Paul Bley

Chet Baker & Paul Bley - Diane (1985) {SteepleChase SCCD-31207}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 162 Mb | MP3 @320 -> 119 Mb
Full Artwork @ 300 dpi (jpg) -> 7 Mb | 5% repair rar
© 1985 SteepleChase | SCCD-31207
Jazz / Cool / Post Bop / Trumpet / Piano

Chet Baker recorded at every opportunity during the last decade or so of his tragic life, with widely varying results due to his drug addiction. But this surprising duo session with pianist Paul Bley is one of his better efforts from this period, focusing primarily on standard ballads by top composers. Bley's playing in the mid-'80s usually was freer in nature, but he willingly plays more mainstream backing for the trumpeter.

Paul Bley, Jimmy Giuffre, Steve Swallow - The Life of a Trio, Saturday (1989) {Owl–Universal 0147312 rel 2001}
XLD rip (secure mode) | FLAC (tracks)+CUE+LOG -> 173 Mb | MP3 @320 -> 111 Mb
Full Artwork @ 300 dpi (jpg) ->17 Mb | 5% repair rar
© 1989, 2001 Owl Records / Universal Music | 0147312
Jazz / Contemporary Jazz / Avant-Garde Jazz / Chamber Jazz

The venerable Universal Music label has re-released the two Life of a Trio nights – originally issued in the early '90s on CD by France's Owl label – that featured the 1989 reunion of the 1961-1962 Jimmy Giuffre 3 of Giuffre on reeds, pianist Paul Bley, and bassist Steve Swallow. The first evening, Saturday, December 16, began with a solo clarinet improvisation by Giuffre, followed by "Black Ivory," a duet between Giuffre and Bley, and then "Owl Eyes," by solo Bley, with the tension heating up as Bley duets with Swallow on "Endless Melody," until they come together all too briefly (5:22) for "Turns."

Paul Bley - Improvisie (1971) {America Records 30 AM 6121}
FLAC (tracks) - 16bit/48kHz - VINYL RIP -> 207 Mb | MP3 @320 -> 91 Mb | Full Artwork | 5% repair rar
© 1971 America Records | 30 AM 6121
Jazz / Experimental / Improvised Early Electronic Jazz / Synthesizer

Incredible work from Paul Bley – and a record that captures him in his excellent electric period, working in a different setting than we've heard him elsewhere! The group on the set is a trio – one that matches Bley's work on electric piano and synthesizer with percussion from Han Bennink and vocals, piano, bass, and additional synthesizer from a young Annette Peacock! Peacock is especially restrained on the record – especially if you only know her later, straighter work – and her contribution here is wonderfully subtle and extremely lovely. Side one features the track "Improvisie", a free improvisation with Bley on electric piano and synthesizer – and tonalities are as "out" as the playing, which is generally quite spacious and dynamic – though hardly quiet. The second side features a Peacock tune titled "Touching" that's a bit more intense – very much in the spirit of the work on the first side, and a unique slice of magic from this one-off session!

Bley has covered a lot of ground in his more than sixty years in jazz. What's more, from his sessions with Mingus, Rollins, and Coleman, through his avant-garde solo and trio recordings, to his leadership in jazz education and technology, Bley has quietly transformed the landscape of modern jazz.

Features altoist Ornette Coleman live in concert shortly after making his first studio sessions. Musicians from what would be the Coleman Quartet (with trumpeter Don Cherry, bassist Charlie Haden, and drummer Billy Higgins) are heard at a live gig in Los Angeles under the leadership of pianist Paul Bley.

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).

Recorded in New York City, November 30, 1953 (Track 1 to 7), February 3, 1954 (Track 8, 9), August 27, 1954 (Track 10 to 14), August 30, 1954 (Track 15 to 19)