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CD Reviews
Carla Bley
The Lost Chords Find Paolo Fresu | Watt/ECM
By
JON GARELICK
|
December 31, 2007
CARLA BLEY, THE LOST CHORDS FIND PAOLO FRESU
" alt="photo of 'CARLA BLEY, THE LOST CHORDS FIND PAOLO FRESU'">
3.5
Stars
For some, composer/bandleader Carla Bley long ago expended the avant-garde cred of her early years, but they’d be missing the fact that no one is writing — or playing — more beautiful jazz. Here she and her band, the Lost Chords (Bley on piano, saxophonist Andy Sheppard, bassist Steve Swallow, drummer Billy Drummond), have recruited the Italian trumpeter Paolo Fresu for a suite called “The Banana Quintet,” plus a re-do of a couple of older Bley pieces. Bley’s limpid melodies are both funny (the titles should tell you that) and poignant, especially on ballads, but never sentimental. The ensemble textures are similarly transparent, Bley twining trumpet and sax, teasing them apart, the rhythms tending toward wave-like triple meters, Latin dance, 5/4. Pieces unfold like dramas — a lone trumpet, call-and-response with the band, a guitar-like bass solo on a different theme, a section of horn dialogue. With Sheppard and Fresu, their woolly tones nuzzling each other, that dialogue is like warm conversation at a sidewalk café. In this context, virtuoso skill is the soul of wit. This band breathes together — because that’s how the music was written.
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Carla Bley | Carla's Christmas Carols
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Year in Jazz: Playing for keeps
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Fourth-quarter earnings
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Carla Bley | Carla's Christmas Carols
It's possible to play Christmas carols with humor but not mockery. So, yes, there's a bit of an eggnog buzz in the wah-wah muted horns of "It Came Upon a Midnight Clear," and a soca lilt to "Jingle Bells." But in this case, "humor" means serious-minded but without solemnity or sentimentality.
Year in Jazz: Playing for keeps
Fourth-quarter earnings
Times a-wastin' on 2008, so before it's too late, here's a handful of discs that have caught my ear over the past few months.
Week in the knees
“Jazz Week,” which runs April 26–May 4, tends to appropriate all events to its needs — if you’re playing, say, your regularly scheduled gig at Matt Murphy’s Pub this week, you’re part of Jazz Week.
Ralph Towner/Paolo Fresu | Chiaroscuro
For some, these open, airy, acoustic guitar/trumpet duets, couched in typically pristine ECM production, will fall too easily on the ear.
Omar Sosa
What we get on his latest outing is more often Miles’d-up trancy electric Afropop than what you might think of as Afro-Cuban jazz.
Budding groves
More and more, museums are getting into the live-music scene.
Interview: Steve Swallow on the Gary Burton Quartet
DO YOU REMEMBER EXACTLY HOW YOU GUYS FIRST GOT TOGETHER? I have a memory. I tend to distrust them, but my recollection is that I met Gary when he called me up and asked me if I would consider playing in Stan Getz's band, which he was already in.
Fearful asymmetry
Carla Bley’s local appearances are so rare that each one is an event.
Sonny, Pat, and all the cats
The primo jazz event of the spring will be SONNY ROLLINS 's concert at Symphony Hall on April 18 (bso.org). The great master saxophonist and peerless improviser often hits town in April, and this time it's to kick off his 80th-birthday tour. Whew.
Streaming
It's standard operating procedure these days for young jazz bands to mix the free and the formal.
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ARTICLES BY JON GARELICK
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When guitarist Mary Halvorson began taking lessons with Joe Morris as an undergraduate at Wesleyan University, she was excited about the prospect of playing duos with one of her guitar heroes.
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JON GARELICK
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