antoniodeste

That it is, particularly in recent times, cited (more than overestimated) is an impression I share. Let's say, however, that between "Bryter Layter" and "Five Leaves Left," there are fundamental stylistic differences, in arrangements, moods, and atmospheres compared to "Pink Moon." I suppose it's difficult to compare them. Then, de gustibus...

We were missing the intelligence of the seventeen-year-old sexed-up kid.....it's true, you're really a nightmare.... Mom, what a scare.

ah, the delusions of the bell tower......

Great, why does vinyl have larger dimensions than CDs? Hello NobodyNopartyNoRompiNoLenti :D

You know Caz, you’re really obsessive. For at least half of the titles you mentioned, I know more than one person who would say "minchiachepalle." Look at that, what a drag, huh?!
For Dr. Cruciani: I really wanted to give you the honor, considering the remarkable merit note and the distinction for "laichavergin." I know you can do it, come on!

Thank you, Mr. Nobody "NoRompi". You No Break - I No Villain. :)

I have read the previous contributions and it must be noted that there is a potential underlying thorniness that is somewhat difficult to manage on the subject. There are points raised by Symbad that support the idea of the unnecessary nature or the waste of time (not just in a figurative sense) in pursuing free aims, and I find myself in agreement, as one can easily imagine. But I also think it’s worth reflecting on some points of "objection"; however, in the music I hear around, at various levels, frankly, I don’t find much that is "free", but rather that very "chaos" and presumptuous anarchy which perhaps doesn’t appreciate superior arbitrariness. Davis, I confirm on my part, did not play free at all. Even in his perhaps most "dubious" period regarding this matter - (From Bitches Brew to Agartha, for instance) he worked on structures that were free and expanded but with clearly defined initial shapes, at least from the standpoint of concept and the so-called climax. Moreover, for instance, in the booklet that accompanies the CD reissue of "Get Up with It", Dave Liebman (as others have) extensively discusses the compositional "system" and the real-time elaboration of Davis's works, and speaking of "free" in his regard seems a bit bold when compared to the historically accepted interpretation of the movement. It is true that there can exist meanings, associations, revisionisms, and interpretations still possible within the phenomenon of "free"; however, to be honest, this is not a discussion that particularly interests me. I repeat, as a musician, I have never felt very comfortable in this role. Perhaps in rock: but even here there is a level of unpredictability that has always kept me from considering it a seriously walkable path. Best regards.

I agree with Socrates' opinion regarding "Everything Must Go"; we're a bit up from "Two against Nature"; it's a solid album, typically Fagenesque, with the usual medium tempos and the typical obsessive attention to arrangements. A more fortunate compositional vein (compared to "Two...") makes it extremely compelling.

I sadly learn the news. It pains me to note the fallacious and specious reasoning derived, moreover, from the insinuation of the lowest quality (worse than that of Bossi, even). I hereby resign from this page, due to Mr. Nobody, protesting and disdainfully returning the insinuating alleged accusations directed at me or us. Dr. Cruciani, I ask you to excuse the embarrassing situation and to consider it an unpleasant incident along the way. Mr. Nobody, vaffanbrodo: I will rename you Mr. Annoying.... :) If you need "tenderness" to console yourself for your mess, stock up on those from Mulino Bianco.

I confess that the connection with the "divine" Miles regarding the moods on the topic of free music made me blush a little and feel quite embarrassed. When the three compositional factors that are the foundation of our passion are missing, it can still be stimulating, fun, and creative; however, this diversity produces "beneficial" effects mostly for those who are playing it. I often noticed this during long jams, when the few present, perhaps, at the rehearsals began to show signs of fatigue due to the impossibility of grasping the language of total improvisation. I certainly do not want to deny Ornette, Ayler, Malachi Favors, Zorn, or others the significance of the "revolution"; I merely want to express my inadequacy in the face of it, as a listener and consumer. I can perhaps digest it in limited doses, but nothing more. I already struggle sometimes to navigate preordained structures, perhaps with bold concepts; just imagine...