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Security, sorry.

Yes, Jaco is dead after a fight with the manager of a martial arts venue, who didn't want to let him in. Just before, he had tried to get on stage where Bob Marley was performing, but he had been tossed back down by the security, who obviously didn't recognize him. For someone who was an absolute genius of music, it was truly a ridiculous death.

Yes, that's pretty much what I meant, it's just that I don’t think it’s even that funny.
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Ah, so you have a sister... I wish I had known earlier.
Anyway, I don't know, writing a sensible review seems like an incredibly difficult thing to me, but maybe I'll give it a try sometime. Recently, I read a really cool phrase somewhere: "Writing about music is like dancing about architecture," ahahaha, it's true.

I made a huge mistake on Ron Carter. Desculpe.

It's true, it's true Ron Carter is alive and well, I think I confused him with someone else, Tony Williams, oh well. Elvin Jones though, no, he passed away recently. More than a stickler, I ended up looking like a fool.

Finished? So: I'm not a killjoy, I'm 24 years old, I play the saxophone, I try to play jazz, although it doesn’t happen often because you don’t earn a dime with jazz. I only went to the conservatory once to see a recital of a friend and I found it utterly boring. I never enrolled because conservatories are stuck with the curricula and teachers from the 1800s. I listen to different types of music (except Avril Lavigne, Emocore, and the Ramones), I’ve read few biographies, but I have two ears just like anyone else. Despite this, I’m nobody, but I've been lucky enough to meet several great musicians, from whom I’ve learned that jazz is a discipline that requires dedication and study, and it doesn't involve the use of psychoactive substances. But who knows, maybe in the end, you’re right. For my part, I’ve played in different states of altered consciousness, and I can assure you that it indeed SEEMS like you’re better, it seems. Do you play? That said, your review continues to suck. Well, now I'm going to make myself some chamomile tea; in the meantime, you can keep insulting me, and while I’m at it, I’ll measure my new jacket and tie and try out the baton.

Ah, I see, you’re stupid, sorry.

P.S.: Bitches Brew I practically consumed a few years ago, Pharaoh's Dance has one of the most beautiful themes I've ever heard. As Miles would often say with that rattlesnake voice: "It's only hard and fuckin' job man," nothing compared to drugs.

I meant to say that reducing Bitches Brew to a soaring flight of fancy by Miles Davis and the like caused by various substances (I won’t linger on the pharmacological aspect where you are certainly more knowledgeable) is a bit like saying that Picasso created Guernica because he wasn’t feeling well that week, or felt too good; it has nothing to do with it. It’s common for those not accustomed to jazz, who either don’t listen to it or play it, to resolve the problem of a difficult language, which is unfamiliar to them, by shortcutting to the idea that the performer is under the influence of who knows what chemical concoction, thanks also to an entire literature that has played on the bohemian image of the cursed jazz artist. This is not to say that some, the majority, of the jazz musicians of the '50s did not go through periods of drug addiction, but from this to saying that drugs and music go hand in hand is a leap. Not coincidentally, the most fertile periods of the absolute genius Coltrane and the same Davis coincide with periods of non-dependence (at least according to biographies).
Returning to Bitches Brew, there is a whole research effort behind it, which begins with The Birth of The Cool, passes through Sketches of Spain, and goes through Kind of Blue, in which Miles seeks (also thanks to Gil and Bill Evans) new paths for improvisation, employing modal approaches and scales belonging to both ethnic folklore and European art music, mixed, in our album case, with an APPARENTLY more rock-oriented beat (thanks to a Tony Williams on drums who at the time was just 16-17 years old!), and with post-production work that I have already mentioned.