Obituary Paul Bley: open, for everything – Tagesspiegel

17:13 clock From Gregor Dotzauer <- self.position: -1 -> <- classid: hcf inline-left -> <- position: left -> <- inisprint: false -> <- inhaspic:! true ->

form without formulas: The Canadian Paul Bley a silent giant of jazz piano died.

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Nothing but a wing in the Oslo Rainbow Studios, and before that and the fact sometimes deep in the bowels of the instrument, a melancholy sound workers. That was recorded in 1972, “Open, to Love”, the album with which he created a work of the summit solo piano in jazz. Forty minutes of the most fragile, most intimate, most dramatic, tense dissonant music between unresolved verschwebenden chords and short assembly and outbreaks, between constructive brittleness and almost desperately against it amusing, partly mitgesungener Melody bliss. Shimmering sound fragments in which reflected everything Paul Bley had previously developed in a variety of constellations, and what was to come, in that endless process of upheaval, which accounted for his improvisation.

Basically, he denied his whole life on the basis of a manageable number of standards and the compositions that had given him his two music-making women had learned the ingenious dilettante Carla Bley, he kennen- as cigarette girl at New York’s Birdland and love and later himself a successful bandleader was ; and its successor, the headstrong Annette Peacock, who had been previously married immediately with bassist Gary Peacock, with whom he performed for half a century. Two pieces on “Open, to Love” (ECM), including the title theme, came from Annette, three of Carla, and though he was never tired of playing them and take the game material originated under his hands always like new again.

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calm after the storm

1972 Bley was exactly forty years old – old enough to be in the swirls of music history once completely withdraw on itself. He had previously overthrown by Annette Peacock in adventurous squealing synthesizer projects and abjured the acoustic music. He had plowed with Barry Levinson on drums and bassist Peacock and Mark Levinson ekstatischeren the realms of free jazz trio and also maintained with them an abducted almost to a standstill balladry. He had invented as part of the Jimmy Giuffre 3, along with their masters klarinettespielendem an abstract chamber jazz, which, just against some strained characteristics of contemporary music today so airy and fresh acts as before. And he was in 1958 to the revolutionary movement, which shook in the form of Ornette Coleman and Don Cherry on the hierarchies and customary behavior of themselves entlanghangelnden on song structures and Bopgirlanden coexistence. Shortly after Coleman’s first studio album, “Something Else !!!!” he fell to the two, and Charlie Haden and Billy Higgins in Hillcrest California Club on compositions by Irving Berlin and Charlie Parker ago and helped them in the vicinity of Coleman’s own songs like “The Blessing “a truly modern character.

If you want to know by what liberties he aufsprengte formulaic music, but Bleys solo on core / Hammerstein is still” All The Things You Are “the measure of all things. A few bars in the Jazz have been so often transcribed as the three choruses, which he played in 1963 “Sonny Meets Hawk!” In the ten-minute version of the standard. As he here, away sails the changes, the chord progressions with your own designs, without bringing it to collapse, fascinated pianists today. And so he has always upheld parallel to the more or less free improvisations that follow a calligraphic inclination of the lines also swing gentler forms – with his own independence and a quiet passion for the blues

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Paul Bley was from Montreal, Canada, where he Early contacts sought for jazz scene. For the study, he moved to New York at the Juilliard School, where he attended several workshops with Lennie Tristano. Contact. He made his debut in 1953 on “Introducing Paul Bley” together with his mentor Charlie Mingus and Art Blakey. Later, in the eighties, he seemed almost overrecorded: a man who had his own notion of diligence and laziness by practicing prefer refused to order to be as spontaneous as possible. This could not happen without repetitions. But now you’re grateful for every tone of this giant of jazz piano has left. On Sunday, he is, as his third wife Carol Goss, the artist and co-founder of his label Improvising Artists and their daughter Vanessa announced dead in the family circle with 83 years.

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