antoniodeste

Ah, about Chicago: I only have their first album and it seems to me that the guitarist changed afterwards. The one that's there doesn't seem that great to me, though. But maybe you're referring to the one who came after and who, due to Russian roulette, shot himself... Meh...

I am still stunned and dazed by such a vast knowledge of the subject. Give me time to recover.... See you soon.

...ah...your review is not bad at all.

Now I've understood: the "incriminating" post was NOT directed at you but at Kataklisma (.....). I therefore reinforce everything with greater strength. Anyway, I took a little trip, rabbitstew, and.... I return the embrace and our shared passion for the band of Cedric and Omar. Oh!!

...I would also give someone a good beating...even if they seem like school leaders...

Of course, I strongly encourage you to listen to "The Lost Trident Sessions," which goes hand in hand with "Between Nothingness & Eternity"; besides the fact that it is an incredibly valuable document.

I believe that the most representative work of Mahavishnu is the rarely mentioned "Between Nothingness and Eternity" and its posthumous twin "The Lost Trident Sessions," released (thank god) almost twenty-five years later. There, the quintet, despite a poor technical quality of the recording at Central Park in NYC, really showcased all its enormous potential. The "Trilogy" that includes "The Sunlit Path," "Sister Andrea" with one of McLaughlin's most beautiful solos of those years, but especially "Dream" clearly shows that the band's horizons had infinite possibilities for expansion. The aforementioned album ("Trident Sessions") is precious because it contains what was supposed to be "Between Nothingness" in the studio; this did not happen, I remember, due to sharp clashes between Cobham and McLaughlin (Cobham left) and after the internal revolution, Mahavishnu (McLaughlin had to rebuild it from scratch with Walden, Ponty, Armstrong) partly changed directions and substance. CBS then, to fill the void of the unfinished studio album (it had not been post-produced), released, despite some serious technical flaws, this album which, I repeat, I consider the true benchmark of the band. "Inner Mounting Flame" is stunning; "Birds of Fire," in my very humble opinion, slightly less so, although we are still at very high levels. A decent review. By the way, I’m not particularly fond of the "track-by-track" system either; however, if it can help to clarify things better...

@Rabbitstew: thank you for the insult, but there must be a big misunderstanding. If kataklisma is mocking with sarcasm or has ulterior motives, that’s his business, i don't care. Read my first post, please, and consider what generated your response merely as something said for the sake of saying. Nothing serious. What really matters to me is to reiterate your good review and the importance of the group and the work. Clear? I hope not to be, much to my dismay, heavily misunderstood again. Thank you.

Well, ajeje, the review is by uxo, a deep and historically knowledgeable admirer of Metheny. I just added a couple of clarifications and impressions (from September). But, undoubtedly, it makes me really HAPPY that you "discovered" it because you are someone with big ears and a big heart. So try to be a little "big-hearted" as well and see if you can send me that "list" of guitar pieces that form the backbone of your preferences and that I am still waiting for. I've done my part. Now you do yours! I won't hide that I'm quite curious. And also the solos that you liked the most. Please, don't take a week. Thanks!!

@Omahaceleb: I wholeheartedly support you in recommending to acqualife "Beyond The Missouri Sky," in fact, I encourage giving it a listen. However, I must say that you caught me off guard (I give it a score of 5!) with "The Red One." I could do some research online, but I would prefer if you could inform me if you don’t mind. Thank you in advance! @Acqualife: I must say that I am undeniably pleased that you are delving into the (I wrote that definite article in honor of you... just for a laugh, come on) knowledge of the guitarist from Missouri. In my opinion, you are discovering a world that could give you moments of great intensity, but perhaps you've already noticed that. Keep it up. And if you have any doubts or curiosities, you will always find a "helping hand" from me as much as I can provide it.

As for Marcus Miller, he is undoubtedly a highly talented musician and an extraordinary bassist. I have never had the comfort of seeing him "Live" (only in a recording made by a friend at an edition of Umbria Jazz, along with Metheny and Bob Moses at a posthumous tribute to Pastorius). It is also worth noting that Miller wrote practically 70 percent of the material for Miles Davis after his return to the scene in '83 (the rest was written by Bobby Irving III...). And that’s no small feat when compared, for example, to his first two albums, which are quite poor and very "easy-dance" (Miller's, of course, not Davis’s, eh!). I would suggest testing his compositional abilities and also his "fine playing" (unless you've already done so) on Davis's albums "Tutu," "Amandla," "The Man with the Horn," "We Want Miles," and the very particular "Siesta" (soundtrack of the same film) where Scofield also carves out a couple of interesting pieces. Miller is also a low clarinetist (and a valuable one) as well as a good digital music programmer. His prodigious technique has greatly benefited him in terms of high-level collaborations, and indeed, his fruitful partnership with the divine Miles is clear evidence of that. Even with David Sanborn, between the 70s and 80s, Miller proved his worth. On a slightly lower level perhaps, but still always at a level of near excellence, at least instrumentally. However, let me note that Miller himself (like many other bassists) has stated that if there is one bassist who really changed the face of the bass in the last 40 years, it was Jaco Pastorius. I would like to invite you to consider very carefully the figure of this extraordinary and unique musician in the history of music (not just for bass) of the twentieth century; I hope that Omahaceleb shares and supports this belief. I apologize for the often excessive length of my posts, but I hope at least they have a good reason for being so long. Unfortunately, I do not have the gift of brevity. Best regards.