Contemplazione

Muffin, since you rightly define Michel as a giant, I remembered an anecdote. Once this joker came out all serious like this: "if you say I'm big, you have serious vision problems!!" And those present didn't know whether to roar with laughter or cover themselves in ashes for the unintentional gaffe... until he relieved them by cracking up instead! An enviable charm and joy for life, and "heroic" in a physical condition as challenging as his. The power of music, capable of soothing even the deepest wounds.

Thank you all! @Bartleboom: it's true, I'm an (involuntary) troublemaker... but I would have preferred more dialogues and fewer disputes, and maybe talk a little more about the reviewed albums! @charley: damn, you're right, it's been over a year since I listened to the troglodyte again, and it didn't come to mind! Anyway, compared to other bassists of the time (Paul Chambers, for example), I think he had a less pronounced inclination towards the bow. In my opinion, he loved a more percussive sound (as an alternative to the classical plucking). In this regard, his trio album with Duke Ellington and the late Max Roach (who passed away a couple of weeks ago) is emblematic, the beautiful "Money Jungle" from '62 (released under Duke's name). He really goes for the strings...

Uxo, it seems you misunderstood my comments on your review of Monk's "Soli"... I'm sorry if that's the case! However, I didn't insult you, nor did I harshly critique your writing with a low score. I find it more arrogant to address Monk informally, call him an idiot, and label the album as a "best of" (for this, in my opinion, he wouldn't even have bothered to respond to you). Regarding the other clarifications, I merely pointed out what I thought were the "approximate" elements of the review. I'm talking about things I know well, so I'm very assertive when I present them. This is often mistaken for arrogance. Uxo, trust me, I'm not arrogant; I'm just very picky (and a bit of a pain), and when I think someone is making a blunder (especially about an artist I admire), I point it out, that's all. It's never personal.

Even classical musicians in Japan are sometimes the object of a real cult... on the street, they are not only recognized by many (which is already a lot), but are also mobbed by the crowd, hailed, and asked for autographs and photographs! Treatment that here in Italy would only be reserved for football players, or for "rockstars" like Tiziano Ferro, Gigi D'Alessio... Laura Pausini! P.S.: But do you vote for the album before listening to it?

Hello Double Putrid... I really appreciated your fiscal paraphrase of my presentation, you demonstrate an extraordinary imagination and great taste (18-year-old, 19-year-old, 20-year-old... what could be better?)! I also see that you like Wes Montgomery, good job! Anyway, happypippo is not lying: he is definitely NOT a "scannafiche"...

I forgot to mention that this is the most heartfelt review of a work, and the one most aligned with my own feelings that I have read so far, not just on DeBaser. If Chopin could read it, he might think: "Finally, someone has captured my message. Now I can rest in peace."

New from DeBaser. But old, very old from Chopin. The first music that surrounded me... since I was still a fetus! The simplest music to understand, just open your heart and listen to the most intimate confessions of the sublime Poet of the Piano. Through the notes, the greatest composer ever (Chopin!) expressed with an effectiveness never achieved by anyone else, before or after him, the magnificent song of his soul. A soul more sensitive than Mozart, Beethoven, Bach. Than anyone. Absurd, as always, the comments from that poor individual who calls himself happypippo... technicalities about the Nocturnes, BUT HOW IS THIS POSSIBLE???? The MOST BEAUTIFUL AND POETIC MUSIC EVER.. The Music to be saved for the aliens as the only trace of human civilization, should it disappear tomorrow. And this is said by someone who loves and knows Jazz perhaps even more than classical, and who, equipped with a minimum of intelligence, perfectly understood that your comment was not a controversy, but a simple (and quite truthful) observation. Bravo Sotanaht, believe me we have a lot in common. Perhaps unbeatable is Rubinstein's interpretation, but I’ll point out the more recent one by Maurizio Pollini. In particular, "vol.2", and among these... the first Nocturne of op.48 (track n°3)... DIVINE.

I'm late arriving, but I couldn't help but comment and vote on one of my favorite albums! I hope that when you talk about Tony saying, "Williams, who instead of keeping time, does whatever the hell he wants," it's a compliment to his great ability to keep implicit timekeeping while also CREATING texture, color, and propulsion at the same time (otherwise I’ll give you a 3)!! The greatest drummer to ever walk this earth, and one of the most genius drum solos ever, at the end of the first track, "One Finger Snap." And he was only 18 years old... incredible. Anyway, the album is called "EmpyreaN Isles," and you're right about "Oliloqui" and the obvious "similarities" with free jazz. Well done. P.S.: It doesn't seem to me that Mingus uses the bow much, actually... are you referring to any specific album?

I went through periods when I particularly appreciated the 3rd and 4th albums (Saturday night), especially because of the long and free improvisations of "Autumn Leaves," "You Don't Know What Love Is/Muezzin," "I Fall In Love Too Easily/The Fire Within," and for the second version of "Things Ain't What They Used To Be." Then I really loved the 2nd album, which is totally different: no long tracks, just standards, not all of them extremely famous. But fundamentally, like you, I’ve never had a real ranking; I’ve always loved and listened to them all.

I fear that Thelonious, already taciturn by nature, wouldn't have bothered to respond to you... you address him in the first person, but it seems you know him very little.