The trio of bassist Gary Peacock, pianist Paul Bley, and trumpeter Franz Koglmann interpret and improvise on the music of avant song-writer Annette Peacock.
Bley / Koglmann / Peacock
Released in: Switzerland
"Inspiration, elusive and ethereal, can come from anywhere. Once considered a divine influence, allowing the chosen one to receive a sacred revelation, it can result from common or surprising, rational or illogical sources. Much "art" is (and has been) created without the spark of inspiration, from mechanical or technical motivation. It's not always easy to tell the difference. When true inspiration does occur, it may be a response to either technical demands or emotional stimuli - in either case, heightening the energy and intensity conducive to communication.
Though seldom revealed, feelings this vulnerable and explicit are real, music this honest and open is real, and the inspiration here is palpable and real."-Art Lange, from the liner notes
• Show Bio for Paul Bley
"Hyman Paul Bley, CM (November 10, 1932 - January 3, 2016) was a Canadian pianist known for his contributions to the free jazz movement of the 1960s as well as his innovations and influence on trio playing and his early live performance on the Moog and Arp audio synthesizers. Bley was a long-time resident of the United States. His music has been described by Ben Ratliff of the New York Times as "deeply original and aesthetically aggressive." Bley's prolific output includes influential recordings from the 1950s through to his solo piano records of the 2000s.
Bley was born in Montreal, Quebec, on November 10, 1932. His adoptive parents were Betty Marcovitch, an immigrant from Romania, and Joe Bley, owner of an embroidery factory. However, in 1993 a relative from the New York branch of the Bley family walked into Sweet Basil in NYC and informed him that his father was actually his biological parent. At age five Bley studied violin, but at age seven he decided to switch to the piano. By eleven he received a junior diploma from the McGill Conservatory in Montreal. At thirteen he formed a band which played at summer resorts in Ste. Agathe, Quebec. As a teenager he played with touring American bands, including Al Cowan's Tramp Band. In 1949, when Bley was starting his senior year of high school, Oscar Peterson asked Bley to fulfill his contract at the Alberta Lounge in Montreal. The next year Bley left Montreal for New York City and Julliard.
In the 1951, on a return trip to Montreal, Bley organized the Jazz Workshop with a group of Montreal musicians. In 1953 Bley invited the bebop alto saxophonist and composer Charlie Parker to the Jazz Workshop, where he played and recorded with him. When Bley returned to New York City he hired Jackie McLean, Al Levitt and Doug Watkins to play an extended gig at the Copa City on Long Island. In 1953 the Shaw Agency booked Bley and his trio to tour with Lester Young, billed as "Lester Young and the Paul Bley Trio" in ads. He also performed with tenor saxophonist Ben Webster at that time. He then conducted for bassist Charles Mingus on the Charles Mingus and His Orchestra album. Additionally, in 1953, Mingus produced the Introducing Paul Bley album for his label, Debut Records with Mingus on bass and drummer Art Blakey . (In 1960 Bley recorded again with the Charles Mingus Group.)
In 1954 Bley received a call from Chet Baker inviting him to play opposite Baker's quintet at Jazz City in Hollywood, California for the month of March. This was followed by a tour with singer Dakota Staton.
Down Beat Magazine interviewed Bley for its July 13, 1955 issue. The prescient title of the article read, "PAUL BLEY, Jazz Is Just About Ready For Another Revolution." The article, reprinted in Down Beat's 50th Anniversary edition, quoted Bley as saying, "I'd like to write longer forms, I'd like to write music without a chordal center."
Bley's trio with Hal Gaylor and Lennie McBrowne toured across the US in 1956, including a club in Juarez. Mexico. The tour culminated with an invitation to play a 1956 New Year's Eve gig at Lucile Ball and Desi Arnez's home in Palm Springs. During the evening, Bley collapsed on the bandstand with a bleeding ulcer and Lucy immediately took him to the Palm Springs hospital where she proceeded to pay for all of his medical care. Bley, who had met Karen Borg while she was working as a cigarette girl at Birdland in NYC, married her after she came out to meet him in Los Angeles, where she became Carla Bley.
In 1957 Bley stayed in Los Angeles where he had the house band at the Hillcrest Club. By 1958 the original band, with vibe player, Dave Pike, evolved into a quintet with Bley hiring young avant garde musicians trumpet player Don Cherry, alto saxophonist Ornette Coleman, bassist Charlie Haden and drummer Billy Higgins.
In the early 1960s Bley was part of "The Jimmy Giuffre 3," with Giuffre on reeds, and Steve Swallow on bass. Its repertoire included compositions by Giuffre, Bley and his now ex-wife, composer Carla Bley. The group's music moved towards chamber jazz and free jazz. The 1961 European tour of The Giuffre 3 shocked a public expecting Bebop, however the many recordings released from this tour have proven to be classics of free jazz. During the same period, Bley was touring and recording with tenor saxophonist Sonny Rollins, which culminated with the RCA Victor album Sonny Meets Hawk! with tenor saxophonist Coleman Hawkins. Bley's solo on "All The Things You Are" from this album has been called "the shot heard around the world" by Pat Metheny.
In 1964 Bley was instrumental in the formation of the Jazz Composers Guild, a co-operative organization which brought together many free jazz musicians in New York: Roswell Rudd, Cecil Taylor, Archie Shepp, Carla Bley, Michael Mantler, Sun Ra, and others. The guild organized weekly concerts and created a forum for the "October Revolution" of 1964.
In the late 1960s, Bley pioneered the use of the Arp and Moog synthesizers, performing live before an audience for the first time at Philharmonic Hall in New York City on December 26, 1969. This "Bley-Peacock Synthesizer Show" performance, a group with singer/composer Annette Peacock, who had written much of his personal repertoire since 1964, was followed by her playing on the recordings Dual Unity (credited to "Annette & Paul Bley") and Improvisie. The latter was a French release of two extended improvisational tracks with Bley on synthesizers, Peacock's voice and keyboards, and percussion by Dutch free jazz drummer Han Bennink, who had also appeared on part of Dual Unity. [biography continues...]"-Wikipedia (https://en.wikipedia.org/wiki/Paul_Bley)
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At The Squid's Ear!
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Shipping Weight: 2.00 units
Quantity in Basket: None
Catalog ID: 674
Squidco Product Code: 13409
Packaging: Cardstock 3 page foldover
Recorded on April 12th through the 14th of 1992 at Radio Bremen, Germany by Peter Schulze and Volker Steppat. Originally released on CD in 1992 as hat ART CD 6118.
Franz Koglmann-flugelhorn, trumpet
Gary Peacock-double bass
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1. Touching 1 5:52
2. El Cordobes 8:31
3. Cartoon 6:26
4. Albert's Love Theme 3:46
5. Kid Dynamite 4:26
6. Miracles 6:47
7. Blood 1 5:03
8. Annette 6:26
9. Both 4:26
10. Blood 2 2:46
11. Mister Joy 8:37
12. Touching 2 1:45