Wanderer

Damn, this Cockburn is practically unknown to me: I need to make amends! The review is delicate and inspired as always, JoP, and intertwining music and life is the best way to amplify one's emotions, making them indelible.

@ Grasshopper: I thought twice before writing it, fearing I might mess things up; I think it’s the justified fear of comparing ourselves to works that are incredibly greater than us; @ Mullah: for me too, those three represent the unattainable elite of jazz; @ G_à: it’s true, it’s striking to think about how much spontaneous and genuine research lies behind a piece of music history like this; @ morningstar: regarding Coltrane, as with all the greats since Miles, opinions haven’t always been unanimous, especially during their lifetime; this shouldn’t be surprising considering that good old John was at times too “ahead” to be immediately digested: certain things, like the free jazz shift, weren’t exactly grasped right away; @ antoniodeste: I’ll note your mention of Garrett right away :-)

Thank you from the bottom of my heart to everyone for the generous comments; I was really hoping not to ruin such a cornerstone of jazz with a mediocre review. Two words in particular to @odradek: I'm glad you enjoyed the link; it seemed to me like a non-trivial page. @symbad: you're referring to the versions of "Giant Steps" found in Metheny's "Trio 99-00" and "Trio Live," right? I noticed too that it was at half speed! @Hal: I'm off to hunt down this version by Jimmy Bruno!

Outside my auditory horizon, but a great review.

Wow, Herr Karlheinz in the flesh, bones, and "Hymen." Well done, not only for the review but also for not missing the event.

Another wonderful offer pretazzo, congratulations a iosa (antziquènò). Copyright by Sfascia.

I would dare to say that it is my favorite Floyd album.

@ Hal and Enea: I'm sorry for having inadvertently sparked a spat between you, but I don't believe the differing positions are irreconcilable; rather, I think they collectively reflect the overall attitude towards theater, regardless of which aspect is considered predominant. @ GeorgeWBush: I partially agree with the point you raised. There is no doubt that the public funding system for the performing arts, and for lyrical-classical activities in particular, is not only extremely nebulous but even inspired by reckless logics. The more theaters, for example, run budget deficits, the more the state intervenes; conversely, those that manage to achieve commendable results both in terms of artistic quality and financial balance are penalized. I wouldn't go so far as to say that public funding must be abolished (without which lyrical-symphonic institutions cannot survive), but we should anchor it more firmly to criteria of merit, encouraging theaters not to rest on the certainty of state contributions, but to "earn" larger shares of funding in the field, by attracting new audiences (and we're back to what I mentioned earlier) and also private sponsors.

A proposal that is nothing short of elegant and refined, sprinkled with delightful bits that strongly urge a visit to the record store. A fluid, ethereal, and clear review, just like the music it discusses. Admired as always, I leave my little rating.

Yes, interesting. Nice review.