Contemplazione

Dalí painting a canvas inspired by Hitler's mustache (just because he appreciated its materiality, using it as a visionary genius), and having a blast predicting and receiving heavy criticism as he was labeled a neo-Nazi for this, only to make those fools look like fools, is Provocation. Yes, but then he went back to creating "pure" masterpieces. That is, free from other contents, external to Art. If he had instead continued painting canvases with swastikas, the game would have worn thin. At least for me.

Then one can open a huge discussion about Provocation as true Art. But is this "Provocazione" or "provocazione"? Perhaps neither of the two...but if you decide to give that title, it's likely the latter.

I have to say that I like the photo, even if it's not a technical masterpiece. But not enough to interest me in delving deeper into this Serrano. I don’t see any real depth behind it! Honestly, to me it’s a dead letter whether the liquid is piss, blood, water, or something else, just as I am indifferent to whether the subject is the crucifix, the Madonna, or other sacred images (Miles Davis? Uncle Frank?). Nor do I care if others fall into the error of getting outraged or, on the contrary, exalted by the "message" (assuming there is one). What matters to me is only the artistic quality of a work, and in this case, it seems like a stretched-out pass.

Heartbreaking.

A great (and lengthy) version of this piece was recorded live by Brad Mehldau with his current trio. You should listen to it.

AH AH "Cover of Edvard Munch's The Scream"....

For a moment, I thought of J.J. Johnson, the great jazz trombonist... it seemed strange to me, though, not to know the album!!

Alexx, Keltner is an internationally renowned professional who has played with practically everyone, especially in the pop-rock/country-rock scene; just look at his list of collaborations and you'll be like "wow!". The problem with these session musicians, though, is that they rarely get to truly express their musical vision (if they even have one), because they often serve to perform specific tasks, executing in a way that is designed for a quality time-keeper but can sometimes come off as "flat" and anonymous, unobtrusive and not distracting to the leader. Of course, depending on the leader, this can vary… for example, with Frisell I’ve never heard him and I’m curious!

Paolo Villaggio, childhood friend of De André, nicknamed him "Faber" not because it was a diminutive of Fabrizio, but for the well-known brand of colored pencils, which our friend was very fond of. In the meantime, debaser tells me that: "ok, you love him!", but I have the slightest idea of who, nor do I understand how they presume that I love someone since I haven't clicked anything... whoever you are, know that I do not love you! But I don't hate you either. I am indifferent to you. Better yet, I don't know you.

Ah, I hadn't noticed! I really share the final part of your post, especially considering that the trio has been going for 15 years, except for the relatively recent departure of Rossy. They built their own identity and "sound" (or rather a recognizable and original approach) very early on, and they have carried it forward and developed it, meanwhile recording an extensive collection of excellent albums and giving thrilling concerts (for most) and have rightly earned the respect and affection of a significant segment of the public (including many musicians). My improvisation workshop teacher, for example, who is an excellent pianist in his sixties, is also a fan of Brad, and he told me that one of the most challenging things to do on the piano is to play two independent lines simultaneously, choosing the "right" notes and at different speeds (or even worse, rhythms). According to him, he has never heard anyone do this better than Mehldau, and he’s someone who has been collecting records for 45 years. But this is just one of the many examples he gave me, and since I am not a pianist, I am not particularly interested in these technicalities. I just know that my ears hear at certain moments an interplay, a musical result superior to almost all the other piano trios out there (including those from the past!). Rather than innovating, Mehldau has made a massive "upgrade" to many techniques, perfecting even the use of certain chromatisms, and has found great musicians perfectly capable not only of adapting to his musical vision but of adding great ideas and technical and musical skills. The most enjoyable thing about his trios, in my opinion, is that when they start to play a piece, they always begin from the surface (almost seeming mainstream), only to dive deeper and deeper, complicating things from every angle, not for the empty pleasure of doing so, but because they are truly "thick". At least that’s my feeling.