JimMorrison

Like Gillespie, Oliver, etc. has influenced... etc. etc. Returning to your last question about Davis, I must say that I often asked myself the same thing and, some time ago, I did some research online to see if I could find something out, but... nothing new.

I'm sorry, Raf, I actually expressed the concept poorly because there is a missing "like" at the beginning of the little speech in parentheses.

I would let a merciful veil fall over the second part of their production, indeed.

Your comment is most authoritative, Hal, as always, and I agree with you in saying that Emanuele's theses are well-founded and not based on unfounded claims. But the doubt that comes to my mind is this: Davis has always been considered, by equally authoritative sources, a versatile musician who has spanned from bebop to modal, from cool to fusion, and so on, and that is a fact. He has influenced the generation of trumpeters that followed him (let's remember among many King Oliver, Armstrong, Gillespie, etc.) who do not hide their musical reference (impossible to deny). Even if we cannot strictly define him as a virtuoso of the instrument, his long solos (especially live) have created new currents in jazz, and that is an undeniable fact. At this point, I wonder: is it possible that in so many years no one has ever raised a theory like that of our good Emanuele? Of course, I have also read criticisms regarding the real innovative weight Davis brought to the genre, but from this to define him practically as a "figurehead," a commercial product, is quite a leap. I also remember that the album "On The Corner" from the period after "Bitches Brew" was, at that time, in terms of both critique and sales, a complete failure.

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Let's meet again here tomorrow, Emanuele, because I’m leaving too. There’s still so much to say...

I believe your judgment of Miles is too influenced and distorted by the biographies you buy from Ricordi. Davis transports Jazz, always a genre in a suit and tie, into a less snobbish, less relaxed, and less pompous perspective. The madness caused by drugs, which you also mention he used extensively, is felt in all the tracks; it explodes. The abuse of acid makes him unstable but transmits unnatural vibes to the instrument, psych. If making Jazz flowing, psychopathic, technological is not innovation for you, then tell me what is? Come on, give me a break!

And if he had replied in a baritone voice: "GIAO GIAO Garinooo, are you free?"

"Tantino decentralised"? You're too kind today Josi_. Bitches Brew is too innovative, technological, declassified, rich in vast contributions. It changed the history of Jazz, taking it hand in hand into the modern era. Saying it's commerce for the masses is like saying Maradona is printed on too many shirts and flags, and therefore he's just a nobody.

Aeneas, my personal card will be ready soon. I dedicated it to you.