ajejebrazorf

"stop to consumerism?" and where did they say that Lord? Anyway, yes, they are an intellectual group, just like many kraut and new wave groups, just like Picasso, just like Stravinsky. Your big problem, Lord, is that you are disgustingly superficial; you don’t say “I don’t like it,” you try to argue about something you clearly don’t understand a damn thing about, because you don’t know a damn thing.

I truly feel called thousands of times, I have to decide to listen to them.

mmm, it seems very, very interesting...

But damn it... I've missed another festival of nonsense!

"Excuse me, but is it David Lynch who decides the fate of the Planet?" Are you serious or just joking? If you dedicate so much time to something you say you like (but when the hell can you like something you have no opinion on until you read about it in an encyclopedia?). And then, speaking of free thought: why do you think critics are mass-produced? Do you think Morandini and Mereghetti, and all the other critics in the world give the same ratings and think the same way? Answer: NOT EVEN CLOSE, FOR FUCK'S SAKE.

Anyway Marco, you are free to report the opinions of whoever you want and conform to whoever the hell you want. But 1. it’s very little interesting, since I also happen to read mereghetti, morandini, gli spietati, to inform myself, in short. And I prefer to go to the source. It’s worth it if you do a good copy and paste. 2. I imagine you’ll realize that this comment of yours ruthlessly seals the end of your chances of replying to any vote/comment from anyone else. Because if you publicly say you don’t have your own ideas, you put yourself in this situation. Then you probably won’t even respond, you just want to have a large number of replies.

But did you say that hoping to get a lot of comments? Anyway, I was told, for example, that Mereghetti initially said after the screening of Mulholland Drive that it was nonsensical and lacked a logical thread (the usual Lynch), only to awkwardly backtrack later when he was told it had a rock-solid plot. Which of the two Mereghettis do you align yourself with in this case, the one who wanted to tear down the film because he hadn't understood a damn thing or the one who makes a hasty retreat after having the film explained to him (who knows who explained it and from which encyclopedia he got it)?

I’m jumping back into the discussion even though you've already received great advice. But what have you heard about Bley? Because it also depends on what you’re looking for; there’s stuff that’s purely band-oriented, very experimental and free records, jazz that's more like background music, jazz-rock albums, and serious classical-style works. For sure, the immensely ambitious "Escalator" is the most eclectic work, and it has a literally phantasmagorical cast—one of the most incredible, I think, of the entire musical 20th century (seriously, you’ll be left speechless reading the endless list of giants who collaborated, including a young Rava. Here you can read the list of participants: Escalator Over The Hill) - Wikipedia, the free encyclopedia It’s an album where it's hard to get bored; there's an incredible variety, but then again, Bley is a bit like the F. Zappa of jazz. However, musically, the more succinct "Tropic Appetites" is not to be underestimated. The collaborations with various artists are all nearly historic. Among them, the beautiful tracks on the Spanish-themed records under Haden’s name (where the pieces, however, are written and arranged by Bley), especially the groundbreaking "Liberation Music Orchestra," but also "Dream Keeper" and "Ballad of the Fallen" (which would be the second L.M.O.). And don’t forget the live "Fleur Carnivore." Maybe I should stop here because I feel like telling you to get everything Carla has touched (aside from a few exceptions). Fanaticism is a terrible thing.

@Pi.per: for me, Wyatt's collaborations on Michael Mantler's albums are absolutely beautiful. Especially Hapless Child, which I truly consider splendid—one of my absolute favorite jazz-rock or progressive records. Just to tempt you: the lyrics are Gothic tales by Edward Gorey, featuring Wyatt on vocals, Michael Mantler, Carla Bley, Steve Swallow, Jack DeJohnette, Nick Mason, and Terje Rypdal. If you like Wyatt, this is a must-have for me at all costs.

I agree, Wyatt had an extra gear compared to the others. And you can feel it even in a very intense album like "End of an Ear," which didn’t experiment just for the sake of being experimental. In fact, I've somewhat downplayed "Third" for the same reason; aside from "Moon in June," I like it less because certain things from the others sound more artificial to me. Even if the saxophone solo heard on "Slightly All Time" is something wonderful, and some tracks (like "Pig," "Anemone," "As Long As He Perfectly Lies") on the second album are incredible.