Mikaela Bley

Mikaela Bley - Segreto di famiglia  eBooks & eLearning

Posted by SSCN1926 at Feb. 25, 2016
Mikaela Bley - Segreto di famiglia

Mikaela Bley - Segreto di famiglia
Italian | Newton | 2016 | EPUB | Pages 294 | ASIN: B019HW344K | 1.73 Mb

Mikaela Bley - Glücksmädchen  eBooks & eLearning

Posted by SSCN1926 at Feb. 10, 2017
Mikaela Bley - Glücksmädchen

Mikaela Bley - Glücksmädchen
German | Ullstein | 2017 | EPUB | Pages 320 | ASIN: B01G1UZP8O | 3.90 Mb
Jimmy Giuffre, Paul Bley, Steve Swallow - Fly Away Little Bird (1992) Reissue 2002

Jimmy Giuffre, Paul Bley, Steve Swallow - Fly Away Little Bird (1992) Reissue 2002
EAC | FLAC | Tracks (Cue&Log) ~ 298 Mb (incl 5%) | Mp3 (CBR320) ~ 187 Mb (incl 5%) | Scans included
Modern Creative, Post-Bop, Modal Jazz | Label: Sunnyside | # SSC 3504 | Time: 01:16:39

Why aren't there more recordings like Fly Away Little Bird? Perhaps it's because there aren't more musicians of this stature. The studio reunion of the legendarily experimental Jimmy Giuffre 3 in 1992 was reissued in 2002 on the French Sunnyside label and is a radical departure from anything the trio had done in the past. These studio apparitions of the band are their most seamlessly accessible while being wildly exploratory. In addition to the consummate improvisations and compositions by Giuffre (title track, a redone "Tumbleweed"), the tender meditations by Steve Swallow ("Fits" and "Starts"), and the bottom-register contrapuntal improves by Paul Bley ("Qualude"), this is a trio recording that uses standards such as "Lover Man," a radically and gorgeously reworked "I Can't Get Started," "Sweet and Lovely," and "All the Things You Are" to state hidden textural possibilities inside chromatic harmony. There is never the notion of restraint in the slow, easy, and proactive way these compositions are approached.
Bob Mover, Paul Bley, John Abercrombie - The Night Bathers (1986) {Justin Time JUST 14-2 rel 1991}

Bob Mover, Paul Bley, John Abercrombie - The Night Bathers (1986) {Justin Time JUST 14-2 rel 1991}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 191 Mb | MP3 @320 -> 105 Mb
Full Artwork @ 300 dpi (jpg) -> 7 Mb | 5% repair rar
© 1986, 1991 Justin Time Records | JUST 14-2
Jazz / Neo Bop / Modern Jazz / Progressive Jazz / Saxophone / Piano / Guitar

When one considers the instrumentation (alto, piano and guitar) and the personnel (Bob Mover, Paul Bley and John Abercrombie), it is not surprising that this date is full of thoughtful, chance-taking and often lyrical improvisations. Most of the selections are either duets or unaccompanied solos, and although there are some melodies, the music was pretty much all improvised on the spot. An intriguing set.
Carla Bley - Night-Glo (1985) {Watt-ECM WATT16-827 640-2 rel 2000}

Carla Bley - Night-Glo (1985) {Watt-ECM WATT16-827 640-2 rel 2000}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 176 Mb | MP3 @320 -> 86 Mb
Full Artwork @ 300 dpi (jpg) -> 11 Mb | 5% repair rar
© 1985, 2000 Watt Works / ECM Records | WATT/16 / 827 640-2
Jazz / Contemporary Jazz / Post Bop

Though Heavy Heart was supposedly the "mellow, sensual" album Carla Bley had in mind, Night-Glo is more like it – a relaxed, easygoing, easy-listening series of compositions that nearly spills over into fuzak. Writing for a basic sextet with an added five-man horn section, most effectively when one color melts gently into another, Bley permits the lazy pina-colada mood to amble undisturbed from track to track.
Carla Bley / Andy Sheppard / Steve Swallow - Andando El Tiempo (2016) [Official Digital Download 24bit/96kHz]

Carla Bley / Andy Sheppard / Steve Swallow - Andando El Tiempo (2016)
FLAC tracks 24bit/96kHz | Digital Booklet | 785MB + 5% Recovery
Studio Master, Official Digital Download, ECM Records

For over 20 years, the trio of pianist Carla Bley, bassist Steve Swallow, and saxophonist Andy Sheppard have shared each other's creative company. The group's 2016 album, Andando el Tiempo, is a delicately passionate, classically influenced set. A follow-up to 2013's equally compelling Trios, Andando el Tiempo is, surprisingly, only the third album from the group after their initial live 1995 album Songs with Legs. Whereas on Trios they delved into various Bley compositions from throughout her career, on Andando el Tiempo they focus on several more recently penned works. "Naked Bridges/Diving Bridges" brings to mind the impressionism of composer Claude Debussy.
Jaco Pastorius / Pat Metheny / Paul Bley / Bruce Ditmas - Jaco (1974) [Re-Up]

Jaco Pastorius / Pat Metheny / Paul Bley / Bruce Ditmas - Jaco (1974)
EAC 1.0b3 | FLAC tracks level 8 | Cue+Log+M3U | Full Scans 300dpi | 250MB + 5% Recovery
MP3 CBR 320 Kbps | 101MB + 5% Recovery
Genre: Fusion

Although one often thinks of Jaco Pastorius' first solo album as being 1976's Jaco on Epic, producer/keyboardist Paul Bley actually gave Pastorius his first chance to lead a recording two years earlier. Coincidentally titled Jaco, this spontaneous set (which has been reissued on CD) is also significant for being among guitarist Pat Metheny's first recordings; completing the quartet are Bley on electric piano and drummer Bruce Ditmas. The music consists of three songs by Bley, five from Carla Bley, and "Blood" by Annette Peacock. Pastorius sounds quite powerful, but Metheny's tone is kind of bizarre, very distorted and not at all distinctive at this point.
Paul Bley - Ballads (1967) {ECM Japanese Reissue UCCE-3003 rel 2007}

Paul Bley - Ballads (1967) {ECM Japanese Reissue UCCE-3003 rel 2007}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 198 Mb | MP3 @320 -> 76 Mb
Full Artwork @ 300 dpi (jpg) -> 12 Mb | 5% repair rar
© 1967, 2007 ECM Records / Universal Japan | UCCE-3003 / ECM 1010
Jazz / Avant-Garde Jazz / Piano

Ballads, which really seems to make ballads out of ballads, has been considered both worthy of hanging on the museum wall alongside the other masterpieces and being accorded special merit as the jazz record most used for background music. Since no less a genius than the great French composer Erik Satie invented the concept of background music, this might not be such a contradiction or insult. Only the short "Circles" invites a real comparison with the piano music of Satie; elsewhere you're in extremely extended territory, Paul Bley's desire to play the slowest music in history meshing with a new style of rhythm section accompaniment that sounds like everything from tuning the drums to adjusting the drapes.
Paul Bley & Gary Peacock & Tony Oxley & John Surman - In The Evenings Out There (1993) {ECM 1488}

Paul Bley & Gary Peacock & Tony Oxley & John Surman - In The Evenings Out There (1993) {ECM 1488}
EAC 0.99pb5 | FLAC tracks level 8 | Cue+Log+M3U | Full Scans 300dpi | 213MB + 5% Recovery
MP3 CBR 320 Kbps | 134MB + 5% Recovery
Genre: Jazz, Avant-Garde Jazz, Post-Bop

Pianist Paul Bley was touring Scandinavia with a quartet made up of longtime associate Gary Peacock on bass and two brilliant British musicians, drummer Tony Oxley and John Surman on baritone saxophone and bass clarinet, when they made this Oslo recording in 1991. Rather than a conventionally organized quartet session, the CD consists of seven largely improvised solos, three duets, and two tracks–the collectively improvised "Interface" and Surman's "Article Four"–with the full quartet. Even more unusual is the frequent emphasis on bass frequencies and slow, even solemn, tempos. Only extraordinary musicians could keep such a format interesting, and these four do, exploring room resonance with almost ceremonial levels of concentration.
Paul Bley / John Surman / Bill Frisell / Paul Motian - The Paul Bley Quartet (1987) {ECM 1365} [Re-Up]

Paul Bley / John Surman / Bill Frisell / Paul Motian - The Paul Bley Quartet (1987) {ECM 1365}
EAC 1.0b1 | FLAC tracks level 8 | Cue+Log+M3U | Full Scans 300dpi | 282MB + 5% Recovery
MP3 CBR 320 Kbps | 144MB + 5% Recovery
Genre: Jazz, Avant-Garde Jazz

This 1987 date teams the iconoclastic pianist with guitarist Bill Frisell, drummer Paul Motian, and British saxophonist John Surman. While it's easy to argue that, with Manfred Eicher's icy, crystalline production, this was a stock date for both the artists and the label, that argument would be flat wrong. Bley was looking for a new lyricism in his own playing and in his compositions. He was coming from a different place than the large harmonies offered by augmented and suspended chords and writing for piano trios. The other band members – two other extremely lyrical improvisers in Surman and Frisell.