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PAUL BLEY - About Time (2008)

June 29, 2016, 4:43 am
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Pianist Paul Bley has set many milestones along his illustrious career, taking the piano on undiscovered paths and fermenting his art with unbridled imagination. Risk has never daunted him, and even as he takes it, he keeps logic in lockstep.
He is as much at home in avant-garde and free explorations as he is in giving the mainstream a new sparkle, and for a time, even tinkering with electronics. The call to experiment is ever present, wrapped compactly into the history of jazz.
About Time is a solo recording. The pianist lures the listener into his web as he blends technique into the expanse of his creativity. Space and time are worked into a melodic dance, atonality sings besides formal structure, and harmony strikes a rich chord. His time signatures are shaped on the go as a pensive interlude can turn into a lithe romp when he traverses tangents with agile lines.
Bley's sense of invention never ceases, as on the title track where he works the blues seamlessly into the theme and then rustles it with a flurry of notes. He interpolates silence into his scheme as well as he does a lyrical flourish. Change is his compass, surprise his guide.

The mood on "Encore" is playful, setting an exuberant frame within which the artist skitters and gambols, draws back and reflects, and fathoms the deeper recesses of the blues. His artistry is upfront and center. With About Time it takes Bley less than 45 minutes to stamp his virtuosity.  -  Jerry D’Souza

Tracks
1. About Time (Paul Bley)
2. Pent-Up House (Sonny Rollins)

PAUL BLEY  piano

Recorded at Nola Studios, New York City on May 31, 2007
Justin Time  -  JUST 228-2


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PAUL BLEY - Axis (1977)

June 29, 2016, 6:34 pm
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After the groundbreaking Open to Love, issued in 1973, pianist Paul Bley further explored the deep reaches of improvisation with an expressionist brush and pointillistic technique. This 1977 set featured two compositions by Bley, including the 16-minute title track and a pair by George Gershwin and Prince Lawsha, respectively. The opening of Axis is all played inside the piano, setting up for three or four minutes the inner dialogue and symptomatic lyricism of what is to follow. For Bley and his darkly chorded epiphanies, this track is landmark, as it goes to the same harmonic edges Cecil Taylor chooses to often, but with a wholly different dynamic and methodology. In Bley listeners can hear quite plainly the Second Viennese School, as well as Bill Evans and even Fats Waller, all of them criss-crossing harmonic ideas and lyrical architectures in his iconic inner world and being translated sublimely to the listener as something highly idiosyncratic and original, but also warm and inviting. The three shorter tracks on side two do nothing to dispel this myth, but despite a stunning read of Gershwin's "Porgy," it is Bley's own "El Cordobes -- Don't Ever Leave Me" that takes the side with its raw, pleading emotionalism and insistent longing and grief that touches on everything from Schöenberg to Villa-Lobos to Jelly Roll Morton and Ornette Coleman in its articulation of those feelings. This is one of Bley's most painterly and moving solo dates.  -  Thom Jurek 


Tracks
01. Axis (Paul Bley)
02. Porgy (George Gershwin)
03. Music Matador (William B. Lawsha)
04. El Cordobes - Please Don't Ever Leave Me (Paul Bley)

PAUL BLEY piano

Recorded July 1-3, 1977 at Axis in Soho, New York, N.Y.

Improvising Artists Inc.   IAI  123853 - 2
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PAUL BLEY & SCORPIO (1973)

June 29, 2016, 6:54 pm
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Pianist Paul Bley has a rare ability to carefully yet playfully balance many musical elements: structure and freedom, gentle lyricism and intricate phrasing, complexity and simplicity. His cerebral approach to jazz piano and pioneering experiments with synthesizers had a profound influence on contemporary players, from Keith Jarrett to Ethan Iverson.



Tracks
1. El Cordobes (Annette Peacock)
2. Capricorn (Paul Bley)
3. King Korn (Carla Bley)
4. Dreams (Annette Peacock)
5. Syndrome (Carla Bley)
6. Gesture Without Plot (Annette Peacock)
7. Ictus (Carla Bley)

BARRY ALTSCHULLpercussion
DAVID HOLLANDacoustic bass and fuzz pedal
PAUL BLEYacoustic piano, ARP synthesizer, RMI and Fender-Rhodes piano

Recorded at Advantage Studios N.Y.C. November 24, 1972
Milestone MCD 9046 (20 BIT mastering)
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STEEPLECHASE JAM SESSION VOL. 2 - Juris, Stryker, Purrone (1996)

June 30, 2016, 5:28 pm
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Jam Session Volume 2
Take five Steeplechase leaders (three of them bri 11 iant modern exponents of the electric guitar), have them bring some tunes they dig into the studio, roll the tapes, sit back and listen to a creative hour of spontaneous combustion. That's what producer Nils Winther did when he laid on a rendezvous for a trio of the label's top plectrists - Vic Juris, Dave Stryker and Tony Purrone.
   To give this formidable "string section" the appropriate drive, two fellow Steeplechasers, drummer Keith Copeland and bassist Scott Col ley, both leaders in their own right, were pressed into service.
   It turned out to be a convivial congress. The agenda was not to present perfectly-rehearsed interpretations, but free-wheeling, open-ended performances, capturing the essence of "music made in the moment". Here the fellows were obliged to react instantly to the immediate ad-libbing taking place
around them.
   Guitars jam sessions are not the most common of recorded currency, and here the element of surprise was almost complete. While Dave Stryker and Vic Juris know each other well, are close neighbours who hang out to talk music and sometimes play it, they have never worked together i n a group.
   Tony Purrone barely knew the other two. "I met Vic once when we were both playing a college gig up in New York State around 1977. And I think I'd met Dave one time in New York City, but had never played with him.
   "The session was certainly an interesting experience. Not easy because you have to work things out on the spot when you aren't familiar with your colleagues. So it was a challenge. Of course the three of us had never sat down and played together which, I guess, made it a one-off thing. "
   Vic Juris enjoyed the occasion. "/ had a wonderful time, and I think we worked   well   together.   What   I particularly remember is the tune I wrote especially for the date, 'Twenty Five', which as the title suggests, is 25 bars long. We shared out the melody as two eight-bar sections and one of nine.
"The other piece of mine was 'Subway' which I also recorded on a recording session with Ron McClure."
   Keith Copeland has very positive feelings about this most unusual "holiday for strings". Hesays: "All three guitarists played good and impressed me a lot. It was a very swinging date, much different to the norm, and I thought it turned out really well.
   "I remember that Scott Colley and myself had slight difficulty on one of the faster pieces, but it all came together eventually. I'm so pleased that music is being issued because it deserves to be heard. I give top marks to Vic, Dave and Tony for the way they played and interacted in true jam session spirit." Praise indeed, coming from a veteran of jams galore!
   Producer Nils Winther recalls that there was plenty of good-humoured banter around the studio. "Atone point we all cracked up when Dave and Vic, accompanying the mercurial Tony Purrone, complained that the soloist should leave some room for their chords. 'What do you mean - play less - I've already slowed right down!' was Tony's response."
   To the lay listener the wondrous aspect of the music is that five men can walk into a studio "cold" and turn out such a sustained outpouring of memorable sounds, finding a common, unified ground in the process.  -  album notes except

Tracks
01. Billie’s Bounce (Charlie Parker)
02. Strikezone (Dave Stryker)
03. Who Cares (George Gershwin)
04. Subway (Vic Juris)
05. Bluebird (Charlie Parker)
06. Twenty Five (Vic Juris)
07. Wee (Denzil Best)

VIC JURIS guitar
DAVE STRYKER  guitar
TONY PURRONE  guitar
SCOTT COLLEY bass
KEITH COPELAND  drums

Recorded March 1996

SteepleChase  SCCD  31523
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STEEPLECHASE JAM SESSION, VOL. 17 - Ryan Kisor, John McNeil, Brad Goode (2000)

July 2, 2016, 3:24 pm
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Since producer Norman Granz sold Pablo in the mid-'80s, regular recordings of jam sessions by any one label have been infrequent. One happy exception has been the European-based Steeplechase, which has regularly gathered musicians together to play off one another's strengths. This volume features trumpeters Ryan Kisor and Brad Goode with veteran John McNeil, accompanied by  Andy LaVerne (practically a house pianist for the label), bassist Steve LaSpina and drummer Matt Wilson, the latter one of the most in-demand drummers of his generation. Egos are set aside as the men work to complement one another's contributions to the date. LaVerne leads things off with a pair of medium tempo originals, followed by a mini-medley of ballads with each song showcasing an individual trumpeter with the rhythm section. Goode also contributed several tunes, including the well-named "Demented Blues," which sounds like a mariachi band with evil plans during some of the ensemble passages. The jam session is still quite a viable project, especially when players of such high caliber are gathered together with the tapes rolling.  -  Ken Dryden




Tracks
1. Triplicate (Andy LaVerne)
2. Three (Andy LaVerne)
3. Ballad Medley: Never Let Me Go
4. Ballad Medley: Deep In A Dream
5. Ballad Medley: Lovely
6. The Other Night (Brad Goode)
7. Demented Blues (Brad Goode)
8. Oddball Compliments (Andy LaVerne)
9. Schizocarps (Brad Goode)

MATT WILSON  drums
STEVE LaSPINA  bass
ANDY LaVERNE piano
BRAD GOODE  trumpet
JOHN McNEIL  trumpet
RYAN KISOR  trumpet

Recorded December 2000, Denmark

SteepleChase  -  sccd 31593
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EDWARD VESALA - Nan Madol (1976)

July 3, 2016, 4:37 pm
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The album is an eclectic mandala of drones, eruptions of ecstatic liberation, and snatches of melody from both near and far. Influences range from Japanese folk melodies to Alpine herding calls, and all of them strung by a powerful understatement of continuity


Tracks
1. Nan Madol
2. Love For Living
3. Call From The Sea
4. The Way Of...
5. Areous Vlor Ta
6. The Wind

EDWARD VESALAdrums, percussion, harp, flutes
JUHANI AALTONENsaxophones, bells, flutes, voice
SAKARI KUKKOflute
SEPPO PAAKKUNAINENflute, soprano saxophone
CHARLIE MARIANOalto saxophone, flute, nagaswaram
PENTTI LAHTIsoprano saxophone, bass clarinet
ELISABETH LEISTOLAharp

All composed and arranged by Edward Vesala
Recorded April 25/26, 1974 at Alppi Studio, Helsinki
ECM 1077 / 829 376 – 2
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EDWARD VESALA - Heavy Life (1980)

July 3, 2016, 5:12 pm
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Edward Vesala was one of the most important musicians to emerge on the European jazz scene, and played a major role in the creation of a distinctively European jazz identity. He made his mark as an improvising drummer as well as an original composer and arranger, and forged his spirited Sound and Fury ensemble into one of the key creative groups of the era.

Many musicians from the northern European fringes came to prominence in the post-60s development of European jazz and new music, led by the Norwegian saxophonist Jan Garbarek. Vesala played on Garbarek's fiery Triptykon album in 1972 for ECM Records, than as now a focus for new developments in Europe, a project which proved to carry more pointers to the drummer's uncompromising future direction than the saxophonist's.

Vesala's example was a galvanising force in Finnish music, and he became the focus for most of the developments within that country, but his impact was by no means restricted to it. He evolved a unique and highly distinctive sound-world with his group, exploring unusual extremes of instrumental timbre and texture in his arrangements, with his own varied and expressive percussion at the heart of the music.

He recorded a number of albums for ECM Records from the early 1970s onwards, beginning with Nan Madol in 1974, which featured the expatriate American saxophonist Charlie Mariano amid the Finnish line-up, and on which Vesala played harp and flute as well as percussion. Satu (1977) assembled a pan-European cast, including Polish trumpeter Tomasz Stanko, Norwegian guitarist Terje Rypdal, and Danish trumpeter Palle Mikkelborg. 

He recorded with Stanko and an otherwise all-American band in New York in 1980, released on the Finnish Leo Records label as Heavy Life , but reverted to ECM and his Sound and Fury unit for the album which will be seen as his masterpiece.Lumi (1986) incorporated characteristically diverse musical influences, including tango, rock, folk and minimalism, within a compelling and highly atmospheric framework.

He was not prolific in the studio, but when he did record, he invariably produced memorable results in albums like the polemical but ultimately celebratory Ode To the Death of Jazz (1989), Invisible Storm (1992), and the slightly less vitalNordic Gallery (1994). He had been in poor health for some years, but was at work on an unfinished new recording when he died of heart failure at his country home outside Helsinki.

Edward Vesala (1945-1999) drums, percussion, bandleader, arranger, composer

Tracks
01. Coming Of The Nocturnal Sun
02. Meating
03. High Red Table
04. Moonlight Walk Of The Soothsayer
05. Columbus Circle
06. Slambura Road

BOB STEWART tuba
REGGIE WORKMAN bass
HOWARD JOHNSON baritone saxophone
EDWARD VESALA drums
TOMASZ STANKO trumpet
IRO HAARLA harp
J. D. PARRAN tenor & soprano saxs
CHICO FREEMAN tenor saxophone
JAMES SPAULDING alto saxophone
JOE DALEY tuba

Recorded in May 1980 at Right Track Studios, New York

All compositions by Edward Vesala, except (6) by Tomasz Stanko; “Meating intro by Iro Haarla
Leo Records 009 (Finland)
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JAN GARBAREK, ARILD ANDERSEN, EDWARD VESALA - Triptykon (1973)

July 7, 2016, 2:31 am
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Norwegian saxophonist Jan Garbarek took several intriguing stylistic turns early in his career, none more extreme than that shown on Triptykon. While he had always shown an affinity for the work of Albert Ayler and other free jazz musicians who came of age in the '60s, his prior albums retained a more straight-ahead rhythmic drive and more than a passing nod to experimental rock and fusion. Here, he jettisoned guitarist Terje Rypdal and replaced the sometimes overly delicate percussion work of Jon Christensen with the more earthy and heavy sounding Edward Vesala. The result is an expressionist trio drawing on both free improvisation and Scandinavian folk tunes, roaring, stumbling, and reeling, evoking an aural equivalent of Edvard Munch. Garbarek's work on all his reeds is assured and imaginative, even as the context is often dark and bleak. In particular, his soprano playing -- as on the title track -- is remarkably poignant, and it's not difficult to conjure up images of keening water birds patrolling the sub-Arctic fjords. The closing folk song, "Bruremarsj," is a drunkenly striding marvel that Ayler would've loved. Witchi-Tai-To, Garbarek's next album for ECM, would his aesthetic high point, but Triptykon isn't very far behind. Highly recommended.  -  Brian Olewnick

Tracks
1. Rim (Garbarek/Andersen/Vesala)
2. Selje (Garbarek/Andersen/Vesala)
3. J.E.V. (Garbarek/Andersen/Vesala)
4. Sang (Garbarek/Andersen/Vesala)
5. Triptykon (Garbarek/Andersen/Vesala)
6. Etu Hei! (Garbarek/Vesala)
7. Bruremarsj (Old Norwegian Folk Song)

JAN GARBAREK soprano, tenor and bass saxophones
ARILD ANDERSEN bass
EDWARD VESALA percussion


Recorded on November 8, 1972 at Arne Bendiksen Studio, Oslo
ECM 1029 / 78118 - 21029 -2
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EDWARD VESALA / SOUND & FURY - Nordic Gallery (1994)

July 7, 2016, 4:50 am
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Piggybacking on 1992’s Invisible Storm, ECM maverick Edward Vesala returned with his organic collective, Sound & Fury, as our guide for Nordic Gallery. Vesala draws a thinner circle around his ensemble this time around, weaving inside it a dreamcatcher for communal freedom, as exemplified in the 11-minute “Bird In The High Room,” a menagerie of cymbals, muted horns, drums, and birdsong. The latter signals a luxuriant indulgence in the Vesala soundscape as winds and wings fall in line like a panel out of Where the Wild Things Are. Even the electric guitar whistles in its sibilant cage, avian heart unfolded. Field recordings continue to leave breadcrumb trail of “Fulflandia” on its way toward “The Quay of Meditative Future.” Harpist Iro Haarla’s veiled and omnipresent insistence turns arrival into departure as the music’s long-shadowed caravan cuts a line in the sand. The mélange of flavors in “Hadendas”—ranging from roller rink organ and winds to Vesala’s own thumping accompaniment—lifts the tent flap of this night circus to usher in the “Unexpected Guest.” Is it the listener? The critic? The dog who’s been running circles outside this entire time? No, no, and yes. Such is the nature of this narrative turn, which cracks like the vocal egg that opened Storm. Accordion and gravelly tenor trade hands in “Bluego,” a tango deconstructed and put back together in reverse before an arrangement of “Lavander Lass Blossom” wilts, upended and suspended. A series of tunes at once glittering from Haarla’s careful appliqué of intimate crafts (“Streaming Below The Times”) and darkening in twisted whimsy (“One-Two-Three Or Four-Five-Six”) presses on through shimmer and corrosion into “Flavor Lust,” thus closing shop and hanging the day’s labor out to dry.  -  ecmreviews.com


Tracks
01. Bird In The High Room
02. Fulflandia
03. The Quay Of Meditative Future
04. Hadendas
05. Unexpected Guest
06. Bluego
07. Lavander Lass Blossom
08. Streaming Below The Time
09. One-Two-Three Or Four-Five-Six
10. A Significant Look Of Birch Grove
11. On The Shady Side Of Forty
12. Flavor Lust

PETRI IKKELÄ  accordion
PEKKA SARMANTO  bass
KARI LINSTED  cello
TAPANI RINNE clarinet
JIMI SUMEN guitar
JOUNI KANNISTO  tenor saxophone, flute
MATTI RIKONEN trumpet
IRO HAARLA  harp, piano, keyboards, accordion, koto
EDWARD VESALA  drums, percussion, tambura, angklung,
JORMA TAPIO  alto sax, bass clarinet, alto clarinet, flute, bass flute
PEPA PÄIVINEN  tenor sax, soprano sax, baritone sax, bass saxophone, alto flute,piccolo

Music composed by Edward Vesala
Recorded 1993, 1994 at Sound and Fury Studio, Korkeakoski, Finland

ECM Records   ECM - 1541
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RAN BLAKE & ANTHONY BRAXTON - A Memory Of Vienna (1997)

July 8, 2016, 3:25 am
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On November 19, 1988, a few days before the Cool Noir music festival in Vienna, composer Franz Koglmann finished recording Orte Der Geometrie (Hatart) with his Pipetet a couple hours earlier than expected. A number of high profile artists and musicians were in attendance for the festival, so efforts were made to utilize the remaining pre-paid studio time. Pianist Ran Blake was on hand, as a special guest of the Pipetet, and composer/multi-instrumentalist Anthony Braxton had just stopped by the studio. The idea of recording Blake and Braxton as a duo arose, inspired in part by their duet on the pianist's album Rapport(Novus), made ten years earlier. Writer Art Lange assumed the role of session producer and selected a collection of standards for the pair to work on—two and a half hours later, A Memory Of Vienna was complete.
Ranging from such chestnuts as "You Go To My Head" and "I'm Getting Sentimental Over You," to bop archetypes like "Yardbird Suite" and "Four," the duo waxes poetic, interpreting eight venerable classics with respectful restraint and a few unorthodox twists. Braxton plays alto saxophone exclusively on these timeless songs, plying sonorous phrases that are among his most lyrical. Occasionally launching into brisk staccato runs, he avoids signature extended techniques like altissimo, multiphonics and over-blowing entirely, playing it straight by sticking close to the harmonic center of the tunes. Blake ranges slightly further afield, dropping icy accents and dissonant clusters at unusual intervals without veering too far beyond conventional melody and harmony. Although his oblique cadences and re-harmonized chords are somewhat ambiguous, he never fails to swing, lending the date a far more nostalgic air than one would have expected from such a pairing.
Though admired for their uncompromising, avant-garde innovations, the most surprising aspect of the session is not the duo's relative lack of cacophonous pyrotechnics, but the incredible level of intuitive empathy and conceptual foresight displayed—despite the ad hoc nature of the recording. A Memory Of Vienna demonstrates Blake and Braxton's longstanding reverence for standard material, bringing new life to timeless classics with understated creativity and soulful conviction.  -  Troy Collins

Tracks
01. 'Round Midnight (Monk-Williams-Hanighen)
02. Yardbird Suite (Charlie Parker)
03. You Go To My Head (Gillespie-Coots)
04. Just Friends (Lewis-Klenner)
05. Alone Together (Dietz-Schwartz)
06. Four (Miles Davis)
07. Soul Eyes (Mal Waldron)
08. I'm Getting Sentimental Over You (Washington-Bassman)

RAN BLAKE  piano
ANTHONY BRAXTON  alto saxophone

Recorded at Haus der Begegnung Mariahilf, Vienna on November 19, 1988
hatOLOGY  505
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PAUL BLEY - Sonor (1984)

July 8, 2016, 3:48 am
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For Paul Bley to comment that this 1983 recording is the best collection of his music to emerge since 1961 is a provocative statement unless, knowing Bley, he's just kidding around. Since this is even more spaced-out than some of his famous "slow" recordings such as Ballads, does that mean he really wanted those recordings to be even more minimal than they were? The drummer not only featured but supposedly introduced on Sonor, George Cross McDonald, has a style that is so strange it makes the abstract impressionist school of Bley drummers such as Barry Altschul and Paul Motian sound like Motown backbeaters. And for this recording, Bley dropped the bass entirely. Does that mean he wasn't satisfied with the playing of Gary Peacock, for example, on many of his earlier albums? If so, it arouses curiousity as to why Bley gave his bassists so much solo space, if he didn't like their playing.
All the pieces on Sonor are free improvisations, and again the comment by Bley begs the question of whether spontaneous composition is really his preferred mode of operation. He certainly has crossed the line many a time in his interpretations of tunes at live performances, and even listeners familiar with his style might not be able to tell if a given performance is completely improvised or a reflection on a written theme. Listening to Sonor, a track such as "Speed" sounds like a rapidly executed, confusing jazz head such as "King Korn" by Carla Bley. The pianist executes a series of stunning runs here, utilizing intriguing voicings and generally sounding like he could play anything he wanted to on the piano. McDonald truly drums in an odd manner here; the closest comparison might be some of the drum solos on Jandek records. In other words, McDonald doesn't sound like he knows how to play the drums, or at least not to backup a fast-paced piano solo.
Now, it would be a lot to assume that Bley would drag a total amateur into the studio with him, even given his strange sense of humor. According to the liner notes, this is a seasoned percussionist with decades of experience. It says McDonald has played with Neil Young, although it would be hard to imagine what from this album -- perhaps a game of hockey. It must be the only Bley record where the drummer either lacks a sense of swing or has done a masterful job of expunging any clue of this feel from his playing. For the most part McDonald goes for the pure sound of the drums, while avoiding rhythm almost entirely. Bley uses lots of space in the majority of the performances; McDonald sees this as an opportunity to play less, not more. On one level, the result is a Bley album which pushes a certain extreme of musical reasoning. Near the end of the first side, on "Joined," there is a marvelous section where Bley is adding sounds from inside the piano, muting the strings with his hands, the whole time showing how quickly he can move from idea to idea and how he absolutely is not bound to exploit each motif to the point of fatigue. The drummer taps around; even Lassie could have come up with a good accompaniment here, Bley's mood is so strong. There are not really that many moments like that on Sonor. The demanding listener may not forgive Bley for having tapped a vein of boredom, but perhaps this enigmatic jazz figure was trying to prove that there is no such thing.  -   Eugene Chadbourne

Tracks
01. Little Bells (Paul Bley)
02. Landscape (Paul Bley)
03. Spedd (Paul Bley)
04. Recollection (Paul Bley)
05. Joined (Paul Bley)
06. Sonor (Paul Bley)
07. Waltz (Paul Bley)
08. Set (Paul Bley)
09. Darkness (Paul Bley)
10. Tight Rope (Paul Bley)

PAUL BLEY  piano
GEORGE CROSS McDONALD  percussion

Recorded May 22, 1983 at Barigozzi Studio, Milano

Soul Note   121085 – 2
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PAUL BLEY - Films' Jazz 'n (e)motion (1977)

July 8, 2016, 4:34 am
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Tracks
01. Laura (David Raksin)
      From the film: “Laura” [Otto Preminger, 1944]
02. All The Things You Are (Oscar Hammerstein II, Jerome Kern)
      From the film: “Broadway Rhythm” [Roy Del Ruth, !944]
03. As Time Goes By (Herman Hupfeld)
      From the film: “Casablanca” [Michael Curtiz, 1942]
04. I Got Rhythm (George & Ira Gershwin)
      From the film: Girl Crazy [Norman Taurog, 1943]
05. Someday My Prince Will Come (Larry Morey, Frank Churchill)
      From the film: “Girl Crazy” [Norman Taurog, 1943]
06. What Is This Thing Called Love (Cole Porter)
      From the film: “Night And Day” [Michael Curtiz, 1946]
07. It Might As Well Be Spring (Richard Rodgers, Oscar Hammerstein II)
      From the film: “State Fair” [Walter Lang, 1945]
08. Married Alive (Paul Bley)
      Imaginary Film [Paul Bley, 1997]

PAUL BLEY  Steinway piano

Recorded April 5, 1997 at Studio La Buissonne. Pernes les Fontaines

RCA  2416707 (France)  out-of-print
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KEITH JARRETT - Eyes Of The Heart (1976)

July 8, 2016, 5:02 am
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This live recording features pianist Keith Jarrett (also playing a bit of soprano), tenor saxophonist Dewey Redman, bassist Charlie Haden and drummer Paul Motian performing the 33-minute title cut and an 18-minute piece simply called "Encore." Every recording by this particular group (arguably Jarrett's best working ensemble) is well worth hearing, for they had their own sound and the ability to play both "inside" and "outside" simultaneously, and they were continually full of surprises. Originally released as a two-LP set with the fourth side completely blank, the intriguing music has since been reissued as a single CD.  -  Scott Yanow

Tracks
01. The Eyes of the Heart (Part One)
02. The Eyes of the Heart (Part Two)
03. Encore (a-b-c)


KEITH JARRETTpiano
DEWEY REDMANtenor sax, tambourine, maracas
CHARLIE HADENbass
PAUL MOTIANdrums, percussion

Music by Keith Jarrett. Concert Recording, May 1976
Theater Am Kommarkt, Bregenz (Austria)
ECM 1150
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TERJE RYPDAL - What Comes After (1974)

July 9, 2016, 6:10 pm
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Terje Rypdal’s What Comes After, his second for ECM as frontman, is more about what came before. An exquisite diversion from the dustier billows of his later work, it charts much of the same territory as its self-titled predecessor, only this time with a tighter supporting roster. Sveinung Hovensjø lays down the dominant bass line that is “Bend It,” an atmospheric 10-minute opener that lulls us into its nocturnal crawl. The bowed bass of Barre Phillips and Jon Christensen’s subtle drum work adorn long-form improvisations from Rypdal as he wrenches out an ever-changing dialogue from the repetitive core. “Yearning” reprises the sinewy oboe (played here by Erik Niord Larsen) of Rypdal’s self-titled effort and features him in a rare acoustic turn. The jangly percussion makes for a mystical, if all too brief, experience. The see-sawing melodies and tender bass solo of “Icing” extend this feeling of isolation and memory before the delicate rimshot of the title track slinks metronomically through Rypdal’s mounting ruminations. “Séjours” marks the oboe’s standout return in one of the album’s most thoroughly realized tracks, while “Back Of J.” leaves us with a sparse final word, Rypdal unplugged and unhurried.
Albums like this allow us to appreciate the ways in which artists grow. ECM’s consummate electric guitarist has worn many hats, and perhaps none so many as in his formative years. Here, he feeds off his surroundings, even as he strays in equally fruitful directions, always harboring an innate awareness of where he is grounded. A wonderful place to start for initiates and strangers alike.  -  ecmreviews.com
Tracks
1. Bend It (Terje Rypdal)
2. Yearning (Terje Rypdal)
3. Icing (Terje Rypdal/Jon Christensen)
4. What Comes After (Terje Rypdal)
5. Séjours (Barre Phillips)
6. Back Of J. (Barre Phillips)

TERJE RYPDAL guitars, flute
BARRE PHILLIPS double bass, piccolo bass (5)
JON CHRISTENSEN percussion, organ (5)
ERIK NIORD LARSEN oboe, english horn
SVEINUNG HOVENSJÖ electric basS


Recorded August 7 & 8, 1973 at Arne Bendiksen Studio, Oslo
ECM 1031 (836 306-2)
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STEVE KUHN - Trance (1975)

July 9, 2016, 6:33 pm
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Trance, Steve Kuhn's second recording for ECM, was actually recorded a mere ten days after Ecstasy, his solo piano debut for the label. Trance features Kuhn playing both electric and acoustic piano, bassist Steve Swallow, drummer Jack DeJohnette, and percussionist Sue Evans. Two of the album's compositions, "Silver" and "Life's Backward Glance," are re-recordings of tunes appearing on Ecstasy. Adventurous and wide open, Trance is a mixed bag full of knots, twists, and turns. While firmly in the jazz idiom, Kuhn also draws on classical sources (check his solo in "Squirt"), drawing on Luciano Berio and Olivier Messiaen as well as Cecil Taylor. Performed on electric piano, "Silver" is a chugging, repetitive riff with a Latin rhythm, and Kuhn swings it like mad as Swallow's bass pops and spits along the melodic line as well as the rhythmic undertone. This is jazz that touches on fusion, modal, and the new spirit of the music as ECM came into the 1970s as a player. There is restlessness and calm, tempestuousness and serenity, conflict and resolution, and -- above all -- creativity and vision. - Thom Jurek


 Tracks

1. Trance
2. A Change of Face
3. Squirk
4. The Sandhouse
5. Something Everywhere
6. Silver
7. The Young Blade
8. Life's Blackward Glance

STEVE KUHNpiano, rhodes piano
STEVE SWALLOWbass
JACK DeJOHNETTEdrums
SUE EVANSpercussion

All compositions by Steve Kuhn
Recorded at Generation Sound Stidio NYC, November 11 and 12, 1974
ECM 1052 / POCJ – 2794
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MARIA JOAO - Fabula (1996)

July 9, 2016, 6:49 pm
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Maria João is an extraordinary, skilled jazz vocalist. Her stylings can be mesmerizing. And she has a great band backing her.


Tracks

01. Fábula (Joao Paulo Esteves da Silva)
02. Cor de Rosa (Mário Laginha/Fernando Pessoa)
03. A Festa dos Gnomos (Mário Laginha)
04. José Embala o Menino (traditional portuguese)
05. Claridade (Ralph Towner/Maria Joao)
06. A Bela a e Fera (Edu Lobo/Chico Buarque de Hollanda)
07. Certeza (Joao Paulo Esteves da Silva)
08. Fado do Coracao Errante (Mário Laginha/Nuno Artur Silva)
09. Inés (Mário Laginha)
10. La Tarde (Sindo Garay)
11. Les Douzilles (Ralph Towner)
12. Beatriz (Edu Lobo/Chico Buarque de Hollanda)
13. Duendes (Mário Laginha)

MARIA JOAOvocals
RALPH TOWNERclassical guitar, 12 string guitar
RICARDO ROCHAportuguese guitar
DINO SALUZZIbandoneon
MÁRIO LAGINHAgrand piano
KAI ECKHARDT de CAMARGObass
MANU KATCHÉdrums, wave drums

Recorded at Sound Studio N, Cologne October/November 1995
VERVE 533 216-2 Portugal
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PAUL BLEY - My Standard (1987)

July 9, 2016, 7:15 pm
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When one considers that Paul Bley is a constant improviser, the repertoire he chose for this set (ten standards, most of which are from the '40s and '50s) is rather surprising. But even on tunes such as "Santa Claus Is Coming to Town,""Long Ago and Far Away" and "I Can't Get Started," pianistBley (accompanied by bassist Jesper Lundgaard and drummer Billy Hart) avoids the obvious and comes up with something new to say.  -  Scott Yanow


Tracks
01. I’m Glad There Is You (Jimmy Dorsey / Paul Medeira / Paul Mertz)
02. Santa Claus Is Coming to Town (J. Fred Coots / Haven Gillespie)
03. Lover Man (Jimmy Davis / Roger ‘Ram’ Ramirez / Jimmy Sherman)
04. All the Things You Are (Oscar Hammerstein II / Jerome Kern)
05. Long Ago (And Far Away) (Ira Gershwin / Jerome Kern)
06. Black and Blue (Harry Brooks / Andy Razaf / Fats Waller)
07. How Long Has This Been Going On? (George Gershwin / Ira Gershwin)
08. A.R.B. (Paul Bley)
09. Blues Waltz (Paul Bley)
10. I Wish I Knew (Mack Gordon / Harry Warren)
11. If I’m Lucky (Eddie DeLange / Josef Myrow)
12. You’d Be So Nice to Gpme Home To (Cole Porter)
13. I Can’t Get Started (Vernon Duke / Ira Gershwin)
14. The Theme (Traditional)
15. Becky (Paul Bley)
16. Bolivar Blues (Thelonious Monk)
17. Goodbye (Gordon Jenkins)

PAUL BLEY  piano
JESPER LUNDGAARD  bass
BILLY HART  drums

Recorded in Sound Track Studio, Copenhagen, December 8, 1985
SteepleChase  SCCD - 31214    


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KENNY DREW & HENNING ORSTED PEDERSEN - Duo 1 (1973)

July 10, 2016, 7:15 pm
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Tracks

01. I Skovens Dybe Stille Ro - take 2 (trad)
02. Come Summer (K. Drew)
03. Lullaby (NHOP)
04. Kristine (NHOP)
05. Serenity (K. Drew)
06. Det Var En Lordag Aften (trad)
07. Do You Know What I Means To Miss New Orleans (Louis Alter)
08. Wave (A. C. Jobim)
09. Duo Trip (K. Drew)
10. Hush-A-Bye (trad)
11. I Skovens Dybe Stille Ro - take 1 (trad)

KENNY DREW piano
NIELS-HENNING ORSTED PEDERSEN bass

Recorded April 2, 1973 at Wifoss Studios, Copenhagen
Steeple Chase SCCD 31002
http://www.steeplechase.dk/
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KENNY DREW & NIELS HENNING ORSTED PEDERSEN - Duo 2 (1974)

July 10, 2016, 7:25 pm
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After a long period off of records (at least as a leader), pianist Kenny Drew emerged in 1973 for a duo session with bassist Niels Pederson. For their rematch in 1974, Drew and Pederson performed one original apiece, five standards (including "A Child Is Born" and "My Shining Hour") and jazz interpretations of a couple of Scandinavian folk songs. The pianist's style was largely unchanged from the 1950s except that he had grown a bit as a player and was open to some more modern chord voicings. The music on this encounter with the virtuosic bassist Niels Pederson should easily appeal to Kenny Drew’s fans.  -  Scott Yanow



Tracks

01. Jeg Gik Mig Over So Og Land (trad.)
02. Largo (Kenny Drew)
03. My Little Swede Shoes (Charlie Parker)
04. Trubbel (Olle Adolphsson)
05. Bluesology (Milt Jackson)
06. That's All (Haymes)
07. You Don't Know What Love Is (Raye - DePaul)
08. Viking's Blues (NHOP)
09. A Child Is Born (Thad Jones)
10. It Might As Well Be Spring (Rodgers)
11. My Shining Hour (Mercer)

KENNY DREW piano, rhodes piano
NIELS HENNING ORSTED PEDERSEN bass

Recorded February 11 & 12 1974 at Rosenberg Studio, Copenhagen
SteepleChase SCCD 31010
http://www.steeplechase.dk/
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KENNY DREW & HENNING HENNING ORSTED PEDERSEN - Duo Live Concert (1974)

July 10, 2016, 7:34 pm
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Tracks
01. In Your Own Sweet Way (Dave Brubeck)
02. My Little Suede Shoes (Charlie Parker)
03. You Don't Know What Love Is (Raye/DePaul)
04. My Shining Hour (Arley)
05. Vikeig's Blues (NHOP)
06. Oleo (Sonny Rollins)
07. Do You Know It Means To Miss New Orleans (Alter)
08. Serenity (Drew)
09. All Blues (Davis)
10. Trubbel (Adolpdsson)
11. There's No Grater Love (Symes/Jones)
12. Oleo (Sonny Rollins)

KENNY DREW piano
NIELS HENNING ORSTED PEDERSEN bass

Recorded June 8, 1974 at Helt Hocht, Utrecht, Holland
tracks (3) (6) (7) & (9) previously unissued
Steeple Chase SCCD - 31031
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