antoniodeste

I confess I didn't expect you to be so "ahead". I consider myself lucky, given that thirty years ago I was listening to Emerson Lake & Palmer, and, thankfully, time has not passed in vain. I'm really pleased to learn that for lunch, in addition to pasta, one feeds on electromechanical (magnetic?) vibrations. Our bodies perceive them, and, as the Van der Graaf said in the title of one of their famous works: "The Least we can do is wave to each other." Well, we do that thanks to the internet, right?
Regarding the review, I think it's a good idea. Really. I'm already considering who the "victim" will be, and it's not easy. I believe the last one I did (at a local jazz club, years ago) was "The Inner Mounting Flame" by the Mahavishnu Orchestra... However, I would also like to (re)shine the spotlight on Joni Mitchell. One note for Hal, I think. I agree on Cassandra Wilson's "New Moon Daughter," but allow me to put forward the sublime "Blue Light 'til Dawn" from a few years earlier. If only for an unforgettable version of "Tupelo Honey" by Van (the Man) Morrison.
I don't have much to say about Mehldau, other than that (along with Lyle Mays) I find him immensely more stimulating than the sacred monster Jarrett. I saw him live with that dragon Larry Grenadier, and it was nothing short of exhilarating. Can you believe I discovered him with that nice guy Joshua Redman (Moodswings), and right there for those who had ears...
One last thing, regarding keyboardists: I recommend listening to John Beasley, particularly "A Change of Heart" from '92, I believe (Windham Hill Jazz). He is a devoted Monk disciple, although he plays in a paraplusional climate, but he is sufficiently "oblique" and "zigzagging." Miles Davis hired him on his last tours, and I noticed him in an extraordinary show in Milan in '88, je pense. (That’s where I met Kenny Garrett!!!) Today, I re-listened to "Peace Beyond Passion" by Meshell; of course, it's hard to connect that episode to the celestial author of "Dance of the Infidel"... I consoled myself with the sweet and melancholic "Bitter."

Well, come on, let's play our cards face up; I don’t like being too mysterious, after all. Yes, I’m a guitarist (with a blues background, by the way), but I’ve played "360 degrees", and not just recently... A word to the wise... It seems you guys have understood that here we are NOT in the realms of Frisell, Metheny, and their followers, but perhaps more in the territories of Terje Rypdal or David Torn. The thing is, Aarset is brilliantly developing their already shining insights from decades ago.
At this point, I think it's only fair to complete this circle with a mention of Bugge Wesseltoft. He is the "guru" to whom our guys (Molvaer & Aarset) look for inspiration; he is NOT a guitarist, but he was already involved in Jan Garbarek's work from the early '90s. You can find useful material online, I believe. In a certain sense, he can be likened to Mike Westbrook within the British jazz scene of the late '60s.
A reference for the future emerging stars of that time and an incisive, alternative arranger and conductor. Wesseltoft, on top of that, is a wizard when it comes to keyboards & computer programming, and an intriguing keyboardist.
As for Molvaer, it's been a long time since Khmer.... Although the style post-Masqualero has remained virtually unchanged.
Believe me, I saw him live last year (Udine) and it was an experience that's hard to describe. Without bass or guitar (!) Try a little with "Streamer," a great anthology live.
Tell me, what's going through your ears, NOW?
(So Curious!)

Well, to Odradek and Hal, who seem like sensible young men, here’s a solid tip: an obscure Norwegian guitarist, by the name of Eivind Aarset, has just released his third album (after six years). The album, by Jazzland, is called "Connected."
He came onto the scene somewhat with Bendik Hofseth (tenor sax with the latest steps ahead of Mike Mainieri), but, recently, with Nils Petter Molvaer. It's hard to hear "traditional" solos in his pieces and he is (I would say) at the exact opposite of Me'shell. A while ago (he says) he loved to play heavy metal.
For refined palates...

Indeed, Hal has hit the nail on the head on several points. Whether one likes "aquarium" or not, or if the label is Maverick or Emarcy, at this point, it really doesn't matter much. What truly counts is that Meshell continues her atypical journey, blending multiple styles, influences, and trends, and at this stage, she has been more blessed by grace than elsewhere. There aren't many musicians like her out there. God bless her!

A clarification for "cliffburton 86"; Jimmy Page briefly explains in the packaging that the shows have been released now because he was reviewing the material to be published for the DVD (2003). He "casually stumbled upon" these recordings from 1972 and thought they could probably be a good addition.... If you don't agree with the operation, well, that's your problem! Personally (I'm not a novice musician...) I find them overwhelming and illuminating of how the band managed to express difficult attempts at synthesizing multiple musical directions live. In the early '70s (I was 13 years old), there weren't many bands capable of "contaminating" themselves with such spirit, energy, and performative strength. That's why the band should be considered for what they truly are worth, as demonstrated in this unmissable triple; pioneering experimenters of the forms of contaminated rock to come over the following decades. I really hope, cliffburton, that I've given you some more food for thought!