"Noir is one of Canadian pianist Paul Plimley's best trio sessions. It was recorded in a Montreal studio over two days in October 1992. Longtime partner Lisle Ellis is on bass, more recent encounter Gregg Bendian on drums, and saxophoni...
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Label: Les Disques Victo
Catalog ID: CD 022
Squidco Product Code: 23951
Packaging: Jewel Case
Recorded October 1992 at Silent Sound Studio in MontrŽal.
Gregg Bendian-drums, vibraphone, percussion
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• Show Bio for Paul Plimley
"Paul (Horace) Plimley (born 16 March 1953 in Vancouver, British Columbia) is a free jazz pianist and vibraphonist. He is one of the doyens of the Canadian jazz avant-garde, a co-founder of the New Orchestra Workshop Society and frequent collaborator with the bassist Lisle Ellis. He is well versed in classical music and in all styles of jazz; he was one of the first and most convincing interpreters of Ornette Coleman's music on the piano (an instrument usually seen as antithetical to Coleman's music).
Plimley studied classical piano under Kum-Sing Lee at the University of British Columbia (1971-3). In 1978-9 he studied with Karl Berger and Cecil Taylor at the Creative Music Studio in Woodstock, NY. In 1977 he founded the New Orchestra Workshop (NOW), and he has been active in many of the ensembles associated with NOW, including the NOW Orchestra.
His work with Lisle Ellis is extensive, and includes the duo CD Both Sides of the Same Mirror (Nine Winds, 1989); When Silence Pulls, with Andrew Cyrille (Music & Arts, 1990); Noir, with Bruce Freedman and Gregg Bendian (Victo, 1992); Density of the Lovestruck Demons with Donald Robinson (Music & Arts, 1994); and Safecrackers with Scott Amendola (Victo, 1999). Most notable, perhaps, are two recordings for Hat Art: the collection of Ornette Coleman interpretations, Kaleidoscopes (1992), and (under Joe McPhee's leadership), a revisiting of Max Roach's Freedom Now Suite called Sweet Freedom, Now What? (1994). In May 2000 he recorded a live act at the 17th International Festival of New Music in Victoriaville, Quebec with John Oswald, Marilyn Crispell and Cecil Taylor. The album was released at Victo Records.
The still Vancouver based musician is a regular at the annual Vancouver International Jazz Festival."-Wikipedia (https://en.wikipedia.org/wiki/Paul_Plimley)
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1. Noir 6:13
2. Jill Cyborg Noir 7:35
3. [To David Cronenberg] Interzonia 4:41
4. Sleeves of Alloy 4:30
5. Open Apertures 9:42
6. Noir Encore 7:00
7. Fade to Grey 11:13
8. Fade to Grey 'Then Blue 1:45
sample the album:
"Noir is one of Canadian pianist Paul Plimley's best trio sessions. It was recorded in a Montreal studio over two days in October 1992. Longtime partner Lisle Ellis is on bass, more recent encounter Gregg Bendian on drums, and saxophonist Bruce Freedman guests on two tracks. All but Freedman contributed pieces, but the overall mood is marvelously homogeneous and best described by the title -- these are the dark corners of free jazz. The set opens with "Noir," a lightly sketched theme with jazzy overtones which feels like a triple soliloquy addressed to the moon (the theme comes back in "Noir Encore," a second take rendering the working canvas of the piece more explicit). "Open Apertures" is more thoroughly written and features Freedman. Its theme could almost have been lifted from Thelonious Monk's songbook. Ellis' "Fade to Gray" and "Fade to Gray Then Blue" are also very jazz-oriented -- on the former Bendian alternates between his drum kit and the vibraphone. And then, there arethose three pieces by Bendian. "Jill Cyborg" is a conventional (but very well-executed) free jazz tune in the form of a main theme/let's break apart/let's get back together. Paradoxically, "Sleeves of Alloy" is a piano/bass duet written by a drummer -- and it's a lot closer to Xenakis than Monk. Ellis keeps shifting elegantly from his bow to his fingers. "To David Cronenberg: Interzonia" brings in some Edgar Varese and a very dark atmosphere nourished by loud dramatic chords and disquieting suspensions. There is nothing left of free jazz here: This track is the most tightly written of the set, and is one of Bendian's strongest compositions. Strongly recommended."-Francois Couture, All Music