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4x4
Carla Bley
első megjelenés éve: 2000
(2000)

CD
4.250 Ft 

 

IMPORT!
Kosaramba teszem
1.  Blues In 12 Bars -- Blues In 12 Other Bars
2.  Sidewinders In Paradise
3.  Les Trois Lagons: Plate XVII/Plate XVIII/Plate XIX (d'aprés Henri Matisse)
4.  Baseball
5.  Útviklingssang
Jazz / Post-Bop, Experimental Big Band

Lew Soloff trumpet
Wolfgang Puschnig alto saxophone
Andy Sheppard tenor saxophone
Gary Valente trombone
Larry Goldings organ
Carla Bley piano
Steve Swallow bass
Victor Lewis drums

“4x4" is the title of Carla Bley’s new album and also the name of her new octet. It’s a stripped-down version of her Big Band. Carla's cast off three trumpets, three trombones and three reeds, but there is no loss of power. On the contrary, like other great jazz composers before her, Bley knows how to maximise her resources. This is a very big-sounding octet and the new format allows for increased manoeuvrability, as well as extended features for a stellar cast.


The latest in Carla Bley's ever-changing array of ensemble configurations, the 4 x 4 group features Bley on piano, Larry Goldings on organ, Steve Swallow on bass, and Victor Lewis on drums. Add to this core unit a four-horn section: Lew Soloff on trumpet, Wolfgang Puschnig on alto, Andy Sheppard on tenor, and Gary Valente on trombone.

This batch of compositions is informed by Bley's distinctive brand of tongue-in-cheek playfulness, especially on the Latin-rooted "Baseball," which is peppered with the kinds of organ motifs one hears at the ballpark. Also in this semi-comic vein, "Sidewinders in Paradise," a seemingly random juxtaposition of "Stranger in Paradise" and Lee Morgan's "The Sidewinder," chugs along with a retro-funk groove perfectly colored by Goldings's organ. The album ends in a darker mood with "Utviklingssang" (Norwegian for "Development Song.") Two extended pieces form the real backbone of the album, however. "Blues in Twelve Bars/Blues in Twelve Other Bars" is a funky, modulating blues with gospel undertones. Goldings shines on this one, and Lew Soloff captures the mood with a plunger solo. "Les Trois Lagons," the most ambitious track, takes its inspiration from three cut-outs in a book by Henri Matisse. Divided into three movements, the piece begins with a round of bebop soloing, then morphs into a ballad, and concludes with an unusual whole-tone stride section that recalls both Thelonious Monk and Louis Armstrong.

While the entire eight-piece band is consistently a pleasure, some of the album's most appealing moments occur during several Bley/Swallow duet passages. The two have been performing and recording as a duo for many years, so in a certain sense the whole band seems to revolve around them. ~ David R. Adler, 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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