COX

The 3 is for the importance of the album, fundamental. However, I don't like the album; I find it heavy and hard to digest. Unlike Nico63, I don't think this record can be compared to tracks like "Insterstellar Overdrive" or worse "A saucerful of secrets."

Ah, the grades...

The Litfiba with capital letters died with Litfiba 3. After that, Pelù became a bit flashy with only a few flashes of brilliance (Prima Guardia, Il Volo, Maudit, Dimmi il nome). A decoy.

It is absolutely not a historical inaccuracy; among the various bibliographic sources, I have here the autobiography of Miles Davis. In 1955, bebop was still very much alive, and Parker died that same year, but it's clear that my introduction is broad in scope. Not to mention that Dizzy Gillespie continued to dominate the scene even after Bird's passing, so I don't see a historical inaccuracy there.

Apparently, you haven't read the development of the discussion; the incipit is not wrong, rather it's serious for you to say something like that. Not considering Monk a bop pianist because of his style is one thing; the fact that he was in fact simultaneously a bop pianist is undeniable. Completely wrong, not even as if I had stated a historical falsehood, but come on.

I completely agree with you, and that's exactly why I love it. Tonight I'm in the mood for Monk's Dream, a masterpiece.

You know, Contemplazione, what you’re saying is true from one side (the cool explodes between the late 40s and early 50s, and here we are already in ’55), but I haven’t considered Miles' transition to hard bop for two reasons: 1) I don’t really like that period, and I find that the beginning given in 1949 with Birth of the Cool in ’55 was still strong and clear, more so than Walkin’ or Bags’ Groove (personal opinion). 2) For Miles himself, that period was musically challenging; he was still searching for a formula that would satisfy him (which would later become modal). As for the discussion about Monk, I don’t agree with you because he is historically considered a bop pianist (in ’47 he signed a five-year contract with Blue Note precisely thanks to his performances alongside Charlie Parker and Dizzy Gillespie, although he wasn’t their main pianist), but it’s true that purely musically, Monk has little or nothing of bop. However, historically he has still played with the sacred monsters of bop and is often regarded as (but not only) a bop pianist.

Full of errors, Around Midnight? What, are you kidding me? Go and dig a hole.

For some time now, I've been a fan of world music, and it's pointless to say that I've come across Deep Forest. What can I say, I was quite disappointed by them; however, I'm not familiar with this particular work, so I won't rate it.

Review is, in my opinion, somewhat subjective but overall good. As for Air, they are one of my favorite bands even though I haven't listened to this latest work yet (but I'll take care of that right away). I want to tell you to disregard the usual conservatives who rave about Moon Safari and trash everything else; my favorite album is Talkie Walkie, for example, I find it nothing short of genius in its being an electropop record.