It's worth noting that Marc Johnson was Bill Evans' bassist for three years (on whom Pieranunzi has also written a book, and to whom he certainly owes a stylistic debt), so he is highly skilled in enhancing a piano style that thrives on timbral exploration and delicacy. Joey Baron, on the other hand, can play any style! With John Zorn, he churned out frenzied rhythms, with John Abercrombie he dives into atmospheres that are sometimes bouncy and sometimes ethereal. And with Pieranunzi, he also proves to be a master of cymbals and brushes. I will definitely look for the album, thank you!