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“Eh, whisper by Morphine,” what courage you have... but can’t you see it’s a piece that is PURELY rock, absolutely rock in its essence (despite the band’s jazzy influences)? “Oh really? And on what deep knowledge of jazz do you base that claim? A saxophone playing an improvised solo over a harmonically jazz-type background is, to put it mildly, definitely jazz; now we’re even bringing the essence into it.”

>>>FACELIFT even while navigating the cerebral waters (after all, we are talking about a rock, at least formally, intellectual, because that’s what progressive is), I consider it, aside from being more interesting, also more capable of communicating discomfort than Slightly All Time does, which at times uses the more “classic” means of communication: the sax melodies and the other instruments played “freely.”<<< I mentioned Facelift as an example of a cerebral piece: you started by saying that you didn’t like jazz (and in particular Bitches Brew) because, among other things, it’s cerebral. So I ask you your favorite instrumentals in rock, and among others you mention Facelift (taken from a jazz-rock album that was actually inspired by BB, which you say you don’t like), and that you don’t like Slightly All Time, which instead is: less cerebral, much more structured (there’s no escape into free jazz, let alone “playing freely,” unlike Facelift), and much more humble (defined by you as raspone, it’s a piece with no technical demonstrations whatsoever).

I mean, come on, "The modern dance," now that's a cerebral record! The residents, the vampire rodents: of course I'm surprised if you then bring up a melodic theme that’s not post-nothing, doesn’t deconstruct, doesn’t add industrial noises and claim it’s cerebral! I mean, Slightly all time cerebral, not like "Sentimental Journey," not like Eskimo! But come on, you’re joking with me, right?

<<<I can't convince myself that I like it, because BB smells to me>>> well, if it smells to you and you’re convinced, why did you ask for clarifications? Probably because you clearly have doubts. I, on the other hand, have no doubts about that album (and many others I do), it’s one of the albums I've listened to the most, and I assure you that masochism is not one of my passions. Then: intellectual slightly all the time? No, look: tomorrow I’ll post a sample of the main sax solo from the review of Third, and you tell me if that sounds intellectual or self-referential: damn, you like FACELIFT! Facelift, that’s cerebral, but like ten times more than Slightly All the Time! And Whisper by Morphine? Satisfied rasping and intellectual?

"Slightly all time is a raspone" gives the impression of someone showing off their sax skills, but there’s no demonstration of technique—it's a slow and dreamy piece, yet the important thing is to hide behind "for me, it's like this." That’s when I truly understood that the moment I cited something like Dream Letter by Tim Buckley as an example of humility, you would say it’s a raspone for voice because that’s how you see it, just to reiterate that everything is subjective. I mean, the sax piece from Slightly all time is one of the most poetic moments of the album, and you call it "raspone"? Talking about an album (jazzrock as a whole) that you should have understood? Then you’re being seriously disingenuous. But then, why ask for an interpretative key for Bitches Brew knowing that everything is subjective? You said, "You can't not talk about music; otherwise, this review wouldn't make any sense, and the concepts of 'beautiful' and 'ugly' would fall into the most extreme relativism." You complain about relativism, and then you complain about the opposite, about objectivity: how should I interpret that if not as you wanting to be right at all costs? Okay, you’ve listened to some albums, and you've formed an opinion on those: who told you anything? It’s you who asked, admitting ignorance (which isn’t a flaw; we’re all ignorant about a lot of things), what those who claimed to understand that album found in Bitches Brew. I’ll tell you, I say that the story of expressiveness is nonsense, and you stubbornly insist it’s not so, that it doesn’t communicate for you: but come on, if you already knew everything about that album and have clear ideas, then why ask, why make comparisons? If you first admit you didn’t understand it!

Slightly all time is a response for sax. Ah, here we go, this clarifies that you're just contradicting me for the sake of it, regardless of whether there's any basis behind it, since it's all subjective. The pixies make merengue, and they're very relaxing with their ambient influences. Respect this theory of mine. Anyway, you could have said right away that you wanted to be right no matter what. The funny thing is that I got involved in this discussion just to respond to one of your doubts, but I think you already had the truth ready and were trying, in your ignorance of the genre, to convince others as well. Do as you wish, goodbye.

Opinions (especially if expressed here, I can imagine waiting for a debate) are meant to be discussed. If you express an opinion here, you accept (and especially want, because otherwise you wouldn’t be writing here) a confrontation, and if you make chilling generalizations, you should expect that others might tell you that you are wrong, especially if you yourself say that you are not a great connoisseur. It's pointless to then take refuge behind the absolute subjectivity of "for me it's this way" (if you think everything is absolutely subjective, what are you doing arguing in the first place? If it’s all hyper-subjective, it’s of no use).

"No BB beats them." No. But you wouldn't know that because I imagine that since you find it disgusting as a record, you haven't listened to it who knows how many times. At least, I drop the records I hate immediately (though there are exceptions), and you also reiterated that "you don't understand why they should be listened to many times, almost forcing yourself to like them," and the concept is valid, only this is a case, as more people have told you, where to understand it, especially because of its uniqueness, requires multiple listens. And if you're into the three records, without any particular dislike for any of them, you realize how they are three convoluted things, but Facelift and Ebene are undoubtedly more so, given that they lack the physicality and engagement provided by the groove and variety of Miles' record, and you find on one side disjointed noise and on the other a hypnotic drone based on minimal variations that goes on indefinitely. That said, this doesn't change the fact that you started from an atypical record like BB to theorize about an entire genre, and after discussing indulgence and cerebral nature, you say that your favorite rock instrumentals are, I don't know, "In Memory of Elisabeth Reed" by the Allman Brothers, precisely two of the most cerebral pieces ever made. By the way, you also bring up humility (Facelift?) when "Slightly All Time" is a decidedly more human, poetic piece without pretensions, "humble," to use your terms. Huh.

It's true, this album is liked by a lot of metalheads!

I wasn't referring, of course, to Alessio's comment about Nirvana, but to the previous one regarding respect for others' tastes. But really, no one has contested your taste, absolutely no one.