By Amy C. Beal
This is the 1st accomplished remedy of the extraordinary tune and impression of Carla Bley, a hugely cutting edge American jazz composer, pianist, organist, band chief, and activist. With fastidious recognition to Bley's varied compositions during the last fifty years spanning serious moments in jazz and experimental track background, Amy C. Beal tenders a long-overdue illustration of a tremendous determine in American music.
Best recognized for her jazz opera "Escalator over the Hill," her function within the unfastened Jazz circulate of the Nineteen Sixties, and her collaborations with artists resembling Jack Bruce, Don Cherry, Robert Wyatt, and crimson Floyd drummer Nick Mason, Bley has effectively maneuvered the sector of jazz from hugely obtainable, tradition-based contexts to commercially unviable, avant-garde works. Beal info the brilliant type in Bley's paintings in addition to her use of parody, quotations, and contradictions, studying the vocabulary Bley has built all through her occupation and highlighting the compositional and cultural value of her experimentalism.
Beal additionally issues to Bley's specialist and managerial paintings as a pioneer within the improvement of artist-owned list labels, the cofounder and supervisor of WATT documents, and the cofounder of latest tune Distribution carrier. exhibiting her to be not only an artist yet an activist who has maintained musical independence regulate amid the profit-driven, corporation-dominated international of industrial jazz, Beal's uncomplicated dialogue of Bley's lifestyles and profession will stimulate deeper examinations of her work.
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Additional resources for Carla Bley
Both running some eight minutes long, these pieces throw the album’s structure slightly off balance from its otherwise nearly symmetrical axis, a welcome disruption that seems to provide the emotional climax of the moody yet extroverted work. The opening and closing pieces of A Genuine Tong Funeral provide great stylistic contrast while simultaneously supporting a sense of proportional balance to the composition as a whole. indd 38 8/29/11 10:43 AM Train. The Opening is a slow, smooth, tonal brass chorale reminiscent of the opening of the Largo from Dvorˇák’s Ninth (“New World”) Symphony (a piece Bley later orchestrated for the eighteen-piece Liberation Music Orchestra on their fourth release, Not in Our Name ).
Walking Woman is also striking in its brevity, though its harmony, if one can call it that, is more varied than that in Floater. The piece consists of one system of music, with a repeat sign encompassing the entire phrase (see fig. 4). indd 19 8/29/11 10:43 AM c a r l a b l e y | Sing Me Softly of the Blues 20 Figure 4. Walking Woman. Carla Bley, Vol. 1: Early Short Pieces (1958–1964). Copyright 1976, Alrac Music. Used by permission of Carla Bley. and bar lines but also leaving out rests that would normally fill the unarticulated space when one hand rests while the other plays.
In 1971, around the time the recording and mixing processes for Escalator over the Hill were finally complete, Bley won her second Down Beat International Critics Poll award as a composer. Widely considered Bley’s greatest achievement, as well as Paul Haines’s most consequential piece of poetic writing, the musically unclassifiable Escalator over the Hill is an epic, somewhat impenetrable work of art, one that nourished Bley’s proclivity toward musical boundary crossing and her genuinely collaborative nature.