- Outlet Anciennes collections, fin de séries, articles commandés en trop grande quantité, … découvrez notre sélection de produits à petits prix Profitez-en !
- Publiez votre livre : sur Kindle Direct Publishing En format papier ou ebook c'est simple et rapide et vous pourrez toucher des millions de lecteurs en quelques clics ici !
- Plus de 10 000 ebooks indés à moins de 3 euros à télécharger en moins de 60 secondes .
- Gratuit : téléchargez l'application Amazon pour iPhone, iPad, Android ou Windows Phone ou découvrez la nouvelle application Amazon pour Tablette Android !
Autres vendeurs sur Amazon
+ Livraison gratuite en France métropolitaine
+ EUR 2,49 (livraison en France métropolitaine)
+ EUR 2,49 (livraison en France métropolitaine)
Play Blue - Oslo Concert
Offres spéciales et liens associés
Les clients ayant acheté cet article ont également acheté
Quels sont les autres articles que les clients achètent après avoir regardé cet article?
Détails sur le produit
Voulez-vous nous parler de prix plus bas?
Si vous vendez ce produit, souhaitez-vous suggérer des mises à jour par l'intermédiaire du support vendeur ?
Liste des titres
Disque : 1
Description du produit
Description du produit
A rare solo performance by one of jazz's great originals, Canadian pianist Paul Bley, recorded live at the Oslo Jazz Festival in 2008 by Jan Erik Kongshaug and Manfred Eicher. Here Bley, encouraged by an attentive and enthusiastic Norwegian audience shapes music in the moment, plays his own compositions, and brings the music to a fine conclusion in a performance of Sonny Rollins's "Pent-Up House".
There is nothing else quite like a Paul Bley concert. As the New York Times noted, "Mr. Bley long ago found a way to express his long, elegant, voluminous thoughts in a manner that implies complete autonomy from its given setting but isn't quite free jazz. The music runs on a mixture of deep historical knowledge and its own inviolable principles."
The solo medium is one that Bley first broached on ECM. The 1972 recording Open, To Love was to prove one of the defining works in the unaccompanied genre, and at least as influential in its way as Paul's classic jazz trio albums of the 1960s - such as Footloose!, Touching, Closer - had been. 35 years would elapse before the release of a 'sequel' at ECM, Solo at Mondsee, with Bley's kaleidoscopic transformations of standard themes in a series of variations.
Bley's vision of musical freedom - as Play Blue again makes plain - is inclusive. Even at the height of the 1960s free jazz movement, Bley argued that the aesthetics of earlier jazz could and should be incorporated by a revolutionary art form. His discography and his live appearances have made the case ever since, with radical, intelligent music whose phrases can reference the blues or bebop, Berg or Bird, Ayler and atonality. In or out of the tradition he still sounds like irreducible Bley in every line. His touch is instantly recognisable.
Personnel: Paul Bley (piano)
(5 stars) Terrific...finds Bley in magically intense form...playing a fine - and wonderfully recorded - piano, he offers just under an hour of simultaneously concentrated and expansive pianistic pleasure...Wonderful stuff. --Jazz Journal, (Michael Tucker), June 2014
(5 stars) Now entering his eighth decade, Paul Bley's approach to both composition and improvisation retains all the fascinating lateral thinking that makes his style unique. --BBC Music Magazine, (Roger Thomas), June 2014
(4 stars) Still exposing his profound knowledge of jazz to unflinching spontaneous reexamination...It's personal, meditative, occasionally sombre music, but it couldn't be anyone other than Paul Bley behind it. --The Guardian, (John Fordham), May 9, 2014
(4 stars) Here is one of the great pianists of the modern era thinking aloud, letting his thoughts spill out onto the keyboard with a clarity that is transfixing in its lyrical embrace. --The Irish Times, (Cormac Larkin), May 23, 2014
(4 stars) A formidable record, full of opaque abstractions with a certain serene mystery to it that somehow connects. --Marlbank, (Stephen Graham), March 26, 2014
Commentaires client les plus utiles sur Amazon.com
This stunning album of piano solos was recorded at the Oslo Jazz Festival in 2008. The album was produced by ECM Records so you can be sure that Bley is playing on a good instrument and the sound is crisp. Whether you play in the studio or out of it, if you play for ECM, your music gets full value. The obvious comparison is with Bley’s earlier ECM album, Solo in Mondsee (Austria), recorded in 2001 and released in 2007. Both albums show the same strengths –a pianist in command of his instrument in every way; a music of twists and turns, each piece is more of a suite than a single composition; and yet a common thematic and harmonic thread running throughout the whole piece, stated in places, hinted at in others; flowing, lyrical single note lines shading off into abrupt, nearly discordant block chords; and throughout everything, the impression of a first rate musical intelligence directing the playing.
There are differences between the two albums but they’re a matter of shading and the length of time devoted to the individual selections. Mondsee is ten compositions (“Mondsee Variations I-X”), in total 56 minutes. Oslo is four songs in 51 minutes, plus an encore (Sonny Rollins’s “Pent-Up House”). With Bley, more time means more exploration, more variation in attack, and …. longer dissonant sections to balance off the more lyrical parts. Check the Rollins tune and you’ll see what I mean. It’s a brilliant deconstruction and reconstruction of this jazz standard –g*d, it is good!
I do not have a favorite between the two albums (which are two among the many solo albums Bley has produced in his sixty-some years of playing). The Mondsee album is more easily accessible, but both albums are accessible, just in different ways, and both richly reward the listener’s patience.
This is Bley solo on four original compositions and one tune ("Pent-Up House") by Sonny Rollins. The first and longest track, "Far North" (17+ minutes), begins to hint at what's to come. Bley is an improvisor who is continually thinking ahead, playing seemingly abstract melodies strung together by a quick flurry of notes. It's on Bley's "Way Down South Suite" (16+ minutes) where you really hear Bley's style. At times open and pensive, other times a quick set of notes from anywhere on the keyboard, a slight touch of the blues, but always the music is surging, moving forward in Bley's own fashion. There's a mix of discordance with lines of great beauty throughout this tune.
Bley's other two compositions, "Flame", and "Longer", are more of the same. "Flame" at times sounds reminiscent of Jarrett's "Koln Concert" work. But Bley's no copyist. These pieces are an outgrowth of Bley's earlier work ("Closer", an ESP-Disk trio set from 1965, and "Memoirs" from 1990), only with the benefit of more maturity as a musician. "Flame" has some rolling passages that sputter and start-stop but always move forward. A highlight. "Longer" is a bit more pensive and open sounding. This comes across as a more thoughtful piece at first, and then Bley rushes through a short burst of notes, only to settle things back down again. After some sustained applause Bley comes back to play Rollins' tune,which for 4+ minutes he lightly deconstructs for solo piano. The rest of the indicated track time is taken up with a lot of applause.
Bley was from the post-bop style of jazz, with blues,ragtime, and other snippets of styles blended together into his idiosyncratic approach. His music is challenging with sudden shifts in tempo and the melody, but always with a steadily moving-forward feel. His music has a meditative quality that adds an organic, impressionistic warmth to his playing.
and what a generous player he is. Allusive, harmonically complex,
effortlessly rhythmic. And the 5th time thru was even better. GREAT!