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| 3.736 Ft
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| 1. | Ida Lupino
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| 2. | Start
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| 3. | Closer
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| 4. | Sideways in Mexico
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| 5. | Batterie
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| 6. | And Now the Queen
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| 7. | Figfoot
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| 8. | Crossroads
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| 9. | Violin
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| 10. | Cartoon
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Jazz
Paul Bley - Piano, Producer
Barry Altschul - Drums, Percussion
Steve Swallow - Bass
* Bernard Stollman - Author
* Douglas McGregor - Digital Remastering
* Frans de Rond - Remastering
* Jay Dillon - Art Direction
* Richard Alderson - Engineer
The second ESP issue from the Paul Bley Trio is a contrast as dramatic as rain against sunshine. The earlier album, Barrage, recorded in October of 1964, was full of harsh, diffident extrapolations of sound and fury, perhaps because of its sidemen; Marshall Allen and Dewey Johnson on saxophone and trumpet, respectively, were on loan from Sun Ra and joined Eddie Gomez and Milford Graves. Indeed, the music there felt like one long struggle to survive. On this date, recorded over a year later and released in 1966, Bley's sidemen are two more like-minded experimentalists, drummer Barry Altschul and bassist Steve Swallow. The program of tunes here is also more even-handed and characteristically lush: the entire first side and two on the second were written by Carla Bley (including the gorgeous "Ida Lupino") for a total of seven, and there is one each by pianists Annette Peacock and Ornette Coleman. Bley and his trio understand that with compositions of this nature, full of space and an inherent, interior-pointing lyricism, that pace is everything. And while this set clocks in at just over 29 minutes in length, the playing is so genuine and moving that it doesn't need to be any longer. The interplay between these three (long before Swallow switched to electric bass exclusively) is startling in how tightly woven they are melodically and harmonically. There isn't a sense that one player -- other than the volume of Mr. Bley's piano in this crappy mix -- stands out from the other two; they are of a piece traveling down this opaque yet warm road together. Bley may never have been as flashy as Cecil Taylor, but he is every bit the innovator.
---Thom Jurek, All Music Guide
Paul Bley
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: Nov 10, 1932 in Montreal, Quebec, Canada
Genre: Jazz
Styles: Modern Creative, Modern Free, Post-Bop, Free Jazz, Progressive Jazz, Avant-Garde Jazz, Free Improvisation
Paul Bley has long offered avant-garde pianists an alternative approach to improvising than that of Cecil Taylor. Bley has been able to use melody and space in inventive ways while performing fairly free improvisations. He started on piano at age eight, studied at Juilliard during 1950-1952, and in 1953 played with Charlie Parker on a Canadian television show; the soundtrack serves as his recording debut. After recording for Charles Mingus' Debut label in 1953, he moved to New York. Following a stint with Jackie McLean's quintet, he relocated to Los Angeles. Bley played with Chet Baker and then in 1958 played at the Hillcrest with musicians who would soon form the Ornette Coleman Quartet: Coleman, Don Cherry, Charlie Haden, and Billy Higgins. He soon returned to New York, played and recorded with Charles Mingus and Don Ellis, was part of the Jimmy Giuffre 3 (which also included Steve Swallow), and was married to the talented up-and-coming pianist/composer Carla Bley. After leading his own trio, Bley spent much of 1963 with Sonny Rollins' group. He participated in the famous October Revolution in Jazz in 1964 and was a founding member of the Jazz Composers Guild. He recorded frequently with his trios, for a few years experimented with electronics with his second wife, Annette Peacock, and then in 1974 founded his Improvising Artists label. Virtually all of that short-lived label's output has been reissued on CD by Black SaintSoul Note. Since the mid-'70s, Bley has recorded a countless number of albums for literally dozens of labels (once cutting two albums in the same day, in two different countries). Bley continued his prolific recording practices post-2000, releasing a bevy of albums including Sankt Gerold in 2001, Nothing to Declare in 2004, and Solo in Mondsee in 2007, among others. A key link between Bill Evans and Keith Jarrett, Bley's adventurous yet thoughtful playing sounds like no one else.
---Scott Yanow, All Music Guide |
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