Artist: Carla Bley
Genre(s):
Jazz
Miscellaneous
New Age
Discography:
New conversations
Year: 2007
Tracks: 8
Umbria Jazz 2006
Year: 2006
Tracks: 10
Looking for America
Year: 2003
Tracks: 9
European Tour (1977)
Year: 2000
Tracks: 4
Big Band Theory
Year: 2000
Tracks: 1
Fancy Chamber Music
Year: 1998
Tracks: 1
Post-bop jazz has produced simply a few topnotch composers of bigger forms; Carla Bley ranks heights among them. Bley possesses an unco broad compositional grasp; she combines an acquaintance with and sexual love for jazz in all its forms with great gift and originality. Her euphony is a particularly private type of hyper-modern jazz. Bley is subject of writing music of capital drama and profound temper, ofttimes inside the confines of the same piece. As an player, Bley makes a fine composer; she plays pianissimo and/or pipe organ with most of her bands, and piece her acting is incessantly quite musical, it's pass that her strengths lie elsewhere. Bley's crooked compositional structures subvert jazz formula to rattling effect, and her unpredictable melodies are oft as attention-getting as they ar isolated. In the tradition of jazz's very finest composers and improvisers, Bley has highly-developed a mode of her selfsame own, and the music as a whole is the better for it.
Innate Carla Borg, Bley well-read the basics of music as a minor from her father, a church musician. Thereafter, she was mostly self-taught. Bley touched to New York around 1955, where she worked as a cigaret miss and occasional pianist. She married piano player Paul Bley, for whom she began to write tunes (she too wrote for George Russell and Jimmy Giuffre). In 1964, with her mo husband, trumpeter swan Michael Mantler, Bley formed the Jazz Composers Guild Orchestra, which a year afterward became known but as the Jazz Composers' Orchestra. Two years afterward, Bley helped found the Jazz Composers' Orchestra Association, a not-for-profit organisation intentional to submit, stagger, and bring forth improper forms of malarky.
In 1967, vibist Gary Burton's quartette recorded Bley's cycle of tunes A Genuine Tong Funeral, which brought her to the tending of the general public for the first-class honours degree sentence. In 1969, Bley composed and ordered music for Charlie Haden's Liberation Music Orchestra. In 1971, Bley completed the work that cemented her reputation, the jazz opera Moving staircase Over the Hill. In the '70s and '80s, Bley continued to run the JCOA and write and record for her have Watt mark. The JCOA essentially folded in the late '80s, just Bley's creative life has continued largely unabated. For much of the past two decades, she's kept up a mid-sized heavy band with fairly stable force to circuit and record. She's too worked a great deal with the bassist Steve Swallow, in duo and in ensembles of variable size.
Bley wrote the music for the soundtrack to the 1985 film Mortelle Randone. She too contributed young compositions to the Liberation Music Orchestra's mo embodiment in 1983. All through the '80s, '90s, and into the young millennium, Bley continued releasing albums through ECM, ranging from duets with bassist Steve Swallow to the Very Big Carla Bley Band. She released a third duets record album with Steve Swallow, Ar We There Yet?, in 2000, Looking for for America in 2003, and The Lost Chords Find Paolo Fresu in 2007.
Electronic
