Suffice it to say, we know their sound well through their five ECM recordings and their appearances on other ECM albums.
Theirs, especially with Lovano aboard, is music of deep feeling, highly concentrated, sometimes composed but often loosely improvised, sprinkled with lyricism, quiet strength, and The Theme - Paul Bley Trio - My Standard (CD serious, contemplative, but beautiful vibe that runs throughout the album. While this is a comfort zone for Lovano, Miskiewicz and Kurkiewicz are especially effective in a subtle way. It is great to hear his voice in such a context.
The pianist dazzles here, after which Lovano soars, spurred on by the animated rhythm section, including an economical Miskiewicz solo. A piano and drums duo follows, then adding bass into a trio moment without piano.
Piano then re-enters, leading to the final theme with embellishments. The outcome was just what I was hoping for. Jim Hynes is an independent contributor on music for several magazines, including Elmore and formerly Variety. February 24, am. Without any doubt he was one of the bassists who gave the instrument a new role as an independent melodic voice, mainly because he had always been a master of abstraction. And you can hear this on Tangents, the last album of his own trio with Marc Copland piano and Joey Baron drums.
Peacock seems to The Theme - Paul Bley Trio - My Standard (CD together all the experiences from the other trios here, as if he were taking musical stock.
When you think of typical conservative piano trio music this might be the sound you have in mind. However, Peacock is much more present on this album than in his trios with the other pianists, one would almost be inclined to speak of a bass trio.
Arranged differently and recorded with other musicians the piece shows a completely different quality, each recording takes a new look at the same territory. The gloomy mood and the frayed harmonies are rather reminiscent of Paul Bley than Keith Jarrett, whereby the music - quite typical for an ECM recording - remains very open and gets room to breathe. It's always nice to share personal thoughts about the music, the people that make it and how it, many times, drastically alters our lifes.
Well done to all of Album) guys. I could say a lot about jazz or non-free, improv, blah-blah albums but if there's one that blew my mind forever, then it must be Spiritual Unity. Spiritual Unity is a mindbreaker and I am quite astonished that it appears at the first place. Thanks for the good job at all, Nick. Fantastic feature! Over the past couple of weeks, I've taken the opportunity to listen to more Gary Peacock, who I was only truly familiar with through the lenses of Annette Peacock compositions and Ayler especially Spirits Rejoice!
My favorite discovery is his rich history with a cadre of Japanese venerables. The Tethered Moon ensemble and Voices covered here feature some of those relationships. Perhaps the find I found most interest in was the Wave ensemble, with Togashi and Satoh; III was easy to find, but I'm still waiting on imports of I and II, snippets of which have led me to believe these are amazing records.
These records are still inside-outside, but the particular energy the Japanese musicians bring allow Peacock to flex his free-flowing lyricism and small forays into extended technique; to me, they are certainly more lively than many of the directions he was taking with his American counterparts beginning in the '80s. A route to consider, though just one among many the listener can take when digging through Peacock's considerable work. Another I'll have to take is listening to each of these featured records I haven't listened to yet; many thanks in sharing, y'all.
This series is a real feat, and a fitting tribute. Simply put, I had no idea how to approach it or what to make of it. Another true bass titan lost this year. Nice to see that work has had some influence on this blog among othersThe Theme - Paul Bley Trio - My Standard (CD, but it would be even more decent to acknowledge that. Post a Comment. The Free Jazz Collective.
Reviews of Free Jazz and Improvised Music. Sunday, September 20, Gary Peacock Tribute. It may have made more sense to recall Towner and Peacock's later duo albums on ECM in the s, but this recording from has something special about it.
In addition to working with Peacock, the album also features the guitarist's reunion with Oregon collaborator oboeist Paul McCandless, as well as trumpeter Markus Stockhausen and drummer Jerry Granelli. The album itself contains a wide range of styles and sometimes late 80's production values lend a certain timeliness to the album i. However, Peacock's bass playing is as expansive and on close listen, quite riveting. The ballad 'Far Cry' contains a lovely solo that erupts from a low pedal tone into a tense melody that seems to slip a little out of 'tune', giving the gentle song some edge.
Finally, 'Les Douzilles' is a passionate tune, a true gem, driven by Towner's blue-flame energy, but in this case, more importantly, featuring Peacock's swift tandem lines and delicious melodic timing. I picked this album up as I was getting into Bill Frisell's guitar playing, so it must have been pretty much when the CD came out. I didn't really like it at the time, and put it back in the collection to age. And age it did, through my many purges of the collection remember when you could sell back CDs for more than 25 cents?
Years later, after a rediscovery listening, I realised that it was quite an intriguing recording with basically the ingredients for Frisell's next n recordings. There is the wiggly electronics, the spartan free playing, and the reverent reworking of American folk tunes. It is the latter that shows off the beauty of Peacock's bass playing.
Of course, presenting a beloved melody The Theme - Paul Bley Trio - My Standard (CD an obvious hook, but it's also the contrasting nature of the playing that is captivating. On No.
He shadows, he counter punches, he stretches melodic lines into light dissonance, and is all motion in contrast to Frisell's languid lines. Peacock kicks off No. Hints of the melody, shapes of the chords are hinted at, but it's a rather free moving run, until after a minute and a half Frisell comes in with the chord-melody. However, this is Peacock's take - he even gets a little rowdy at the mark. This track is followed by a short improvised piece 'Through a Skylight' which is sort of refracted version of the previous tune, driven by Peacock's insistent bass, until Frisell's guitar explodes in a fractal of sounds.
However it's "Red River Valley" that really stands out. Peacock performs the well-worn tune unaccompanied. Glissandos between straight melodic phrases introduce implied counter melodies, and deep rumbles add heft and as many overtones as you can bear. A little latter, the duo slices open the standard 'Good Morning Heartache'. The two run in many directions - Peacock placing lovely fills between Frisell's well-planned plucks. Looking back, Now This marked a significant milestone in the career of Gary Peacock.
These segments complete and add just a bit of flourish to what is already a very pretty, silently dramatic album. A soundtrack for snowy winter days. Email This BlogThis! Share to Twitter Share to Facebook.
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