Partner Paul Bley

Bamboo present the first ever reissue of Paul Bley's The Paul Bley Synthesizer Show, originally released in 1971. This stunning album was recorded over three sessions in New York City on December 9th, 1970, January 21st, 1971, and March 9th, 1971. The Paul Bley Synthesizer Show produces new songs and tough translations of previous works from Mr. Joy while joining the likes of other seminal works in 1972's Dual Unity (BAM 7018CD/LP), 1971's Improvisie (BAM 7019CD/LP), and Bley-Peacock Synthesizer Show's Revenge: The Greater The Love, The Bigger The Hate (1971). Featuring the songs of Annette Peacock, this collection sets another milestone in the abstract, free jazz spectrum and joins the above trilogy in celebrating an innovative and iconic figure. A classic piece of Paul Bley's work with synthesized free jazz in the 1970s – an essential release for fans of free jazz, fusion, and progressive music. Includes liners with interviews, background notes, and rare archival photos.

Paul Bley & Gary Peacock - Partners (1989) {Sunnyside SSC3503 rel 2001}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 232 Mb | MP3 @320 -> 147 Mb | Artwork | 5% repair rar
© 1989, 2001 Owl Records / Sunnyside Communications / Universal | SSC 3503
Jazz / Modern Creative / Post Bop / Piano / Bass

Paul Bley had known and collaborated with Gary Peacock since 1962, so by the time this duo session was recorded, one could expect that a certain degree of musical empathy would be in play. And yes, here there is plenty of the give and take of two old friends who do not go along with the mainstream jazz program. Yet one could also call this an album of twin monologues, for ten of the 15 tracks here are solo improvisations for each player, with the five duo numbers interspersed between them.

Composer and bassist Charles Mingus’s legendary status is undeniable. Tributes to his genius tend to come up short because there isn’t a way to improve what he has already wrought. One element of Mingus’s vision that tends to get overlooked was his ability to create singular ensembles of strong, individual performers to play his music, ensembles that have gone down in history as some of the greatest of all time.

I'm not a big fan of post-Soft Machine/Ninesense Elton Dean, generally, since his free blowing requires more patience than I have. But he is in fine (and restrained) form on this album. Keith Tippett is also very good. The music here is in the Coltrane vein.