ajejebrazorf

DeRank ™: 3,31

DeAge™ : 7683 days • Here since 29 may 2005

Gianni Celeste Storie di vita e di mala

22 dec 05

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Well, aside from the gem of the cosmic in degeneri, even the official site (but are there unofficial ones?) doesn't joke around. In the Download section, for example, there’s a wide selection of decent Wallpapers...

Gianni Celeste Storie di vita e di mala

22 dec 05

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Ah, finally a decent cover, damn it! Then I'll pay you the rights...

Danielle Di Majo Quartet Chromatism

22 dec 05

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uhm, well, it’s true that Parker wasn't exactly a health nut and he used to binge, but I doubt Davis was that bad, considering he played not only with Parker but also with Gillespie, Roach, Powell, Monk, and many others who certainly understood a thing or two about music.

Miles Davis Doo-Bop

21 dec 05

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If you like the rhythmic miles, Bitches is a must, and if you like Live Evil. Then On the Corner, Filles de Kilimanjaro, tribute to Jack Johnson, and Tutu.

Danielle Di Majo Quartet Chromatism

21 dec 05

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Wow. I took a little stroll and I saw, besides absolutely flattering reviews (defined as one of the best guitarists in the world, for the record) that you collaborated with Giulio Capiozzo as well. He’s a musician who, through Area, owes some debt to Miles...

Danielle Di Majo Quartet Chromatism

21 dec 05

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Bullshit happens to the greats too, and when you first hear that Miles played with Zucchero, you think you’re on some hidden camera show. But I also think that the nonsense (I don’t like things like "Time after time" at all) doesn’t diminish the value of the previous work. And neither does the likability; it’s well known that Davis was a big jerk, arrogant and full of himself, but the music remains. Am I wrong, or don’t you get a bit influenced by the fact that he annoys you?

Danielle Di Majo Quartet Chromatism

21 dec 05

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another matter is that of innovation. It's certainly a merit, but if an innovative album is awful, it remains an awful innovative album. Bitches Brew, in my ignorance, I consider an innovative album. It may very well not be, but for me it would still be a non-innovative album, but a beautiful album. Ah when you can, get back to me on that other issue, ok?

Danielle Di Majo Quartet Chromatism

21 dec 05

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Mmm, I consider Miles' timings on that record stunning; I think of the solo in Sanctuary that gives me chills every time I hear it... anyway, not to be pedantic, but Bitches is from '69. And it's the culmination of a journey he developed also thanks to Shorter and Zawinul with albums like Nefertiti, Filles de Kilimanjaro, In a Silent Way, not a "win or lose" kind of record with a lucky hit. It's well known that Teo Macero handled the post-production and mixing, but according to what's stated in the booklet, Miles didn't overdub the trumpet but participated in all the recording sessions, and the dates are also listed. But maybe I misunderstood something?

Danielle Di Majo Quartet Chromatism

21 dec 05

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I don't hold it against you at all, and I don't claim to be right, but that album has a charm for me that I've found practically nowhere else. Participating in the Isle of Wight doesn't automatically mean giving in to commercialism, as that music is extremely dark and difficult—much more challenging to listen to than traditional jazz. Just my opinion, of course.

Danielle Di Majo Quartet Chromatism

21 dec 05

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Why did I miss some messages? Check your DMs instead :) I just wanted to say that Miles Davis may not be to everyone's taste. However, I don't think it's all just smoke and mirrors and advertising campaigns; I believe he was a very bold musician. I also think that his fame, so disproportionate compared to other (like him) truly great musicians, is largely due to the electric shift, which certainly wasn't a commercial breakthrough, as it might seem now in hindsight, but rather a leap into the unknown. For many critics, Davis's career ended there.