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2 x CD |
| 9.273 Ft
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| 1. CD tartalma: |
| 1. | Hotel Overture
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| 2. | This Is Here....
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| 3. | Like Animals
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| 4. | Escalator over the Hill
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| 5. | Stay Awake
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| 6. | Ginger and David
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| 7. | Song to Anything That Moves
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| 8. | Eoth Theme
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| 9. | Businessmen
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| 10. | Ginger and David Theme
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| 11. | Why
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| 12. | It's Not What You Do
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| 13. | Detective Writer Daughter
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| 14. | Doctor Why
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| 15. | Slow Dance
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| 16. | Smalltown Agonist
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| 2. CD tartalma: |
| 1. | End of Head
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| 2. | Over Her Head
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| 3. | Little Pony Soldier
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| 4. | Oh Say Can You Do?
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| 5. | Holiday in Risk
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| 6. | Holiday in Risk Theme
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| 7. | A.I.R. [All India Radio]
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| 8. | Rawalpindi Blues
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| 9. | End of Rawalpindi
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| 10. | End of Animals
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| 11. | ...And It's Again
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Jazz / Post-Bop, Avant-Garde Jazz, Experimental Big Band
Recorded: 1971
Carla Bley piano, organ, vocals
Michael Mantler trumpet
John McLaughlin guitar
Jack Bruce bass, vocals
Charlie Haden bass
Paul Motian drums
Gato Barbieri tenor saxophone
Enrico Rava trumpet
Sharon Freeman French horn
Roswell Rudd trombone
Don Cherry trumpet
Jimmy Lyons tenor saxophone
Perry Robinson clarinet
Don Preston synthesizer
Jeanne Lee voice
Linda Ronstadt voice
At the time, this was probably the longest jazz-generated work in existence (its length has since been exceeded by recent pieces like Wynton Marsalis' Blood On the Fields), a massive, messy, all-encompassing, all-star ego trip that nevertheless gave Carla Bley an immense cachet of good will among the avant-garde. Bley and librettist Paul Haines called it a "chronotransduction," whatever that means. The critics called it a jazz opera -- which it isn't. Escalator is, however, very much of its time, a late-'60s attempt to let a thousand flowers bloom and indulge in every trendy influence that Bley could conceive. There is rock music, early synthesizer and ring modulator experiments, the obligatory Indian section, repeated outbreaks of Weimar Republic cabaret in 3/4 time that both mock and revere European tradition. The incomprehensible "libretto" and a good deal of the lugubrious writing for big band amount to a textbook of avant-garde pretension. And yet sometimes this unwieldy hash pulls itself together -- the woolly, somber, sectional "Hotel Overture" with avant-squeal solos from clarinetist Perry Robinson and the young Gato Barbieri in all his Wild Bull of the Pampas glory, the clear voice of Linda Ronstadt brightening up a song called "Why," Don Cherry's clarion trumpet work, the power trio of John McLaughlin, Jack Bruce and Paul Motian rumbling energetically away amidst the Indian structures of "Rawalpindi Blues." Originally released on three LPs, an almost unheard-of extravagance in 1971, today this giant relic fits comfortably on two CDs. Yet the hard-to-find LP version does have an advantage, for the work concludes with an endless windy drone via one of those locked run-out grooves, an effect that obviously cannot be transferred to a CD, which shuts off automatically. ~ Richard S. Ginell, All Music Guide
Carla Bley
Active Decades: '60s, '70s, '80s, '90s and '00s
Born: May 11, 1938 in Oakland, CA
Genre: Jazz
Styles: Progressive Big Band, Post-Bop, Progressive Jazz, Experimental Big Band
Post-bop jazz has produced only a few first-rate composers of larger forms; Carla Bley ranks high among them. Bley possesses an unusually wide compositional range; she combines an acquaintance with and love for jazz in all its forms with great talent and originality. Her music is a peculiarly individual type of hyper-modern jazz. Bley is capable of writing music of great drama and profound humor, often within the confines of the same piece. As an instrumentalist, Bley makes a fine composer; she plays piano and/or organ with most of her bands, and while her playing is always quite musical, it's clear that her strengths lie elsewhere. Bley's asymmetrical compositional structures subvert jazz formula to wonderful effect, and her unpredictable melodies are often as catchy as they are obscure. In the tradition of jazz's very finest composers and improvisers, Bley has developed a style of her very own, and the music as a whole is the better for it.
Born Carla Borg, Bley learned the fundamentals of music as a child from her father, a church musician. Thereafter, she was mostly self-taught. Bley moved to New York around 1955, where she worked as a cigarette girl and occasional pianist. She married pianist Paul Bley, for whom she began to write tunes (she also wrote for George Russell and Jimmy Giuffre). In 1964, with her second husband, trumpeter Michael Mantler, Bley formed the Jazz Composer's Guild Orchestra, which a year later became known simply as the Jazz Composer's Orchestra. Two years later, Bley helped found the Jazz Composer's Orchestra Association, a nonprofit organization designed to present, distribute, and produce unconventional forms of jazz.
In 1967, vibist Gary Burton's quartet recorded Bley's cycle of tunes A Genuine Tong Funeral, which brought her to the attention of the general public for the first time. In 1969, Bley composed and arranged music for Charlie Haden's Liberation Music Orchestra. In 1971, Bley completed the work that cemented her reputation, the jazz opera Escalator Over the Hill. In the '70s and '80s, Bley continued to run the JCOA and compose and record for her own Watt label. The JCOA essentially folded in the late '80s, but Bley's creative life has continued mostly unabated. For much of the past two decades, she's maintained a midsized big band with fairly stable personnel to tour and record. She's also worked a great deal with the bassist Steve Swallow, in duo and in ensembles of varying size.
Bley wrote the music for the soundtrack to the 1985 film Mortelle Randone. She also contributed new compositions to the Liberation Music Orchestra's second incarnation in 1983. All through the '80s, '90s, and into the new millennium, Bley continued releasing albums through ECM, ranging from duets with bassist Steve Swallow to the Very Big Carla Bley Band. She released a third duets album with Steve Swallow, Are We There Yet?, in 2000; Looking for America in 2003; The Lost Chords Find Paolo Fresu in 2007; and the big band album Appearing Nightly in 2008.
---Chris Kelsey, All Music Guide |
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