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  2. ECM Press Releases for New Items

    1. Paul Bley - Mazatlan 11:35 2. Paul Bley - Flame 05:37 3. Paul Bley - Told You So 09:48 4. Gary Peacock - Moor 07:14 5. Paul Bley - Longer 05:33 6. Paul Bley - Dialogue Amour 06:01 7. Ornette Coleman - When Will The Blues Leave 05:26 8. George and Ira Gershwin / Du Bose Heyward - I Loves You, Porgy 04:56 ECM Paul Bley, Gary Peacock, Paul Motian When Will The Blues Leave Paul Bley: piano Gary Peacock: double bass Paul Motian: drums Digital release date: May 31, 2019 CD release date: June 7, 2019 ECM 2642 B0030293-02 UPC: 6025 774 0423 8 “If music is conversation then questions will come up because in conversation there are many questions. Questions lead to answers, which lead to more questions. That is what makes the music continue: the questions and their answers.” Paul Bley When Will The Blues Leave, a previously unreleased recording rescued from the archives, bears testimony to the special musical understanding shared by three great improvisers. Long acknowledged by creative musicians as one of the influential groups of the ‘free’ era, Paul Bley’s pioneering trio with Gary Peacock and Paul Motian has been under-represented on record. A 1963 session with this trio formed part of the album Paul Bley with Gary Peacock, which ECM released in 1970, and a 1964 recording on which the three musicians were joined by saxophonist John Gilmore was issued in the mid-70s on Bley’s IAI label. Over the years there were recordings which presented the pianist either with Motian or with Peacock, as well as albums that featured the drummer and bassist in other contexts. But it wasn’t until 1998 that all three protagonists came together again, at Gary’s suggestion, for the ECM recording Not Two, Not One. On its release the following year, the reunited trio of Bley, Peacock and Motian played concerts on both sides of the Atlantic, and we are very pleased to present now this live album, drawn from a performance at Lugano’s Aula Magna in March 1999, which shows the group at the peak of its powers. More than a historical document, it’s also a great-sounding album, one of the finest in Paul’s trio discography. Paul Bley’s tune “Mazatlan”, which long-time Bley followers first encountered on the albumTouching, opens the proceedings and immediately ushers the listener into the trio’s quick-witted world, in which three independent spirits enjoy the fullest range of expression. “The beauty of having a drummer like Paul Motian,” Bley once famously said, “was that you were free to go wherever you wanted. He didn’t play accompaniment. So you didn’t have to worry ‘If I take a left turn will the drummer be able to follow me?’, because Motian had no intention of following you in the first place.” Both Motian and Peacock claim plenty of space inside “Mazatlan” and Bley makes some characteristic explorations of the piano’s lower reaches, with explosive clusters at the deep end. “Flame” burns steadily, with Bley and Peacock developing what might be described as parallel soliloquies. “Told You So” is a reminder of the pianist’s affection for the blues, constant through the fragmentation of its themes. The energetic “When Will The Blues Leave”, taken at a flying clip, is a piece that was introduced into Bley’s repertoire in 1958 when the tune’s composer, Ornette Coleman, was a member (along with Don Cherry, Charlie Haden and Billy Higgins) of Paul’s legendary quintet at the Hillcrest Club in Los Angeles. It can also be heard on the classic Footloose album and on Paul Bley With Gary Peacock. The latter album also includes Peacock’s “Moor”, a composition the bassist has returned to numerous times, always finding new things to play in it (other versions on ECM include a quartet rendering with Jan Garbarek, Tomasz Stanko and Jack DeJohnette on Voice From The Past-Paradigm, and a recent trio interpretation with Marc Copland and Joey Baron on Now This). Here, “Moor” begins as a robust bass solo, which gradually draws Motian’s drums and Bley’s piano into its orbit. These musicians were never inclined to play anything the same way twice, and “Dialogue Amour”, introduced a year earlier on Not Two, Not One, is transformed in the Lugano performance, with both Peacock and Bley free associating as the piece unfolds. At one point, Paul quotes from “Ornithology” by Charlie Parker (just one of the many giants Bley played with along the way). In the trio’s first collaborations in the early 1960s, the emphasis had been on original material as a doorway to free playing, but by the 1990s all three musicians, in their various projects, had re-embraced standard repertoire as well. The concluding piece here, Gershwin’s “I Loves You, Porgy” is another fascinating performance, with Bley at first surrendering to its romantic atmosphere, then splintering and abstracting the melody, driven – as he always was – to make the music new. *** Further ECM recordings with Paul Bley and Paul Motian include Fragments and The Paul Bley Quartet recorded, respectively, in 1986 and 1987, with a group completed by John Surman and Bill Frisell. In addition to albums mentioned above, Bley and Gary Peacock can be heard together on Ballads (recorded 1967), John Surman’s Adventure Playground (1991) and In The Evenings Out There (also 1991), jointly credited to Bley, Peacock, Surman and Tony Oxley. Gary Peacock and Paul Motian can be heard together with Keith Jarrett on the album At The Deer Head Inn (1992), and on recordings by Marilyn Crispell including Nothing ever was, anyway (1996) - featuring music Annette Peacock originally wrote for Paul Bley’s groups – andAmaryllis (2000). Paul Bley’s last recording for ECM was the live solo album Play Blue, recorded at the Oslo Jazz Festival in 2008. Paul Motian’s final recording as a leader for the label was Lost In A Dream, recorded 2009, with Chris Potter and Jason Moran. Motian died in 2011, Bley in 2016. Gary Peacock continues to record new music. Following the dissolution of Keith Jarrett’s ‘Standards’ trio (of which Gary was a member for 30 years), Peacock’s priorities have included his own group with Marc Copland and Joey Baron (albums are Tangents and Now This) and a duo with Marilyn Crispell (documented on Azure). 1. Michele Rabbia / Gianluca Petrella / Eivind Aarset - Nimbus 05:13 2. Michele Rabbia / Gianluca Petrella / Eivind Aarset - Flood 04:21 3. Michele Rabbia / Gianluca Petrella / Eivind Aarset - What Floats Beneath 05:43 4. Michele Rabbia / Gianluca Petrella / Eivind Aarset - Lost River 04:45 5. Michele Rabbia / Gianluca Petrella / Eivind Aarset - Styx 02:51 6. Michele Rabbia / Gianluca Petrella / Eivind Aarset - Night Sea Journey 05:43 7. Michele Rabbia / Gianluca Petrella / Eivind Aarset - Fluvius 06:25 8. Michele Rabbia / Gianluca Petrella / Eivind Aarset - What The Water Brings 05:45 9. Michele Rabbia / Gianluca Petrella / Eivind Aarset - Flotsam 01:27 10. Michele Rabbia / Gianluca Petrella / Eivind Aarset - Wadi 02:00 ECM Michele Rabbia, Gianluca Petrella, Eivind Aarset Lost River Michele Rabbia: percussion, electronics Gianluca Petrella: trombone, sounds Eivind Aarset: guitar, electronics Digital release date: May 31, 2019 CD release date: June 7, 2019 ECM 2609 B0030294-02 UPC: 6025 774 5607 7 Lost River is an evocative and richly-textured sonic event, and one of the outstanding beyond-category recordings of recent ECM history. Drummer Michele Rabbia and guitarist Eivind Aarset had played many duo concerts, and Rabbia had also worked with trombonist Gianluca Petrella in other contexts, but this recording marks a premiere for the trio, brought together at the suggestion of producer Manfred Eicher. Spontaneously improvised for the most part, and with mysterious detail flowering inside its soundscapes, Lost River keeps revealing new forms. Rabbia’s drumming is freely creative and propulsive, and enhanced through his use of electronics. Aarset’s flowing playing will intrigue listeners who have enjoyed his Dream Logic project and his contribution to recordings with Tigran Hamasyan, Andy Sheppard, Jon Hassell and Nils Petter Molvӕr (if Lost Rivers belongs to a tributary or subset of ECM recordings, it is one that includes Khmer). And Petrella’s role as a central instrumental voice here may surprise those who know him only as a great “jazz” soloist with Enrico Rava and Giovanni Guidi; his broad range is well-deployed in Eicher’s widescreen production on this recording, made in Udine in January 2018. All three players – Rabbia, Petrella and Aarset - share an interest in electronic music as a means for conveying or enhancing emotional expression and for shaping the environments and atmospheres in which instrumental interaction, melodic development and the coloring of sound can take place. *** Michele Rabbia was born in Turin in 1965. He studied drums firstly with Enrico Lucchini in Italy and subsequently in the US with Joe Hunt and Alan Dawson. He has worked with a huge cast of musicians, with collaborators including Marilyn Crispell, Vincent Courtois, Roscoe Mitchell, Andy Sheppard and Dominique Pifarély. Rabbia has previously appeared on ECM recordings with Stefano Battaglia including Raccolto (recorded 2003), Re: Pasolini (2005), and Pastorale(2009). With Maria Pia De Vito, François Couturier and Anja Lechner, he is a founder member of the group Il Pergolese, whose eponymous debut album (2012) draws freely upon compositions of Giovanni Battista Pergolesi. Born in Bari in the South of Italy in 1975, Gianluca Petrella took up the trombone at the age of 10, following in the footsteps of his father, also a trombonist. The younger Petrella immersed himself in the history of jazz, exploring its mutating styles while also keeping an ear open to the sounds of the city. Recognized now as one of the important figures in the new Italian jazz, he is also interested in contemporary composition, R & B and the roots of hip hop, film music and more. He has performed with Ricardo Villalobos and Max Loderbauer, leads several bands of his own, and has created soundtracks for movies. A co-leader on the ECM album Ida Lupino(recorded 2015), with Giovanni Guidi, Louis Sclavis and Gerald Cleaver, Petrella can also be heard on four records for the label with Enrico Rava - Easy Living (2003), The Words and the Days (2005), Tribe (2019), and Wild Dance (2015) - and as a member of the Orchestre National de Jazz under the direction of Paolo Damiani on Charmediterranéan (2001). Eivind Aarset, born in Kolbotn, Norway in 1961, started playing guitar at the age of 12, inspired initially by Jimi Hendrix. Other early influences included fellow Norwegian Terje Rypdal and Pete Cosey with Miles Davis’s Agharta group. Aarset has helped to shape a new role for the electric guitar in creative music, working in an almost painterly way with texture and color and atmosphere. Eivind’s ECM album Dream Logic was recorded in 2011 and 2012. It was followed by Atmosphères (2014) with an improvising quartet with Tigran Hamasyan, Arve Henriksen and Jan Bang. Other ECM recordings with Eivind include Nils Petter Molvӕr’s influential Khmer(1996-97) and Solid Ether (1999) , Small Labyrinths (1994) with Marilyn Mazur’s Future Song, Arild Andersen’s Electra (2002-03), Arve Heriksen’s Cartography (2005-06), John Hassell’s Last Night The Moon Came Dropping Its Clothes In The Street (2008), Ketil Bjørnstad’s La Notte(2010), Food’s Mercurial Balm (2010-11), Michel Benita’s River Silver (2015), and three albums with Andy Sheppard: Movements In Colour (2008), Surrounded by Sea (2014) and Romaria (2017).
  3. Best Jazz Clubs in New Orleans?

    Snug Harbor gets great acts.
  4. Tell Me About the Cuban Laud biggest preliminary take-away from this for me is that the laud is a direct descendent of the oud.
  5. Tell Me About the Cuban Laud

    TTK, when the missus makes you your rum cocktails, does she put an umbrella in them?
  6. How To: Setting up a Blindfold Test

    Here are some instructions from my side of the Blindfold Test administration. Two weeks before your Blindfold Test is set to start, please send a private message to Thom Keith (tkeith) about how you are going to get your music to him. On the first day of the month in which you are presenting your Blindfold Test, post a thread called Blindfold Test __(with your BFT number there) Access and Discussion. Then post the link that Thom gives you in the first post on the thread. On the last day of the month post a new thread titled Blindfold Test __(your number) Reveal. Then provide the answers. Please do not do this until the last day of the month. Many members post their comments in the last few days of the month, so do not get impatient. it is better to have a Blindfold Test of 80 minutes or less, the length of one CD-R. The members seem to get somewhat overwhelmed by more music. Save the rest of your ideas past 80 minutes for next year’s Blindfold Test. Your musical content is up to you. I have noticed that some variety in styles of music seems to be appreciated. if you ever have other questions about your Blindfold Test presentation, Thom Keith and I are happy to answer them in private messages.
  7. Any recommendations regarding clubs or live jazz in N.O. Any good jazz concerts next week whether in a club or not?
  8. Today
  9. NBA playoffs thread

    It was bad!
  10. So, What Are You Listening To NOW?

    Sun Ra: The Space Age Is Here To Stay
  11. Tell Me About the Cuban Laud

    This is the time of year when I transition from drinking Old Fashioneds to rum cocktails. And with this shift in cocktail choices, I start to drag out the Latin jazz and exotica albums. A lot of my older Afro-Cuban records include an instrument that a gringo such as I would assume is an acoustic 12-string guitar. In fact, what I am probably hearing on these records is the instrument known as the Cuban Laud. I have seen these only in pictures. I have never attended a gig where one was used, let alone played in a combo that featured one. So tell me what you know - facts, impressions, and rumors are all welcome. This thread is intended as your convenient one-stop shop for all things related to the Cuban Laud.
  12. Play ball! 2019 MLB season thread

    I think we're going to enjoy watching Vladi Jr play this game for a long time.
  13. We have had some requests for a written directions for preparing the Blindfold Tests. Setting up a blindfold test: Choose your songs, and rip them to MP3 or record them to a CD-R. CD-R: This will automatically strip the song info and is the easiest way. Then mail the disc (I will provide my mailing address on request via a private message). MP3: Please strip the song info (metadata) so the songs are not identifiable to the listener. You can do this in most MP3 management programs (iTunes), or you can use a tag stripper (that’s the name of the program). I check them before I share them, but if you strip them first, I get to take the test. If you don’t, I can’t. Please name the tracks in the following manner: Track01.mp3, Track02.mp3, etc. No spaces, and zeroes before numbers 1-9. This is so they will appear in the correct order in the online player. If you don’t do this, I have to rename the files or the test doesn’t play in the correct order. It sounds like a small thing, but it is actually quiet time consuming. Getting me your MP3 files. There is one acceptable method. If it’s one you’re not comfortable with, you will need to burn me a disc. Files can be uploaded directly to my server using an FTP program (Filezilla, Cyberduck, etc.). Filezilla is open source with no crap involved (it’s a save download) directly from Mozzilla. I get it if you don’t want to have to download something (really, I do), but you will then need to burn a disc and send via mail. I’m happy to host the tests, but I can’t do it as a part-time job, so these are the only acceptable methods of transferring the test moving forward. Thank you for understanding.
  14. NBA playoffs thread

    I have to say that the officiating was.... interesting last night. It was a throw-back to the 80s, let's get physical style. Not saying that it was bad, but definitely old school.
  15. Aketa Disk/Deep Jazz Reality reissues

    Don't know much at all, but just found the opening track "Dragon Dance" on YouTube...
  16. What Classical Music Are You Listening To?

    Bruckner, Symphony No. 9 Brahms, Symphony's Nos. 2 & 3
  17. Just saw this list of new mini LP reissues coming out via Deep Jazz Reality in July. they all seem pretty obscure, does anyone know much about them, the harold land one sounds pretty nice
  18. It's the early Mangione that I go for and the company he kept - particularly Nistico.
  19. What vinyl are you spinning right now??

    I must admit I have not listened to very much Chuck Mangione, but remember a small club they had in the mid 80´s in Vienna where the club-owner and DJ spinned very often "Children of Sanchez" which I think is a very catchy thing.
  20. So, What Are You Listening To NOW?

    I have all Lee Morgans from the 50´s and most from the 60´s. This might be the first one, with Clarence "C" Sharp on alto. Nice little record, but the best Morgan from the 50´s I think is "The Cooker". I listen a lot to Lee Morgan right now, since our trumpet player likes him very much and on some of the last occasions we had "Ceora" in our repertory.
  21. Shatz’s piece falls in the category of “this is more interesting than most the shit I’m reading.” Regrettably, that’s a pretty low bar. Seems a little thinly sourced to me.
  22. NBA playoffs thread

    And Giannis tweaked his ankle late in the fourth quarter! Let's see what happens in the sixth game.
  23. ECM Artists on Tour

    Big Ears Festival, March
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