Contemplazione

The historical core is represented by Grasshopper, Hal, JohnOfPatmos, Odradek, and a handful of others! Personally, I have always aimed to disseminate and "give away" information about the music I love, hoping that some curious passerby would turn their distracted attention to a slice of music history often known only through stereotypes. And then I've enjoyed the pleasure of sharing my emotions and knowledge with fellow enthusiasts and/or connoisseurs. I've learned a lot and noted dozens of records thanks to debaser, and in my small way, I believe I've contributed a little to bringing jazz closer to people from other musical universes. It brings me immense joy that some of you (more than I thought!) appreciate my intentions and my methods... what can I say, THANK YOU, but the real pillars are others! We are just the new recruits.

Anyway, "Dolphin Dance" and "Stolen Moments" (by Oliver Nelson) featured on this album needed to be mentioned in the review. One last question: if there was a derogatory intention (always good-natured, subtle, allusive, veiled, elegant, indirect, and blah blah blah, but still derogatory), did I do well not to catch it? In short, Paolé, were you just being cheeky and messing around? Just so you know, I'm telling the fairy, and she'll make my fake wooden puppet come back!!!

It would be a 3, but it's worth 5 for the superhuman effort you must have put into chewing on a subject (jazz) with which you have little familiarity. Not to mention the heroic renunciation of your daily dose of garbage! ;-)

Let's address some (in my opinion) conceptual shortcomings of the review. Be aware that Miles did not draw any kind of influence from Jamal regarding modal jazz. What captivated him was the use of silence, pauses, the crystalline touch, the repertoire, the "block chords." This was happening in '53; for the development of modal jazz, we must wait until '58. At least that's what I understand, and in his autobiography, there is no mention of this influence, direct or indirect, nor subsequent over time. I disagree with what you wrote in this sentence: "revisited with a light touch and an airy, fleeting approach that is typical of the best jazz." Is the only good jazz the "soft" kind? Are we throwing away be bop, hard bop, free jazz, and outburn? Then: "In such a context, the role of the bassist and drummer does not appear, however, secondary or subordinate, with the accompanying instruments contributing to define the mood, the atmospheres, and the pace of each piece." What does that "however" have to do with it? Why is it that usually, if the pianist has a "light touch," the other two just keep on cranking? This album is from '70; the concept of interplay was already well assimilated and practiced by every musician, ESPECIALLY by bass and drums. Time-keeping as such was considered the emblem of mediocrity! Furthermore: "in the spirit of that typical bar chatter from the outskirts à la Hopper, which defines the very essence, the etymon, of jazz." Stereotypes galore! And also: "various, changing, and mutable as only vintage jazz can be," why is the '97 jazz (just to say) necessarily monotone? Again, this album is from '70; using the term "vintage" with jazz seems to refer to the pre-war period, that is, even before modern jazz.

"who, in a delirium of omnipotence, thought he was me." AH AH AH this is something I could have written!

But Trell... I think you missed it! I wrote his name in capital letters, which means maximum respect, like Mazzini and Miles. Savoia and Fabrizio Corona, on the other hand, I wrote in lowercase, which means contempt. Daverio is one of the most frighteningly knowledgeable people you could be lucky enough to hear speak, and his show Passpartout is, in my opinion, the best currently airing in the dreary landscape of Italian television!

Doc, thanks for the visit! Honestly, this is by far the worst (non)review of my batch, but thanks for your leniency ;-) Good Fibonacci, something (different from the periodicals) tells me that you manage well with Mathematics. I loved mathematics! During my three years in high school, I was always first in my school’s Olympiads, and in my fourth year, I even came third in Rome... but I was a lazy inconsiderate bastard; things came easily to me, and I never truly applied myself! Had I done so, maybe I would be someone now, who knows! I would theorize in front of an incomprehensibly confused teacher about using my "conceptual numbers" instead of "the limit of X approaching...". Basically, I would have written (if the limit was from above) for example 5.01 with the periodic sign only above the zero, meaning obviously 5."infinite zeros"1 (so just a smidgen above 5). P.S.: you’re right, I write Jazz or jazz in a practically random way. For me, I would always write Jazz, but often, a bit to hurry, and a bit to avoid coming off as pedantic, I write jazz. One thing, however, I stick to a strict rule: Miles Davis is written like this, for example, and Vasco Rossi like that, just to make a minimal distinction between Music and music. But more generally, it represents the right tribute of esteem (periodic) or even more rightful disdain towards a character. Mazzini, Savoia... Philippe Daverio, Fabrizio Corona...

"Be your own fart"... not a bad title!

But was it Professor Petruzza from Aristotle by any chance???

Do not look at it with the eyes of today's world, look at it with the eyes of the world of then...