raf

voice eu?

Speaking of involutions, in this case I would say not artistic but cerebral, Jazzitalia - Lezioni Chitarra: D.N.A. - Lezione 1: Permutations 1 Please insult him harshly.

Then a discussion on the involutive value of Davis's music would be a nice jolt in a cultural landscape that has already worn us out abundantly, always with the same old stories; it would be a "piece" to panic over, think about it.

I have my mouth watering, but unfortunately this isn't the right place to embark on such a journey, due to issues of space and relevance.
Emanuele, haven’t you published anything? Do you know the website www.jazzitalia.net? I think it’s a good site for jazz dissemination; I’m sure that if you send them something you’ve written about the history of jazz, they’ll definitely publish it, and then it would be much cooler and easier to discuss. As for compensation, I think the only thing I can do is buy you a drink...

More disenchanted than enlightened, I would say. Many statements perplex me as well, aside from those about Rava, whom I hate. I would like to remind you that Di Battista recorded an album with Elvin Jones, and the latter has repeatedly sung his praises; if now we want to discuss Elvin Jones too, well, then we’re in the Matrix. I also find myself quite perplexed by the statements regarding Shorter; to say he is a copy of Coltrane is a judgment I find superficial. I must say I listened to this Hackett, whom I had never heard before, great sound and logical sense, but how can one even make comparisons with Metheny? It's like comparing Elvis with Marley; they play two different genres in two different eras for different reasons. Now, far be it from me to discuss the value of Basentini, one of the best jazz musicians in Italy, while I am not even one in my own condominium, but a little display of culture is not enough to change my mind on certain topics. I repeat that if he had been a bit wiser, he wouldn’t have used such heavy words to destroy the music of the album I reviewed; from his pulpit, such things weigh like boulders, and I hope none of those kids read those phrases. Best wishes to all.

You got ahead of me by 48 hours, darn it. Let's hope that pontifex maximus Basentini doesn't dismantle Dolphy too.

Damn it, it's basically exactly how I thought it would be, sometimes I scare myself...

Maybe break it down.

Yes, he played a bit with Monk, then he told him to screw off because he said he wasn't able to accompany him. In reality, it was Monk who couldn't keep up with Thelonious, who was indeed a bit mischievous when accompanying solos, in the sense that rhythmically he wasn't orthodox at all, and harmonically he was angular, always pushing forward. This gives you an idea of how he wasn't supported by good technique at the time, but I repeat, not in an absolute sense, but when compared to the trumpet players of New York at that time. Take another example, Red Rodney, who was his peer and played hard bop; it’s no coincidence that he recorded a lot with Parker, and one can't help but wonder why—it was because he was a beast. So the question remains, I was hoping that the great Basentini would chime in on this, but apparently he's not here.

Look, there must be earlier recordings, but I'm not aware of them. I definitely know that he studied classical music with a bassist from the London Philharmonic, if I’m not mistaken, and at the same time he was playing with the big names of London jazz, all of them quite young too, like John Surman and McLaughin, for example. He used to play regularly at Ronnie Scott's accompanying the great American musicians, like Joe Henderson and Hawkins, who would pass through London, and it's said that Davis noticed him right in that venue. So definitely, even at around twenty, he wasn't just any hack. On the other hand, Miles hadn't really done much before Parker, and you can hear it, yet he arrives in New York and plays with the greatest of all time, not just anyone, with the guru—this is what I can't understand.