antoniodeste

For Gabbox: yes, probably because it has a beautiful cover and anyone who rolls up a joint looks at it while tripping out, drooling while listening to something so "Out there." Or maybe because people, a bit dazed by these times, don’t know what the hell to buy anymore and try with mysterious names... and a nice cover. It’s obviously all said in jest, dear Gabbox. I believe I could dedicate my time to listening to Kate Bush again, for example, instead of writing these useless (yet shockingly frivolous) lines......... Cheers to you!!

Good Hal, and also Caz. I feel that you have commented honestly and I enjoyed rereading you. I took note of both the period 69-75, which I love, and Hal's very correct observations on the historical perspectives of jazz tout court. To respond to G_à: Mailsdevis (as Caz would write...) was "viewed" by me live in Perugia (Umbria Jazz 85), Turin 1983 (just returned to the scene after the release of Man with the Horn and We Want Miles), Mira (Venice) with Felton Crews on bass and Robben Ford on guitar (!!!) in '87, and at the Smeraldo in Milan either in '88 or '89 with a (stunning) of the "recent" line-ups - Ricky Wellman, Kei Akagi, Benny Rietveld, Kenny Garrett, Munyungo Jackson, Foley McCreary. The most beautiful? Umbria Jazz 85. An unforgettable twenty-minute version of "Time After Time" with a couple of minutes of standing ovation following at "Curi" stadium. Really beautiful. In conclusion, I would like to just remind you of the monumentality not only of the entire Davisian work but, in particular (and I had forgotten it), the "Brodo di cagne" of 69. "Bitches Brew" alone constitutes a milestone in the entire history of jazz. If only for the "scattered" idea of plugging in electric instruments alongside acoustic ones in jazz. The lineup, with Zawinul and McLaughlin, is one of those that provoke eternal chills (and I am a McLaughlinian of not strict observance, but convinced...) and from "Kind of Blue" (the previous turning point), almost 10 years had passed. I hope Hal has seen the extraordinary thriller "Ascenseur pour l'echafaud," which he mentioned. The soundtrack perfectly adheres to the film's climax and the final "yield" is certainly to be savored. Monsieur Carala is still among my memories from Louis Malle's film (it was Malle, right?). There would be countless episodes to remember, quote, or comment on regarding Davis' activity to better highlight his sharp personality, but I believe that the biography of the "Divine," written by Ian Carr (the one from "Nucleus") about ten years ago could serve in this regard. I can say I got to know well, or rather, thanks to him, John Scofield, both Bill Evans, Mike Stern, Bob Berg, Kenny Garrett, Rick Margitza, and (I adore him) John Beasley. He was a great teacher for me and countless others. In second place among those who have passed away, and I believe Caz knows this well, I would only put Jaco. Amen. Ah, don't miss "Live Around the World" - posthumously produced and selected by one of his last keyboardists, Adam Holzman; the tension is palpable everywhere and the "drive" of the electric Davis is very high. Bye.

Once again, a great pleasure to read Hal, author of a comprehensive and focused review, and Caz (Hi!) who adds fresh aromas and welcome clarifications, even statistical ones. It may seem curious, but just before reading these lines, I happened (casually?) to spend a couple of days re-listening to Kind Of Blue and (up until an hour ago) Milestones. So, first of all: nice "coincidence"! (coincidence?); then: I must have played "Round Midnight" (and also Ornette's "Turnaround," for that matter...) countless times, so: what a pleasure to know it has been reissued in the Legacy series. Then: for Hal and Caz: what are the highlights (even if the question may seem comical) of Miles' career? And how well do you really know him or think you know him? This is not a challenge or provocation, mind you, but I would like to know. Have you ever seen him "Live"? I have already asked this question to Caz elsewhere because I believe it’s essential to follow a musician when they play "Live." Personally, yes, I was fortunate enough to attend his concerts four times (unfortunately quite late, from '85 to '91, I think), and what I remember is still somewhat astonishing, despite the trembling lip and the usual hip problems (and old age and fatigue). I find "Sketches Of Spain," "Nefertiti," "Kind Of Blue," "Agharta," "Live/Evil," "Miles Ahead" - extraordinary, "Get Up With It," "Amandla," "Filles de Kilimanjaro," and still something else that I can’t recall at the moment, to be extraordinary. Re-listening to "Cannonball" Adderly, Coltrane, and Bill Evans phrasing like that (in Kind Of Blue) still amazes me. THERE ARE NO MORE JAZZ MUSICIANS LIKE THAT TODAY. The only one perhaps capable of entering into the extremely difficult Coltrane territories is (was?) Kenny Garrett. But with Miles, after all these years, there’s an incredible void that you feel, and even if it seems rhetorical, it’s unfillable. Well done, Hal (and also Caz, as usual), Bye.

I wouldn’t want to provoke unnecessary or counterproductive controversies, but I would like to know "cui prodest" regarding our ranking position. And then I would like to know which "ranking" is being referred to. I mean, even though I’m not at all interested in "charts," I’m aware that there are various types (genre, format, trends, vintage, reissues, niche, emerging, and so on). Gabbox, I’m glad that this can make you proud, but personally... I thrive even without the comfort or "justification" of a rank... Just to be clear, my input has the sole “claim” to be a simple (and perhaps useless) personal consideration on a frankly secondary aspect that is, all in all, insignificant, OK?

To Hal: a pleasure to read you again, truly. And in a moment like this, it particularly delights me to know that Mrs. Bush makes us resonate exactly opposite to her male namesake, king of idiocy and theorist of destructive madness (unaware?). Believe me, anyway, make a small effort and cancel the "repeat all" command from the player. One more effort and try inserting A Sky Of Honey. Well, then you'll understand that you will, in fact, want to press "Repeat all" infinitely... Ah, if you don't have a pair of wings ready behind your shoulders, see if you can somehow get them. They might come in handy. :)

A warm welcome from me too, Gabbox. A "radiant" debut that certainly doesn’t go unnoticed. Like the hymn to light by Bush. I adore this album (which I’ve been waiting for a long time). The second disc is even extraordinary. I vibrated and found myself suspended in mid-air with Aerial. Like JohnofPatmos (hi John!), I was struck by that reference to motherhood/fatherhood. I know something about it and I believe I can understand its meaning. A must-have work, just like "Hounds of Love" and "Sensual World". And then there’s Eberhard Weber on bass, here and there… Well done Gabbox, you just beat me to it; I would have reviewed it myself…but you did it just perfectly!

For BORNTORUN1976: Let's try to bring some order, if possible. First of all, thank you for Waits, but a couple would have been enough at most. Regarding your encyclopedic knowledge of Mr. Zimmerman: I'm very glad and it certainly honors you. However, I would clarify that the fact of having "seen him live" or "read books" does not, for me, equate to depth of knowledge or authoritative judgment. Furthermore, since you are taking it terribly seriously regarding Oldfield and Paola e Chiara and The Police and so on: it is not actually written anywhere that easy, catchy, and "commercial" has to mean this or that or denote a banality of tastes. What I intended was simply to assert, I believe, an undeniable point: you cannot put "Mickey Mouse" and the "Divine Comedy" on the same level, the sacred with the profane. There are (just) distances that must be taken into account and respected. I think it’s important not to evaluate things lightly if you care about them, and I do believe that the score of "Ommadawn" has a much greater depth compared to "Moonlight Shadows," if you will allow me. If the latter sells a billion copies and "Ommadawn" does not, I’m glad for Oldfield. I will stick to re-listening to "Ommadawn" and not buying "Moonlight Shadows." I hope you’ve grasped the concepts. Thank you for the torrential advice on Waits!

You certainly can't overlook the fact that "blowin in the wind" carries a weight and meaning of a completely different caliber compared to a "trivial song" like Oldfield's, don't you think? The historical value of De André himself is simply not "comparable" to the pleasant "Moonlight Shadows," which, as charming as it is, remains just a little tune (perhaps even a chart hit); wouldn't you agree? That's where the "jump" is. Let's be clear, I also listen to "big names," but that doesn't mean I would ever think of putting forward, say... "amore mi dai" by Paola & Chiara, which is also a catchy little song that I quite enjoy! By the way, since you listen to Tom Waits, give me a good tip, please. I'm stuck on (ages ago...) "Swordfishtrombones," which left me a bit perplexed (when compared to Blue Valentines or Heartattack & Vine or Nighthawks at the diner), and I would really like to "catch up." Saludos :)

Your observations are relevant too, Marco. They indicate (and I suspected it) sufficient reflections and knowledge of the subject. It’s true, with the departure of Peter Sinfield (whom I consider one of the great poet-prophets of the 20th century), much of the Crimson magic has dissolved and scenarios have opened that are, in some respects, unsettling, in others unpredictable, and in yet others enigmatic. Know that as far as I’m concerned, the so-called conquest of the American market feels like a virtual (and then unfortunately concrete) descent into hell and a nearly definitive conclusion (in most cases) of the "happily creative" phase for the multitude of artists who, willingly or under duress, have wanted/needed to follow this slope. I suppose Fripp knows this subject well. And he especially knows the price it comes with. I agree with the thesis of the allure of induced, real, projected mental schizophrenia. "Power to Believe" and similar works may have their "warmth," but when I listen to "Islands," we’re really on another planet. Saludos :)

Well, for someone who signs as BORNTORUN1976, with an obvious reference to "the boss," I would say that reaching "Moonlight Shadows" is quite a leap, though...... without wanting to cast any doubts on the potential "consistency" of tastes....... Bye :)