W nowym numerze „Wire” przesłuchuje Petera Cusacka, o którego dziennikarskim albumie „Sounds from Dangerous Places” pisał niedawno Bartek. Rozmowa dosyć często odbiega od tematu puszczanych Cusackowi utworów. I bardzo fajnie, bo w pewnym momencie zahacza między innymi o brzmienie miast:

Co do przesłuchań, to trafiłem na fragmenty artykułu z „Down Beat” z 1964 roku, w którym Miles Davis komentował puszczane mu kawałki – bez znajomości ich autorów, choć wielu trafnie rozpoznał. Kilka wyimków:

O „All Blues” Les McCann-Jazz Crusaders:

That trombone player – trombone ain’t supposed to sound like that. This is 1964, not 1924.
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O „Cielito” Lindo Terry’ego Clarka:

You know, I’ve always liked Clark. But this is a sad record. Why do they make records like that? With the guitar in the way, and that sad fucking piano player. (…) That’s what’s fucking up music, you know. Record companies. They make too many sad records, man.
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O „Caravan” supertrio Duke Ellington – Charles Mingus – Max Roach:

What am I supposed to say to that? That’s ridiculous. You see the way they can fuck up music? It’s a mismatch.
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O „Desafinado” duetu Stan Getz – Joao Gilberto (stwierdzenie „mógłby śpiewać książkę telefoniczną” niniejszym okazuje się coverem):

As for Gilberto, he could read a newspaper and sound good!
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O „Mary Ann” Erica Dolphy’ego:

That’s got to be Eric Dolphy – nobody else could sound that bad! The next time I see him I’m going to step on his foot. You print that. I think he’s ridiculous. He’s a sad motherfucker. Just put he’s a sad shhhhhhhhh, that’s all!
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O „Lena” Cecila Taylora:

Take it off! That’s some sad shit, man. In the first place, I hear some Charlie Parker cliches… They don’t even fit. Is that what the critics are digging? Them critics better stop having coffee. If there ain’t nothing to listen to, they might as well admit it. Just to take something like that and say it’s great, because there ain’t nothing to listen to, that’s like going out and getting a prostitute.

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