Paul Bley Nothing to Declare

When this album was released in 1975 by Paul Bley's Improvising Artists label, the seven selections had been previously unheard. The five pieces from Mar. 9, 1964 (which feature pianist Bley, tenor-saxophonist John Gilmore, bassist Gary Peacock and drummer Paul Motian) were later released in a more complete form on the Savoy LP Turns. This was a unique onetime encounter between the innovative Bley (whose lyrical approach to free form improvising was quite different than that used by the high-energy players of the time) and Sun Ra's longtime tenor John Gilmore; "Ida Lupino" is the most memorable of these tracks. In addition there are a couple of trio performances ("Mr. Joy" and "Kid Dynamite") from a May 10, 1964 concert with bassist Peacock and drummer Billy Elgart that have not been released elsewhere. Very interesting if not quite essential music.

Bley is an engaging, thoughtful and highly individualistic player who doesn't fit any rigid category. At the time, he was returning to acoustic music after having worked almost exclusively on electric keyboards for several years. This seven-song session (recently reissued on CD) was done on two days in Oslo, Norway in 1974. Bley wrote four numbers, with two others by his ex-wife and frequent collaborator Carla Bley and one by Annette Peacock. No composition was that rhythmically arresting, as Bley stayed mainly in the piano's center, creating nimble melodies, working off them and crafting alternate directions or intriguing counterpoints. It was intellectual, occasionally stiff, but never dull or detached.

Paul Bley - Paul Bley & Scorpio (1973) {Milestone MCD9046 rel 2006}
XLD rip (secure mode) | FLAC (tracks)+CUE+LOG -> 218 Mb | MP3 @320 -> 102 Mb
Full Artwork @ 300 dpi (jpg) -> 28 Mb | 5% repair rar
© 1973, 2006 Milestone Records / Fantasy / Universe Italy | MCD 9046
Jazz / Modern Creative / Post Bop / Keyboards

The Milestone label released several of this artist's better records in which he flirts, indeed gets seriously involved, with electronic keyboards. This one is the album where he goes head over heels for the electric piano, and fans of jazz with that Fender Rhodes sound are going to want it, even if the photographer decided to make the normally dignified pianist look like Pinnochio in both of the shots. Paul Bley sits at a bank of keyboards here, giving forth a passage on acoustic, then some chirping synthesizer, then some electric piano, and so forth.

Paul Bley sits at a bank of keyboards here, giving forth a passage on acoustic, then some chirping synthesizer, then some electric piano, and so forth.

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.