nix

they had some strengths: good singers, a good taste in arranging their music, and potential in songwriting: every now and then they wrote beautiful songs, but watered down by just as many mediocre ones. Perhaps numerically there are more mediocre songs, but it is undeniable that when they hit the mark... they were formidable. Instead, for some reason, I always found America terribly boring. Anyway, it’s a decent review of a good album. Four stars for the review and four for the album.

It's also good for TelevisionThMan. Your review, in my opinion, as I've already said, isn't great because it misses the mark, which in a review should ALWAYS be the answer to the question "But what are these gentlemen REALLY doing?". In any case, credit goes to you for having unearthed a beautiful and important record that has left its mark in the history of modern music. Greetings to everyone.

well korrea. Your "pardon?" vaguely British as the sole response to my outburst seduced me and opened my eyes to my disheveled accents. Friends as before then. The language of internet chats is a strange thing. Sometimes just one word is enough to change the mood in an instant. I will never stop learning. Anyway, long live the Talking Heads of that historic hot summer of 1980.

I especially remember the atmosphere of the time, 1980. There was a nightclub in Turin where they played new wave (the Tuxedo). I was 15 years old, and I recall that when they played that track, between a Joe Jackson song and one by the Cure, the dance floor would fill up. That summer, live, the Talking Heads went on tour, performing on stage with 15 members, including African American backing singers and various percussionists. Then there was Adrian Belew, who I believe came from King Crimson. A strange mix of afrobeat, progressive, and new wave. The Talking Heads of that season were truly memorable.

the usual problem of kids who, during the break between one wank and another in front of youporn, jump into music discussions on debaser and, having no knowledge of the subject (because they were born yesterday), throw insults around. korrea, even you in your own small way have the right to cough and make a mess, but then pick up your droppings with a nylon glove, put them in a bag, and place them in the proper bins. Let's behave with civility.

Do you think I'm having the wrong attitude, Alexander77?

It’s not ass-kissing; it’s just that when someone arrives in a new place, they start to communicate with a bit of restraint. Because they’ve just arrived, not because they’re a saint. They’re new and act like a newcomer. They take their place without stepping on the toes of those around them. They try to make some friends.
Then, little by little, with progression, they start to share their opinions.
Those who arrive in a new place and immediately start jostling their neighbors and showing off like sharks... oh dear.

Now that I think about it, I believe it can be summarized like this: the album is beautiful because Miles and Gil Evans managed to offer an oleography of Spain without falling into bad taste, into the kitsch, the typical trap one risks falling into when presenting a postcard oleography of a place. The merit of the work lies in its balance and good taste. There you go. That's it.

Dear Quijote, I've just arrived on Debaser too, and here I am already commenting, critiquing, getting fired up, feeling disgusted, and getting passionate.
We'll walk this path together and reach the experience of Lao Tze, jdv666, ranofornace, and others, now true stars of Debaser and undoubtedly competent individuals.
But let's get to the point.
I congratulate you for choosing, first and foremost, a jazz album, and then a Miles Davis album, that is, jazz with a capital J.
However, I must say that I do not agree with your judgment on "Concierto de Aranjuez," certainly the meat of the work and the track for which the album is remembered.
Let me explain. The album is undoubtedly beautiful. Perhaps not a true masterpiece in Miles' long career, but in any case, a beautiful album.
I do not agree with considering the "Concierto" as a work that has a particular relationship with Spain.
It is undoubtedly a happy composition; I do not dispute that. The version by the Miles Davis/Gil Evans duo is certainly splendid.
However, I believe it is a composition that evokes an extremely stereotyped Spain. It is a purely oleographic Spain, very far from real Spain, especially that of 1959.
That said, I do not deny that it is pleasant, at times, to gently indulge in a nice oleography, to dream in front of a beautiful postcard. Especially if the postcard has been painted by artists of this caliber.
But it is still oleography. I don't think that's a detail, especially when writing a review.
Ultimately, it seems to me that you have mistaken the postcard for reality.
In this sense, I do not agree with the angle of your review.
As for the rest... all good. Long live Jazz and long live Debaser, a place of passion and enthusiasts.
I would like to recommend two Miles Davis albums to you. Two twin albums that almost entirely feature a Miles concert from 1964, one of the greatest performances of all time: "Four And More" and "My Funny Valentine." Two albums that reach absolute peaks.
Best wishes and regards to you and everyone.
By the way, Be-bop, not Bee-bop!
Bye

Wonderful album. The sunset of the music of the eighties. The true starting point of the music of the nineties.
Please, tell me about it, because for an album like this, even the discussions and comments are beautiful things to read or listen to.