on life, music etc beyond mainstream
1. Far North
2. Way Down South Suite
3. Flame
4. Longer
5. Pent – Up House
This is the tracklist.
A live recording from 2008.
By one of those guys you can (without cliche) call a living jazz legend.
Four compositions by the man himself.
One composition by Sonny Rollins.
Out this friday. White cover. Black letters.
A tracklist like a poem, or a story with five chapters.
Paulo BLEY der Klangparfumier
Was für eine Freude, eine ECM-Platte mit Paul Bley – a live recording aus Oslo aus dem Jahre 2008. Freitag wird zum Festtag erklärt!
Das erste Stück ist der „Burner“, Gregs, mit 17 Minuten …
Frei – Tag
Aber was habt Ihr gemacht am Tag der Aufnahme, 2008?
Jetzt erzähl mir nur noch, du warst da, Henning, du bist wirklich ein Weltreisender in Sachen Jazz, nicht wahr!?
http://www.ecmrecords.com/Background/ECM/2300/2373.php
As time moves forward, the albums become more autobiographical – Paul Bley
Play Blue documents a rare solo performance by one of jazz’s great originals, Canadian pianist Paul Bley, recorded live at the Oslo Jazz Festival in 2008 by Manfred Eicher and Jan Erik Kongshaug.
The solo medium is one that Bley first broached on ECM. The 1972 recording Open, To Love was to prove one of the defining works in the unaccompanied genre, and at least as influential in its way as Paul’s classic jazz trio albums of the 1960s’s – such as Footloose!, Touching, Closer – had been. 35 years would elapse before the release of a ‘sequel’ at ECM, Solo at Mondsee, with Bley’s kaleidoscopic transformations of standard themes in a series of variations.
Bley’s vision of musical freedom – as Play Blue again makes plain – is inclusive. Even at the height of the 1960s free jazz movement, Bley argued that the aesthetics of earlier jazz could and should be incorporated by a revolutionary art form. His discography and his live appearances have made the case ever since, with radical, intelligent music whose phrases can reference the blues or bebop, Berg or Bird, Ayler and atonality. In or out of the tradition he still sounds like irreducible Bley in every line. His touch is instantly recognisable.
“I’ve tried to maintain all the advances of jazz,” Bley told biographer Arrigo Cappelletti, “while adding the ability to also play them all free.”
There is nothing else quite like a Paul Bley concert. As the New York Times noted, “Mr. Bley long ago found a way to express his long, elegant, voluminous thoughts in a manner that implies complete autonomy from its given setting but isn’t quite free jazz. The music runs on a mixture of deep historical knowledge and its own inviolable principles.“ Solo in Oslo, Bley, encouraged by an attentive and enthusiastic audience, shapes music in the moment, plays his own compositions, and brings the performance to a fine conclusion in an inspired interpretation of “Pent-Up House”, composed by his one-time employer Sonny Rollins.