Carla Bley

In a fanciful press release for this record, Carla Bley wrote that she wanted to make a record that would "put people in a mellow, sensual mood" as opposed to getting them all riled up as usual. She must have meant some of this ironically, for while Heavy Heart is a somewhat bright, light-minded album, there are plenty of dark undercurrents to be heard. For example, take the fascinating "Light or Dark," where a light, happy texture is undercut by Hiram Bullock's intruding dissonant guitar and Kenny Kirkland's discordant comping.

Carla Bley - Heavy Heart (1983) {WATT Works–ECM Records WATT/14–817 864-1 rel 1984}
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© 1984 WATT Works / ECM Records | WATT/14 / 817 864-1
Jazz / Post Bop / Neo Bop / Keyboards

In a fanciful press release for this record, Carla Bley wrote that she wanted to make a record that would "put people in a mellow, sensual mood" as opposed to getting them all riled up as usual. She must have meant some of this ironically, for while Heavy Heart is a somewhat bright, light-minded album, there are plenty of dark undercurrents to be heard. For example, take the fascinating "Light or Dark," where a light, happy texture is undercut by Hiram Bullock's intruding dissonant guitar and Kenny Kirkland's discordant comping.

Carla Bley performs originals in a trio setting, with frequent partner Steve Swallow and an alumnus of her big bands, English saxophonist Andy Sheppard. He shines on tenor and soprano, and clearly has empathic partners. Between judicious contributions, Bley helps out Swallow in the drummerless rhythm section. Fine collaboration, as well as faultless writing and arranging, is her forte, rather than sheer piano chops. As for Swallow, his electric bass sings and lilts, with an attention to his partners that is truly impressive. He steps out front sparingly and effectively. The pieces are all by Bley except Thelonious Monk's "Misterioso," heard here in Bley's fine arrangement. Other highlights are a fittingly galumphing "Wrong Key Donkey" and a swaying "The Lord Is Listenin' to Ya, Hallelujah," where Bley rejoices in the chapel, as her big band would do so successfully a couple of years later on Goes to Church. The album takes her far from the grandeur and bulk of the big-band work, but it has the same intricacy and subtle play of convention and invention.

For over 20 years, the trio of pianist Carla Bley, bassist Steve Swallow, and saxophonist Andy Sheppard have shared each other's creative company. The group's 2016 album, Andando el Tiempo, is a delicately passionate, classically influenced set. A follow-up to 2013's equally compelling Trios, Andando el Tiempo is, surprisingly, only the third album from the group after their initial live 1995 album Songs with Legs. Whereas on Trios they delved into various Bley compositions from throughout her career, on Andando el Tiempo they focus on several more recently penned works. "Naked Bridges/Diving Bridges" brings to mind the impressionism of composer Claude Debussy.

Carla Bley - Night-Glo (1985) {Watt-ECM WATT16-827 640-2 rel 2000}
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© 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.

Carla Bley - European Tour 1977 (2007) {ECM Records WATT/8}
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© 1977, 2007 ECM Records / Watt Works | WATT/8 / 831 830-2
Jazz / Post Bop / Experimental Big Band

One of Carla Bley's most rewarding recordings, this set features her tentet playing such numbers as "Wrong Key Donkey," "Drinking Music" and the 19-minute "Spangled Banner Minor and Other Patriotic Songs." Bley's wry humor is often felt and she utilizes such colorful players as trumpeter Michael Mantler, Gary Windo on tenor, trombonist Roswell Rudd and Bob Stewart on tuba in this unusual, somewhat innovative and always fun music.

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. Hiram Bullock's guitar, whether in rock or jazz modes, almost defines the laid-back ambience all by itself; Steve Swallow's bass underpins the relaxed groove and velvety horn textures (Randy Brecker is the trumpet voice there); and Paul McCandless can be heard on a variety of single- and double-reed wind instruments. It's a pretty album, always intelligently made, but interminable at times - most noticeably on the aptly named "Rut."

This collection contains samples from almost all of my life’s musical efforts, starting with recent albums and going back, with a few selections from ECM releases of my work by other artists, to the early sixties.” This is the :rarum disc that reaches the furthest into history as Carla’s “Ictus” is played by Jimmy Giuffre’s 1961 trio: this was music that laid the groundwork for the “chamber jazz” ECM would later explore more extensively. There is music with the Jazz Composer’s Orchestra and with the Liberation Music Orchestra, and with Carla’s large and small ensembles as documented on WATT, and no shortage of star soloists…

Carla Bley - Andando el Tiempo (2016) {ECM 2487}
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© 2016 ECM Records | ECM 2487 / 4779711
Jazz / Modern Creative / Modern Jazz / Piano / Saxophone / Bass

Andando el Tiempo features new music of wide emotional compass by Carla Bley, and underlines her originality and resourcefulness as a jazz composer. “Saints Alive!” sets up animated conversations between the participants with striking statements from Steve Swallow’s bass guitar and Andy Sheppard’s soprano sax. The stately “Naked Bridges/Diving Brides” draws inspiration from Mendelssohn and the poetry of Paul Haines. And the powerful three part title composition – which addresses the trials and tribulations of recovery from addiction - moves through sorrow to hopefulness and joy.