Voto:
Wow, how many of you there are, and who was more used to it? What a pleasure! I put "sacred music" among the genres because for me, the music of these guys IS sacred. Woe to anyone who touches it! ;-) ALFREDO, here’s my order: 1) Miles Smiles; 2) E.S.P.; 3) Nefertiti tied with Sorcerer; 4) Miles In The Sky; 5) Circle In The Round; 6) Filles De Kilimanjaro; 7) Water Babies. If we’re talking about studio albums... otherwise it gets moolto complicated! The pinnacle of their live performance is the towering 8 CD box set "The Complete Live At Plugged Nickel," the Rosetta Stone of modern jazz. Almost on par with that are the fantastic "My Funny Valentine" and "Four & More." DOC, my young apprentice, your thoughts betray you... I believe the shaman here was still acoustic! SUPERVAI... Yeah. TELESPALLA: usually, I don’t go into too much detail on individual pieces, but with certain groups, it’s really hard to resist!! IL_PAOLO, however, there’s only one Kind, more than representing a period, it represents a single sweet episode, while the masterpiece albums of this quintet are numerous and span nearly 5 years, which is even more unrepeatable for me! JAKE, MELISSA, and UXO, honestly, I’m not very fond of the review either; among other things, I wrote it in a hurry... I’ll take note of the appreciated suggestions! UXO, I wouldn’t know, it could also be Pee Wee Marquette, the Black dwarf presenter from Birdland... the notes in the booklet don’t mention it, although somewhere (perhaps in Miles's autobiography?) it seems I read what it was dedicated to, but I don’t remember now! I would definitely say we can talk about post-bop, a term I indeed mean as the SUPERSESSION of bop, while still MAINTAINING some stylistic features of bop itself. At the time, just for the record, their music was dubbed "outburn" or "freebop." "Emiola" is a polymetry of 3 over 4. This means that over a 4/4 rhythmic base divided into sixteenths, the accent is applied (or the bass note is played, or it is emphasized in some other way) every three sixteenths of the beat rather than every quarter. This creates a devilish rhythmic offset through which a metric ambiguity is formed that can be confused with a lopsided waltz ahead of the main pulse (the famous 4/4). Complicated to explain, but easy to understand if you hear it, I should play it for you... PAMPARIUS, I definitely agree, which is why I speak of an "overflowing, almost brutal physical charge"! MUFFIN, HAL, LEWIS, METAMATIC, MUITO, ROOF, EMANUELE, DOLPHY, OPEL, 47, OLE (hope I didn’t forget anyone...) thank you so much for dropping by!