Bley

Paul Bley Trio - Modern Chant (1994) {Japan Venus Records VHCD-2115 HiQualityCD rel 2009}

Paul Bley Trio - Modern Chant (1994) {Japan Venus Records VHCD-2115 HiQualityCD rel 2009}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 389 Mb | MP3 @320 -> 121 Mb
Full Artwork @ 600 dpi (jpg) -> 15 Mb | 5% repair rar
© 1994, 2009 Venus Records | VHCD-2115 | HiQualityCD
Jazz / Avant-Garde Jazz / Piano

Can it be a coincidence that this CD, subtitled "Inspiration from Gregorian Chant," was recorded right around the time that chant music was reaching its improbable peak on the album charts? In any case, this enjoyable, offbeat trio album featuring the unusual combination of Bley's piano, David Eyges' electric cello and Bruce Ditmas' drums seems to have very little to do with Gregorian chant per se. Indeed, such numbers as "Wisecracks" and "Loose Change" are definitely based on the blues, "Decompose" has an M-base funk foundation, and "Funhouse" is a nasty, down-home bit of grooving that eventually becomes engulfed in a swirling maelstrom (so this is from whom Keith Jarrett may have picked up some of his group concepts).

Paul Bley - Solo In Mondsee (2007) {ECM 1786 rec 2001}  Music

Posted by ruskaval at July 13, 2017
Paul Bley - Solo In Mondsee (2007) {ECM 1786 rec 2001}

Paul Bley - Solo In Mondsee (2007) {ECM 1786 rec 2001}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 205 Mb | MP3 @320 -> 130 Mb
Full Artwork @ 300 dpi (png) -> 17 Mb | 5% repair rar
© 2001, 2007 ECM Records | ECM 1786
Jazz / Avant-Garde Jazz / Free Improvisation / Piano

Fully 35 years after Open, to Love, Paul Bley's seminal solo piano recording for ECM (which stands as a watermark both in his own career and in the history of the label – i.e., unconsciously aiding Manfred Eicher in establishing its "sound"), the pianist returns to the label for another go at it on Solo in Mondsee. Recorded in Mondsee, Austria, in 2001, and not issued until Bley's 75th year, these numbered "Mondsee Variations" were played on a Bösendorfer Imperial grand piano, an instrument that is, like its player, in a class of its own. Bley moves through ten improvisations lasting between two and just under nine minutes each.

Paul Bley - Closer (1965) {ESP Disk 1021 rel 2008}  Music

Posted by ruskaval at July 5, 2017
Paul Bley - Closer (1965) {ESP Disk 1021 rel 2008}

Paul Bley - Closer (1965) {ESP Disk 1021 rel 2008}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 171 Mb | MP3 @320 -> 66 Mb
Full Artwork @ 300 dpi (jpg) -> 5 Mb | 5% repair rar
© 1965, 2008 ESP-Disk' Ltd. | ECP 1021
Jazz / Avant-Garde Jazz / Piano

The second ESP issue from the Paul Bley Trio is a contrast as dramatic as rain against sunshine. The earlier album, Barrage, recorded in October of 1964, was full of harsh, diffident extrapolations of sound and fury, perhaps because of its sidemen; Marshall Allen and Dewey Johnson on saxophone and trumpet, respectively, were on loan from Sun Ra and joined Eddie Gomez and Milford Graves. Indeed, the music there felt like one long struggle to survive. On this date, recorded over a year later and released in 1966, Bley's sidemen are two more like-minded experimentalists, drummer Barry Altschul and bassist Steve Swallow.

Paul Bley - A Free Spirit (2016)  Music

Posted by Pisulik at March 7, 2017
Paul Bley - A Free Spirit (2016)

Paul Bley - A Free Spirit (2016)
EAC Rip | FLAC (Tracks) +cue, log, scans - 436 MB | MP3 CBR 320 kbps - 183 MB | 01:19:23
Jazz, Free Jazz, Contemporary Jazz | Label: Musica Jazz | Release Year: 2016

Paul Bley's jazz career has been marked by a burning creative restlessness continually leading to new musical discoveries. An earlier book about Bley, Stopping Time, was a collaborative effort matching Bley the grand raconteur with writer David Lee. Time Will Tell repeats that formula,this time with jazz academic and journalist Norman Meehan, although with strikingly more success. Bley's storytelling about himself and his inspired and inspiring fellow musicians (Ornette Coleman, Don Cherry, Sonny Rollins)is marked by both intelligent admiration and disarming candor. His love/hate relationship with pianist Bill Evans is wonderfully illuminated through Bley's detailed description of a recording session they shared creating George Russell's complex Jazz In The Space Age album. Quite unsparing of his ruthlessly competitive spirit toward other pianists, he admits thinking of Evans, "I'm going to knock this guy out, and he's going to sound bad," only finding that Evans in his own sweet way elevated his playing to the point where Bley met his match.
Jimmy Giuffre, Paul Bley, Steve Swallow - Fly Away Little Bird (1992) Reissue 2002

Jimmy Giuffre, Paul Bley, Steve Swallow - Fly Away Little Bird (1992) Reissue 2002
EAC | FLAC | Tracks (Cue&Log) ~ 298 Mb (incl 5%) | Mp3 (CBR320) ~ 187 Mb (incl 5%) | Scans included
Modern Creative, Post-Bop, Modal Jazz | Label: Sunnyside | # SSC 3504 | Time: 01:16:39

Why aren't there more recordings like Fly Away Little Bird? Perhaps it's because there aren't more musicians of this stature. The studio reunion of the legendarily experimental Jimmy Giuffre 3 in 1992 was reissued in 2002 on the French Sunnyside label and is a radical departure from anything the trio had done in the past. These studio apparitions of the band are their most seamlessly accessible while being wildly exploratory. In addition to the consummate improvisations and compositions by Giuffre (title track, a redone "Tumbleweed"), the tender meditations by Steve Swallow ("Fits" and "Starts"), and the bottom-register contrapuntal improves by Paul Bley ("Qualude"), this is a trio recording that uses standards such as "Lover Man," a radically and gorgeously reworked "I Can't Get Started," "Sweet and Lovely," and "All the Things You Are" to state hidden textural possibilities inside chromatic harmony. There is never the notion of restraint in the slow, easy, and proactive way these compositions are approached.
Carla Bley - Night-Glo (1985) {Watt-ECM WATT16-827 640-2 rel 2000}

Carla Bley - Night-Glo (1985) {Watt-ECM WATT16-827 640-2 rel 2000}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 176 Mb | MP3 @320 -> 86 Mb
Full Artwork @ 300 dpi (jpg) -> 11 Mb | 5% repair rar
© 1985, 2000 Watt Works / ECM Records | WATT/16 / 827 640-2
Jazz / Contemporary Jazz / Post Bop

Though Heavy Heart was supposedly the "mellow, sensual" album Carla Bley had in mind, Night-Glo is more like it – a relaxed, easygoing, easy-listening series of compositions that nearly spills over into fuzak. Writing for a basic sextet with an added five-man horn section, most effectively when one color melts gently into another, Bley permits the lazy pina-colada mood to amble undisturbed from track to track.
Jaco Pastorius / Pat Metheny / Paul Bley / Bruce Ditmas - Jaco (1974) [Re-Up]

Jaco Pastorius / Pat Metheny / Paul Bley / Bruce Ditmas - Jaco (1974)
EAC 1.0b3 | FLAC tracks level 8 | Cue+Log+M3U | Full Scans 300dpi | 250MB + 5% Recovery
MP3 CBR 320 Kbps | 101MB + 5% Recovery
Genre: Fusion

Although one often thinks of Jaco Pastorius' first solo album as being 1976's Jaco on Epic, producer/keyboardist Paul Bley actually gave Pastorius his first chance to lead a recording two years earlier. Coincidentally titled Jaco, this spontaneous set (which has been reissued on CD) is also significant for being among guitarist Pat Metheny's first recordings; completing the quartet are Bley on electric piano and drummer Bruce Ditmas. The music consists of three songs by Bley, five from Carla Bley, and "Blood" by Annette Peacock. Pastorius sounds quite powerful, but Metheny's tone is kind of bizarre, very distorted and not at all distinctive at this point.
Paul Bley - Ballads (1967) {ECM Japanese Reissue UCCE-3003 rel 2007}

Paul Bley - Ballads (1967) {ECM Japanese Reissue UCCE-3003 rel 2007}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 198 Mb | MP3 @320 -> 76 Mb
Full Artwork @ 300 dpi (jpg) -> 12 Mb | 5% repair rar
© 1967, 2007 ECM Records / Universal Japan | UCCE-3003 / ECM 1010
Jazz / Avant-Garde Jazz / Piano

Ballads, which really seems to make ballads out of ballads, has been considered both worthy of hanging on the museum wall alongside the other masterpieces and being accorded special merit as the jazz record most used for background music. Since no less a genius than the great French composer Erik Satie invented the concept of background music, this might not be such a contradiction or insult. Only the short "Circles" invites a real comparison with the piano music of Satie; elsewhere you're in extremely extended territory, Paul Bley's desire to play the slowest music in history meshing with a new style of rhythm section accompaniment that sounds like everything from tuning the drums to adjusting the drapes.
Paul Bley & Gary Peacock & Tony Oxley & John Surman - In The Evenings Out There (1993) {ECM 1488}

Paul Bley & Gary Peacock & Tony Oxley & John Surman - In The Evenings Out There (1993) {ECM 1488}
EAC 0.99pb5 | FLAC tracks level 8 | Cue+Log+M3U | Full Scans 300dpi | 213MB + 5% Recovery
MP3 CBR 320 Kbps | 134MB + 5% Recovery
Genre: Jazz, Avant-Garde Jazz, Post-Bop

Pianist Paul Bley was touring Scandinavia with a quartet made up of longtime associate Gary Peacock on bass and two brilliant British musicians, drummer Tony Oxley and John Surman on baritone saxophone and bass clarinet, when they made this Oslo recording in 1991. Rather than a conventionally organized quartet session, the CD consists of seven largely improvised solos, three duets, and two tracks–the collectively improvised "Interface" and Surman's "Article Four"–with the full quartet. Even more unusual is the frequent emphasis on bass frequencies and slow, even solemn, tempos. Only extraordinary musicians could keep such a format interesting, and these four do, exploring room resonance with almost ceremonial levels of concentration.
Paul Bley / John Surman / Bill Frisell / Paul Motian - The Paul Bley Quartet (1987) {ECM 1365} [Re-Up]

Paul Bley / John Surman / Bill Frisell / Paul Motian - The Paul Bley Quartet (1987) {ECM 1365}
EAC 1.0b1 | FLAC tracks level 8 | Cue+Log+M3U | Full Scans 300dpi | 282MB + 5% Recovery
MP3 CBR 320 Kbps | 144MB + 5% Recovery
Genre: Jazz, Avant-Garde Jazz

This 1987 date teams the iconoclastic pianist with guitarist Bill Frisell, drummer Paul Motian, and British saxophonist John Surman. While it's easy to argue that, with Manfred Eicher's icy, crystalline production, this was a stock date for both the artists and the label, that argument would be flat wrong. Bley was looking for a new lyricism in his own playing and in his compositions. He was coming from a different place than the large harmonies offered by augmented and suspended chords and writing for piano trios. The other band members – two other extremely lyrical improvisers in Surman and Frisell.