Paul Bley | |
---|---|
![]() Paul Bley recording solo piano in 2006 |
|
Background information | |
Birth name | Paul Bley |
Born | November 10, 1932 |
Origin | Montreal, Canada |
Genres | Free jazz Avant-garde jazz Post bop |
Instruments | Piano |
Associated acts | Charlie Parker, Lester Young, Charles Mingus, Sonny Rollins, Ornette Coleman, Jimmy Giuffre, Steve Swallow, Chet Baker, Gary Peacock, Paul Motian, Annette Peacock, Charlie Haden, John Scofield, Niels-Henning Ørsted Pedersen, Bill Frisell, John Abercrombie, Michael Urbaniak, Pat Metheny, Jaco Pastorius |
Notable instruments | |
piano, Moog synthesizer, ARP synthesizer, Fender Rhodes |
Paul Bley, CM (born November 10, 1932) is a pianist known for his contributions to the free jazz movement of the 1960s as well as his innovations and influence on trio playing.
Contents |
Paul Bley was born in Montreal, Canada, his parents were Betty Marcovitch, an immigrant from Romania, and Joe Bley, owner of an embroidery factory.[1][2] Bley has been a long-time resident of the United States. His music characteristically features strong senses both of melodic voicing and space.
In the 1950s he founded the Jazz Workshop in Montreal, performing and recording there with Charlie Parker. He also performed with Lester Young and Ben Webster at that time.
In 1953 he conducted for Charles Mingus on the Charles Mingus and his Orchestra album and the same year Mingus produced the Introducing Paul Bley album with Mingus and Art Blakey. In 1960 Bley recorded on piano with the Charles Mingus Group.
In 1958, he hired Don Cherry, Ornette Coleman, Charlie Haden and Billy Higgins to play at the Hillcrest Club in California.
In the early 1960s he was part of the Jimmy Giuffre 3, a clarinet, piano and bass trio with bassist Steve Swallow. The quiet understatement of this music makes it possible to overlook its degree of innovation. As well as a repertoire introducing compositions by his ex-wife Carla Bley, the group's music moved towards free improvisation based on close empathy.
During the same period Bley was touring and recording with Sonny Rollins, which culminated with the RCA Victor album, Sonny Meets Hawk! with Coleman Hawkins.
In 1964 Bley was instrumental in the formation of the Jazz Composers Guild - a co-operative organisation which brought together many free jazz musicians in New York: Roswell Rudd, Cecil Taylor, Archie Shepp, his ex-wife Carla Bley, Michael Mantler, Sun Ra, among others. The guild organized weekly concerts and created a forum for the "jazz revolution" of 1964.[3]
Bley had long been interested in expanding the palette of his music using unconventional sounds (such as playing directly on the piano-strings). It was therefore consistent that he took an interest in new electronic possibilities appearing in the late 1960s. He pioneered the use of Moog synthesizers, performing with them before a live audience for the first time at Philharmonic Hall in New York City on Dec. 26, 1969.[4]
This led into a period of the "Bley-Peacock Synthesizer Show", a group where he worked with songwriter Annette Peacock.
Subsequently Bley returned to a predominant focus on the piano itself.
During the 1970s, Bley, in partnership with videographer Carol Goss, was responsible for an important multi-media initiative, Improvising Artists which issued LPs and videos documenting the solo piano recordings by Sun Ra and other works of free jazz with Jimmy Giuffre, Lee Konitz, Gary Peacock, Lester Bowie, John Gilmore, Jaco Pastorius, Pat Metheny, Steve Lacy and others.
Bley and Goss are credited in a Billboard Magazine cover story with the first "music video" as a result of the recorded and live performance collaborations they produced with jazz musicians and video artists.
Bley was featured in the 1981 documentary film Imagine the Sound, in which he performs and discusses the history of his music.
Bley has continued to tour internationally and record prodigiously, with well over a hundred CDs released. In 1999 his autobiography, Stopping Time: Paul Bley and the Transformation of Jazz was published. In 2003 Time Will Tell: Conversations with Paul Bley was published. And in 2004 Paul Bley: la logica del caso (Paul Bley: The Logic of Chance) was published in Italian. In 2008, he was made a Member of the Order of Canada.[5]
![]() |
This section requires expansion. |
With Jimmy Giuffre
With Sonny Rollins
With Marion Brown
With Charlie Haden
With John Surman
Paul Bley is the second album by Canadian jazz pianist Paul Bley featuring tracks recorded in 1954 and released on the EmArcy label.
Allmusic awarded the album 4 stars stating "Pick a personality trait of the Paul Bley style and chances are it won't be found anywhere here, as lovely a piano trio jazz record as this is... For the most part the tone of the pianist remains almost frigid in its consistency; volume level rarely varies and the direction of the improvisations is solidly mainstream... The obvious problem with someone like Bley or Jimi Hendrix is that once they developed their totally unique musical personality, their earlier work starts to sound a little boring".The Penguin Guide to Jazz said "At this stage of his career, he's a very orthodox bopper, aware of the blues but certainly not restricted by them, possibly exploring aspects of Tristano's evolution as well, and certainly listening to classical pianists for technique and harmonic ideas".