Lawns
Carla Bley- Lawn - Carla Bley Sextet
- Sextet (Watt 1987)
2002년도 10월 LG Art Center에서 만났던 할머니. 텀블이 맛탱이 가서 이젠 안해야 하나 했었다. 텀블 복구 기념으로 한곡 올리고 자야쥐~
Houses and People (Opening Instrumental)
Carla Bley & Steve SwallowHouses and People (Opening Instrumental) - Carla Bley & Steve Swallow (Very Very Simple - Live, 1996)
Talking Hearts
Carla Bley‘Talking Hearts’ by Carla Bley [Heavy Heart, 1984]
Reactionary Tango (In Three Parts)
Carla Bley And Steve SwallowCarla Bley And Steve Swallow - Reactionary Tango (In Three Parts) [Duets, 1988]
Night-Glo
Carla Bley with Steve SwallowNight-Glo - Carla Bley with Steve Swallow (Night-Glo, 1985)
Silence
Carla BleySilence - Carla Bley feat. Charlie Haden (Selected Recording :rarum XV)
Utviklingssang
Carla Bley And Steve SwallowCarla Bley And Steve Swallow - Utviklingssang [Duets, 1988]
Lawns
Carla Bley & Steve SwallowCarla Bley & Steve Swallow: Lawns (Duet Live)
Houses and People
Carla BleyHouses and People - Carla Bley (Sextet, 1987)
A.I.R. (All India Radio)
Carla Bley & Paul HainesFurther Research on Carla Bley here
Mp3 - Emily Haines: “The Maid Needs a Maid”
Do you think that’s had any influence on your affection for this multimedia direction that you’ve been taking over the last few years?
I don’t know. I think it was the whole thing together. Definitely the most influential part, looking back at my childhood, was my father’s involvement with Escalator over the Hill, which is…do you know that album?
I don’t.
It’s really cool. It’s often referred to as the Sergeant Pepper’s of the jazz world. So it’s 1974. He’s living in India with family who had me. He’s sending lyrics back to New York to this woman Carla Bley. I’m so excited whenever I get to introduce someone to it, ‘cause it’s totally mind-blowing. It’s a double album, and my dad wrote like a…it’s like an opera. They call it a “chronotransduction.” But Carla Bley says “we call it an opera for short.” And so it’s these interesting characters, and everything is sung by artists from all different genres. Linda Ronstadt is on there. Jack Bruce from Cream is on there. Plus all these heavy-duty outside jazz guys are playing on there too.
So I grew up looking at this cast of characters like The Muppet Show, you know? An incredible example of people from all different musical genres and different styles creating what I think is one of the most incredible albums ever made, and they financed it themselves, and they put it out on their own label. When I look at my life and the things I have done, that was obviously the blueprint for me. Including…there’s only so much you can do in terms of collaboration if you’re not willing to work with anyone other than musicians, so for me, I feel like it’s natural that I moved from the art collective from Buenos Aires that I was working with, on to film. For whatever reason, it always looked like more fun to me to be part of something with other people, and let them take what you’re doing and interpret it and make it part of what they’re doing, instead of just being on your own.
— Excerpts from Emily Haines’ interview with “America Society of Composers, Authors and Publishers” 2010.
Romantic Notions #3
Carla Bley & Steve SwallowCi tengo ad inserire un brano tratto dal disco “DUETS” di Carla Bley e Steve Swallow perché ritengo da un lato che la copertina di questo cd sia la PEGGIORE di tutta la storia del jazz, ma dall’altro che il contenuto musicale sia di assoluta qualità.Carla Bley, nata Borg, nota compositrice e arrangiatrice ormai sulla settantina, avvezza ai palcoscenici italiani anche per la recente collaborazione ai Lost Chords assieme a Paolo Fresu, ha intrapreso tra le varie attività un lungo percorso artistico e anche sentimentale (come si può intuire) con Swallow.. Ne sono usciti una serie di albums in duo per l’etichetta WATT che incarnano una certa idea di jazz cameristico, molto intellettuale, che si basa sull’ equilibrio tra un uso parco del pianoforte della Bley, e i virtuosismi melodici di Swallow. E’ interessante notare come il modo di suonare il piano della Bley consista in una ricerca “fra” le note, in una scelta meditata dei voicing degli accordi e delle sostituzioni armoniche che fanno intuire come ella sia più un’arrangiatrice e compositrice che una pianista in senso stretto. Un po’ come suonava il pianoforte Duke Ellington, se mi si consente l’accostamento, o forse ancor di più come suonava il Fender Rhodes Gil Evans. Il tutto condito da reminiscenze monkiane (altro pianista compositore), come si può intuire nell’ottimo brano che propongo oggi, dal titolo Romantic Notions #3, composto dalla Bley ed inciso a New York nel 1988.
