antoniodeste

@Telespallabob: Don't worry, the observation made about Pastorius was in no way directed at you, on the contrary. You are right to emphasize the importance that, in the early part of the group's history, and especially in an album of great changes — I'm referring to "Sweetnighter" — the Czechoslovakian bassist had. If we exclude the controversial "Magical Shepherd," I would say that his first three albums for ECM, especially "Journey's End," are albums of great suggestion (also thanks to the discreet and intriguing piano work of Kenny Kirkland). Some time ago, I had the opportunity to meet Vitous, and despite his somewhat grumpy and "bear-like" character, he has always shown great seriousness, consistency, and talent in live performances with his groups. It's a shame that he has become a bit less visible lately. Regarding "labels," I understand that it can be a "necessary evil"; nonetheless, I personally always try to avoid them due to the annoying possible consequences, as already mentioned. In short, I try to provide references more through "practical" examples, if needed. I await with genuine interest further comments from Conte, should he deem it appropriate. It would be interesting to delve into the meaning, function, and importance (and consequences) of the weather report in the evolution of late-century jazz. (Did I use a "label"? Oh wow!...)

@Contemplation: I read your annoyed clarifying intervention with interest, and I agree with you on many points. I still maintain the idea, which I have been advocating for years and continue to emphasize, that stubbornly fixating on labels often creates (and here it becomes evident) only colossal misunderstandings and widespread confusion, besides being misleading about the central issue. I understand that in the verbal attempt to define a "genre," one must inevitably invent something (Imagine: translating music into words...), but if this always ends up generating (and it almost always does) nests of confusion and further misunderstandings, frankly, I don’t know how much the game is worth in the end. The best thing, as always, is to LISTEN and form an idea of what you are listening to with a bit of healthy critical sense, perhaps properly documenting yourself on the subject if you believe it is historically important, maybe. The rest, in my opinion, is the usual ultra-debatable chatter that serves no purpose. A final thought goes to Jaco Pastorius. Frankly, it seems to me that what has been said about him so far in this context does not do him justice or honor in any way. Zawinul, in his statements, has been much more credible and noble in acknowledging a great innovator.

Undoubtedly a good (and deserved) comeback, highlighted by exemplary and competent criticism. Belew is truly an absolutely unique musician in the rock scene of the last thirty years, and his "recent" work with the KC or related satellite bands has only allowed him to be, rightly so, more recognized and appreciated (he's not bad as a drummer, either). A look into the unconventional and oblique guitar playing of the great electric cat would illuminate many aspiring guitarists.

I am always naturally skeptical about certain absolute definitions that intend to be definitive. Personally, and I am comforted by opinions far more authoritative, I consider Davis's album mentioned more as the progenitor of modern electric jazz. Talking about fusion in '69, in the commonly attributed sense of the term, seems out of place and misleading; in this sense, I support what Thejargonking wrote. Moreover, I believe that comparing "Black Market" to the album being reviewed here is perhaps a bit risky. I am convinced that throughout the group's activity, there have been different ways of approaching sound, and these two works are quite distant in their inspirations and directions. As for Pastorius, a separate paragraph should be dedicated to him.

Every now and then, it's good to read that someone remembers the historical importance that WR held in modern jazz. If I think that publishing today works infused with this capacity for experimentation, research, and skill would be almost improbable, I also believe that the reviewer has effectively spotlighted one of the key milestones of Zawinul & co. and, in general, of electric jazz (and its songs...) from the end of the 20th century. If more people had the curiosity to dedicate some time to the re-discovery of this groundbreaking group, it would be easier to understand the multiple derivations and contaminations that both jazz and rock, among others, have taken in the last two decades.

I read today, with guilty delay, this concise and essential (perhaps too much) review of this successful reworking. It is undoubtedly, from an eminently jazzy perspective, a more than successful piece of work, considering the not simple translations from the original rock scores. One question, Marco: after Wallace's passing, has songbook no. 2 been released?

oops...

When I was a boy, I liked him even when he sang "Donna Rosa" or "La Pelle Nera". He had a beautiful tone and a great presence. I had heard about his sad misfortunes, and I never would have thought it would end like this. A great page, Soul tells me beautiful stories with unexpected twists; I'm with you.

@Hetzer: Yes. @MarcoSalzano: Thank you, Marco. It's a shame about McCulloch (a highly technical drummer); as for Bruford, I believe the conditions are no longer there. I just hope, regarding Ian Wallace, you haven't missed the beautiful CD "King Crimson Songbook" by Crimson Jazz Trio from 2005, published by VoicePrint. That Jody Nardone is a great pianist... - Best regards.

@Acqua: well, it really makes me happy to read that you enjoyed some of the most beautiful pieces of Pat. Now maybe you could go look for (assuming you haven't already) "As Falls Wichita, So Falls Wichita Falls" with Lyle Mays from '80, "Passaggio per il Paradiso" (soundtrack of an Italian film that we couldn’t manage to see), and "Travels," the double live ECM from '83. All of them, in my opinion, are unmissable. Omaha, what do you think?