Record Reviews
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  | PAUL BLEY ~ ANNETTE
HATOLOGY 674 (Barcode: 752156067429) ~ USA ~ Jazz
Recorded: 1992 Released: 2010
This is a brilliant album by American Giant pianist / composer Paul BleyFind albums by this artist, one of the greatest Jazz modernists with an extensive recording legacy, which is full of treasures. In a trio setting with trumpeter Franz KoglmannFind albums by this artist and bassist Gary PeacockFind albums by this artist, they perform a set of wonderfully lyrical composition by the great Annette PeacockFind albums by this artist (except the title track composed / improvised by the trio). The drum-less trio is ideal for this intimate music, which becomes a dreamy suite of delicate touches and melancholic vistas. The performances are absolutely stellar and the music stunning, which of course is not surprising. This album is an example of perfection in every sense and I can´t imagine any connoisseur of modern Jazz not falling in love with this gem instantly. Exquisite stuff!
| | | CD 1 Mini-Sleeve Oversampling Remastered Recommend To A Friend |
  | PAUL BLEY ~ BALLADS
ECM 1010 (Barcode: 602567434788) ~ CANADA ~ Free Jazz / Improvised Music
Recorded: 1967 Released: 2019
This is a reissue of the iconic piano trio album by Canadian pianist / composer Paul BleyFind albums by this artist, recorded in March and July of 1967, with American drummer Barry AltschulFind albums by this artist and bassists Gary PeacockFind albums by this artist or Mark LevinsonFind albums by this artist. The album presents just three tracks, all composed by American vocalist / composer Annette PeacockFind albums by this artist, who was married first to Gary Peacock and later to Paul Bley, and who wrote much of his repertoire since 1964. Released originally in 1971, this was Bley’s second album for the then new ECMFind albums on this label Records label, and is often quoted as being one of the defining vectors of the “ECM sound”, which re-defined recorded Jazz in many aspects.
The music, created at the very peak of the American Free Jazz movement (the second session took place just a few days following John ColtraneFind albums by this artist’s death), following Bley’s involvement with the American Avant-Garde scene since its inception in the late 1950s, reflects perfectly his and his musicians state of mind. The title was of course mostly ironic / sarcastic, as the music was indeed based on a loosely concept of a ballad, the classic structure of which was completely fragmented, broken down, stretched and improvised on. The beautiful melody lines, which Annette Peacock masterly weaved, and which last for under a minute each, are expanded into twelve or seventeen minutes long improvisations. No wonder many listeners and music critics alike had a hard time to accept these innovative concepts as valid or worth listening to, which of course was completely ignored by the musicians and the ECM team at the time. This is a symbol of why the first 100 albums released on ECM between 1970 and 1977 changed the face of recorded music in every possible perception.
And yes, this is extremely difficult music to be enjoyed – it takes years of training one’s ears and of course one’s mind in order to relax the intellectual muscles trained by years of Swing and Bebop, in order to grasp what is really going on, why every note here is perfectly in its place and why this music will never be played in elevators. And no, not everybody has to love and enjoy this music. In fact, it would be a catastrophe if everybody did love it, as it would probably mean that the world has gone even crazier than it seems to be.
Overall, this is an absolute classic Free Jazz / Improvised Music recording, which lost nothing of its power over time, and is still intellectually challenging and satisfying almost sixty years after it was recorded. It is a great reminder of the role of ECM Records as a pioneer of European Culture, which managed to transfer everything that was worthy over to the right side of the pond.
| | Updated: 11/08/2024Posted: 09/08/2024 | CD 1 Mini-Sleeve Recommend To A Friend |
  | MARILYN CRISPELL ~ NOTHING EVER WAS, ANYWAY. MUSIC OF ANNETTE PEACOCK
ECM 1626/27 (Barcode: 731453722224) ~ USA ~ Jazz
Recorded: 1996 Released: 1997
Beautiful album by US pianist Marilyn CrispellFind albums by this artist with legendary bassist Gary PeacockFind albums by this artist and drummer Paul MotianFind albums by this artist, which pays tribute to the extraordinary compositions by Annette PeacockFind albums by this artist. Crispell worked with Annette Peacock for several months selecting the music to be included on this album and Annette herself adds her vocals to one of the songs. Annette Peacock is undoubtedly one of the greatest ballad composers in contemporary Jazz, with an impressive songbook going back to the 1960s. Her celebrated work over the years, which includes cooperation with Avant-Garde, Rock, Prog and Jazz musicians, is truly amazing and extraordinary in scope and diversity. Pianist / composer Paul BleyFind albums by this artist was the first Jazz musician, who started to feature Annette´s compositions on his numerous albums, starting as early as 1964. This album is a most fitting tribute to her life-long achievements and a masterpiece of contemporary music. Brilliant!
Visitors' Comments
Christopher Brice
No album with this rhythm section could be truly monotonous but IMHO the material did not sustain itself over the whole album, despite the intervention from (Mrs) Peacock at the end of the first disc - the later Amaryllis with the same line up (which I bought first) is much more interesting, with many tunes composed by Motian or (Mr) Peacock
| | Updated: 12/04/2019Posted: | CD 2 Slipcase Recommend To A Friend |
  | MARYLAND ~ CROSSING AND BLENDING
NOT ON LABEL ~ AUSTRIA ~ Jazz
Recorded: 2005 Released: 2005
This is the only album by the ensemble MarylandFind albums by this artist, fronted by the Austrian singer / composer Maria NeckamFind albums by this artist with pianist Franz von ChossyFind albums by this artist, bassist Valdi KolliFind albums by this artist and drummer Uli GenengerFind albums by this artist. A few guest musicians participate on some of the tracks. The album was recorded in Netherlands where Neckam was studying at the time vocal Jazz at the Conservatory of Amsterdam. This is her debut recording, a collection of fourteen songs, twelve of which are her compositions and lyrics, one is composed by the pianist to her lyrics and one is a standard. All the lyrics are in English, except in one case, where a poem in German is recited, rather that sung.
From the very opening note of this album the listener enters a world of music, which is utterly Maria Neckam´s universe, distinctive, unique and completely irresistible. Amazingly she manages to set her musical framework at such an early stage of her career. Although still lacking the experience and readiness of a mature artist, her amazing talent and youthful life-force overcome any possible traps and blunders. The album is so amazingly "complete", full of superb music and heartfelt performances, that all the minor flaws, which are surely present herein, are completely pushed aside and become meaningless in view of the enormous amount of aesthetic pleasure, elegance and intelligence. Neckam´s idiosyncratic style reminds me of the young Annette PeacockFind albums by this artist, both in her compositional approach and some of her vocal technique. Singer / composer Lauren NewtonFind albums by this artist also comes to mind, especially on Neckam´s less structured pieces.
Neckam´s music shows a wide range of influences and empathies, resulting in an enormously versatile scope of stylistic approaches on this album. Of course a debut album is often characterized by the strong desire to "spill out" vast amount of music, which has been accumulating for a very long time. Although such lack of focus might become a major problem for some artists, in the case of this album the versatility simply serves as an opportunity to show the listener how accomplished Neckam really is. Firmly based in the Jazz tradition, the music amalgamates a plethora of different influences, such as World Music, European neo-romanticism, traditional and experimental vocalese, and many others. Of course Neckam´s charm is all about taking all these different elements and making them completely and uniquely her own.
As far as debuts go, this is definitely one of the most impressive ones that a music connoisseur might come across. Although it had little media coverage and no real impact at the time of its release, it is nevertheless a superb piece of music, which deserves to be re-discovered, especially now in view of Neckam´s more recent success. A charming fruit, somewhat un-ripe and yet already delicious – a gem!
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  | ANNETTE PEACOCK ~ AN ACROBAT`S HEART
ECM 1733 (Barcode: 601215949629) ~ USA ~ Jazz-Classical Fusion
Recorded: 2000 Released: 2000
A beautiful and deeply moving album by veteran US singer / pianist / composer Annette PeacockFind albums by this artist, commissioned by the ECMFind albums on this label label and placing the composer in a new (for her) musical environment, which merges Jazz and contemporary Classical music. Peacock plays and sings her enigmatic and deeply lyrical songs accompanied by the Cikada String QuartetFind albums by this artist. The album consists of 15 short compositions / songs, which together create a lengthy suite. As someone who has been enchanted by Peacock´s music for decades, I cherish this new addition to her musical legacy after a long period of silence, which preceded this recording. Brilliant stuff!
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  | ANNETTE PEACOCK & PAUL BLEY ~ DUAL UNITY
BAMBOO 7018 (Barcode: 4752817701811) ~ USA ~ Avant-Garde Jazz
Recorded: 1970 Released: 2016
This is a reissue of the iconic Avant-Garde recording by the American vocalist / pianist / composer Annette PeacockFind albums by this artist and her partner, Canadian pianist / composer Paul BleyFind albums by this artist, released originally on the British FreedomFind albums on this label label in 1971. This album preceded the release of Annette Peacock’s debut solo album “I`m The OneFind albums with this title” from 1972 and is the first release with her name on it, but her outstanding compositions appeared on albums since 1966. The music on this album was recorded live during their first European tour in 1970. The first two tracks were recorded in Netherlands with Dutch drummer Han BenninkFind albums by this artist and are taken from the same session, which produced the “ImprovisieFind albums with this title” LP by Bley, released by the French AmericaFind albums on this label label the same year. The two other tracks were recorded in France with American bassist Mario PavoneFind albums by this artist and drummer Laurence CookFind albums by this artist.
Bley plays mostly synthesizer on this album and he was one of the first Jazz musicians to do so. Annette also used synthesizers extensively and she received her first one from no other than Robert MoogFind albums by this artist. She also sings, growls, plays bass guitar and piano, as appropriate for her many talents. She wrote one of the compositions (a rework of her Mr. Joy composition) and co-wrote the other three with Bley.
The music is mostly freely improvised, except for the melodic first track, synthesizer soaked and so Avant-Garde, that it even sounds Avant-Garde today by any standard, making most contemporary Avant-Gardists sound like pussycats, even though the music was conceived and recorded fifty years ago!
Although the album only lasts thirty-three minutes and twenty-one seconds, there is more searching, exploring and invention herein than probably in the entire Improvised Music recorded in the entire 2010s decade, which is sadly almost all déjà vu (with some notable exceptions of course).
Overall, for music lovers interested in discovering the source of everything, this is an indispensable document capturing the essence of discovery.
| | Updated: 23/06/2021Posted: 23/06/2021 | CD 1 Remastered Recommend To A Friend |
  | HOWARD RILEY ~ BBC SESSIONS 1968-1970
RHYTHM AND BLUES 100 (Barcode: 5060331753827) ~ UK ~ Free Jazz / Improvised Music
Recorded: 1968 - 1970 Released: 2024
This is an archival album, which presents recordings by the brilliant British Jazz pianist / composer Howard RileyFind albums by this artist, recorded with his trio with bassist Barry GuyFind albums by this artist and drummers Jon HisemanFind albums by this artist or Alan JacksonFind albums by this artist. The album presents thirteen tracks, five with the trio with Hiseman recorded in 1968 and eight with the trio with Jackson recorded between 1969 and 1970. Most of the material was composed by Riley or Guy, but there are also a couple of standards and one tune by Annette PeacockFind albums by this artist. The material originates from the first three albums by the trio: “DiscussionsFind albums with this title”, “AngleFind albums with this title” and “The Day Will ComeFind albums with this title”, all essential British Jazz recordings.
Riley is by far my favorite British Jazz Avant-Gardist, and his extensive recorded legacy is one of the pillars of the genre. He is mostly known for his work in the classic Jazz piano trio format, like the two trios preset here and the later trio with Guy and Tony OxleyFind albums by this artist. But he recorded in other ensembles with the crème de la crème of the British scene over the years and practically all his albums are instant classics. Sadly, my impression is that he never received the proper recognition as one of the Godfathers of the genre and many of his albums are almost completely unknown.
For me, Riley is one of the most remarkable Jazz Artists, blessed by a remarkable ability to think out of the box. Although that specific quality should be integral to all Free Jazz / Improvised Music / Avant-Gardists, in fact is rather a rare quality, and many musicians belonging to these genres repeat patterns rather than inventing them. From the very early days of his career, like on these sessions, Riley’s approach to improvising was completely innovative and unlike anything / anybody else. His playing, completely Free on one hand, is also superbly melodic, on the other, despite how far he moves away from the source / original melody. This is particularly easy to spot in his interpretations of standards, but even more fascination while playing his original compositions.
This album is a wonderful document, especially in view of the fact that this music is previously unreleased and offers a superb addition / extension to the three a.m. studio albums by Riley, which are of course also timeless gems. Although reissued, they are not easy to find, and absolutely worth the effort.
Overall, this is an absolute must for every British Jazz lover and Avant-Garde Jazz enthusiast, anywhere on this planet. It offers some of the cleverest, most sophisticated and aesthetically satisfying music, which lost nothing of its power and zetz over time, and is still a stunning listening experience!
| | Updated: 25/09/2024Posted: 25/09/2024 | CD 1 Recommend To A Friend |
  | THIEVES` KITCHEN ~ THE WATER ROAD
TK 4 (Barcode: 634479659010) ~ UK ~ Progressive Rock
Recorded: 2007 Released: 2008
4th album by British (well almost) Prog band Thieves` KitchenFind albums by this artist, which comes five years after their splendid previous release ShibbolethFind albums with this title – quite a long time of course, but plainly worth the delay in view of the result. TK are one of the very few bands, which manages to make giant leaps between consecutive albums, all in the right direction. Each of their albums has not only been different stylistically and conceptually, but they consistently keep growing up and expanding their musical and lyrical vocabulary. Whereas the last album took them into the ambitious RIO direction, this one takes another turn and brings the band very closely to Scandinavian Prog, with Isildurs BaneFind albums by this artist and AnglagardFind albums by this artist coming to mind almost immediately. The fact that the band has a Scandinavian member (ex-AnglagardFind albums by this artist keyboards player) and a few of the guest musicians on this album are Scandinavians as well might have something to do with this, but I prefer to give them the credit for choosing this path as part of their intentional direction-seeking. In view of the fact that Scandinavian Prog is definitely the most advanced and aesthetically rewarding on the contemporary Prog scene, TK could have chosen no better bearing than this. Fronted by the remarkable vocalist Amy DarbyFind albums by this artist, the band includes also four exceptional instrumentalist: Phil MercyFind albums by this artist – guitars, Thomas JohnsonFind albums by this artist – keyboards, Andy BonhamFind albums by this artist – bass and Mark RobothamFind albums by this artist – drums. Although Darby’s vocal parts are the most striking and immediately noticeable feature, there are plenty of great instrumental parts here, which are worth listening to attentively. Darby (as I already mentioned in my review of the previous album, her first with TK) continues the great tradition of outstanding unconventional female vocalist like Julie TippettsFind albums by this artist (Julie DriscollFind albums by this artist) and Annette PeacockFind albums by this artist. On this album she also occasionally reminds me of Joni MitchellFind albums by this artist, another great model to follow. As if her singing abilities are not sufficient, Derby also wrote all the original lyrics on this album (two of the tracks feature lyrics translated from Chinese and one uses Sanskrit) and took care of the elegant and exquisite graphic design of the album’s artwork (and the band’s web site). Definitely a talented lady! The music is mostly contemplative, slowly developing the intricate melodies, with plenty of breathing space and long instrumental passages. Expanding the band with guest musicians playing flute, cello, oboe, saxophone and other instruments, the music receives a loving treatment and intimate chamber character. Kudos to TK for creating this beautiful piece of music. I only hope that many people will enjoy this album as much as I have. Wholeheartedly recommended!
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