Contemplazione

I feel the urge to quote you, Geenoo ;-)

For me, Beethoven's most impressive symphony is not the ninth, fifth, or seventh that holds up. After countless listenings, it never gets tiring, which can't always be said for other works of the great master. The most beautiful version I know is the one from '87, by Claudio Abbado with the Wiener Philharmoniker. He gives breath to the right moments, allowing time to let the dramatic passages unfold properly, which in other versions are often rendered hastily, in a somewhat schoolish and pedantic manner, wasting their magic and otherworldly power.

Go ahead! All quality of life in more ;-)
Since I’m at it, I’d like to point out another album that has almost monopolized my listening lately. An incredible record by the maestro Ran Blake, released in 2005: All That Is Tied, bought on Amazon. At 70 years old, he has produced a work of unique maturity, lyrical and introspective, full of enchanting melodic cells. A precious world that unfolds gradually, listen after listen. His whole life is in there...you won't be disappointed!

The earphone said something wise. But sometimes it can also happen that a record kept hidden in the vaults of record labels for years has nonetheless indirectly influenced the musical world of its time. That is: the musicians present at the session (both "active" and guest) would have brought that experience with them, and if there were innovative ideas capable of striking them, they will have disseminated them throughout the groups they led or were part of. It remains part of their cultural baggage, and that cannot help but leave deep traces. The world of jazz was a world where almost everyone played with almost everyone, let’s not forget that. They would have gone to the homes of their fellow musicians, talked about the "new concept" achieved during the recording session, or in jam sessions they would have transposed those harmonic or rhythmic experiments, or whatever... if Bitches Brew had not been released, do you think fusion wouldn't have appeared anyway? Would the various Corea, Zawinul, Hancock, Shorter not have continued that path even without Davis as a trailblazer? I don’t think so...

But what do you care about the dates anyway? As far as I'm concerned, when cataloging records I use the criterion of the recording date rather than the release date, especially in jazz. To understand some developments, it's more important to know when those "new notes" or "new ideas" were conceived, rather than when they were distributed. Hi Melissa! Enough with these lists ;-)

Even though the best jazz years, I'd say off the top of my head, were '59 and '64! I give it 4 stars just because Our Man In Paris might be slightly superior. Anyway, great album, and Where Are You should be sent into space to explain to aliens what a ballad is!

I agree with Muffin. Moreover, this album, along with Chick Corea's Piano Improvisations Vol. 1 & 2 and Paul Bley's Open, To Love (all recorded for ECM), marked a new way of understanding the piano (jazz and otherwise) at the beginning of the '70s, just at the most opportune moment.

I've already heard good things about it...you're the third. Curious!

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