Paul Bley Open, to Love Mp3, Flac, Wma

Total Page:16

File Type:pdf, Size:1020Kb

Paul Bley Open, to Love Mp3, Flac, Wma Paul Bley Open, To Love mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Open, To Love Country: Japan Released: 2005 Style: Free Jazz, Contemporary Jazz MP3 version RAR size: 1977 mb FLAC version RAR size: 1459 mb WMA version RAR size: 1529 mb Rating: 4.8 Votes: 872 Other Formats: VOX DMF DXD ASF AHX DTS TTA Tracklist Hide Credits Closer 1 5:55 Composed By – Carla Bley Ida Lupino 2 7:35 Composed By – Carla Bley Started 3 5:18 Composed By – Paul Bley Open, To Love 4 7:14 Composed By – Annette Peacock Harlem 5 3:26 Composed By – Paul Bley Seven 6 7:25 Composed By – Carla Bley Nothing Ever Was, Anyway 7 6:07 Composed By – Annette Peacock Companies, etc. Record Company – Universal Classics & Jazz Phonographic Copyright (p) – ECM Records GmbH Recorded At – Arne Bendiksen Studio Credits Design – B & B Wojirsch Engineer – Jan Erik Kongshaug Photography By – Ib Skovgaard Petersen Piano – Paul Bley Producer – Manfred Eicher Notes Recorded on September 11, 1972 at Arne Bendiksen Studio, Oslo. Comes in mini LP replica with OBI & Japanese insert. Barcode and Other Identifiers Barcode: 4 988005 394460 Rights Society: JASRAC Other versions Category Artist Title (Format) Label Category Country Year Paul Open, To Love ECM ECM 1023 ST ECM 1023 ST Germany 1973 Bley (LP, Album, Gre) Records ECM ECM 1023, Paul Open, To Love Records, ECM 1023, US 1994 78118-21023-3 Bley (CD, Album, RE) BMG 78118-21023-3 Classics Paul Open, To Love ECM PA-7073 PA-7073 Japan 1973 Bley (LP, Album) Records ECM Open, To Love ECM 1023, 827 Paul Records, ECM 1023, 827 (CD, Album, RE, US Unknown 751-2 Bley ECM 751-2 Jew) Records Paul Open, To Love ECM ECM-4006 ECM-4006 Japan 1979 Bley (LP, Album, RE) Records Related Music albums to Open, To Love by Paul Bley Paul Bley - Synth Thesis Paul Bley - Alone, Again Carla Bley - V.I.P.-Jazz 27 Paul Bley - Footloose Carla Bley - The Best Of Big Band Paul Bley & Scorpio - Paul Bley & Scorpio Paul Bley - Turns Paul Bley, NHØP - Paul Bley / NHØP Jimmy Giuffre Trio With Paul Bley & Steve Swallow - Carla Paul Bley - Paul Bley.
Recommended publications
  • Reggie Workman Working Man
    APRIL 2018—ISSUE 192 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM REGGIE WORKMAN WORKING MAN JIM JONNY RICHARD EDDIE McNEELY KING WYANDS JEFFERSON Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East APRIL 2018—ISSUE 192 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : JIM Mcneely 6 by ken dryden [email protected] Andrey Henkin: [email protected] Artist Feature : JONNY KING 7 by donald elfman General Inquiries: [email protected] ON The COver : REGGIE WORKMAN 8 by john pietaro Advertising: [email protected] Encore : RICHARD WYANDS by marilyn lester Calendar: 10 [email protected] VOXNews: Lest WE Forget : EDDIE JEFFERSON 10 by ori dagan [email protected] LAbel Spotlight : MINUS ZERO by george grella US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or vOXNEWS 11 by suzanne lorge money order to the address above or email [email protected] Obituaries by andrey henkin Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Stuart Broomer, FESTIvAL REPORT Robert Bush, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD REviews 14 Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, Suzanne
    [Show full text]
  • Paul Bley Footloose Mp3, Flac, Wma
    Paul Bley Footloose mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Footloose Country: France Released: 1969 Style: Free Jazz MP3 version RAR size: 1851 mb FLAC version RAR size: 1832 mb WMA version RAR size: 1749 mb Rating: 4.5 Votes: 434 Other Formats: MP4 AHX MOD FLAC MMF MP1 WAV Tracklist Hide Credits When Will The Blues Leave A1 Written-By – Ornette Coleman A2 Floater A3 Turns A4 Around Again B1 Syndrome B2 Cousins B3 King Korn B4 Vashkar Companies, etc. Licensed From – Savoy Records Printed By – I.D.N. Recorded At – Medallion Studio Credits Bass – Steve Swallow Design – Pierre Bompar Drums – Pete LaRoca* Liner Notes – Philippe Carles Photography By – Giuseppe Pino Piano – Paul Bley Producer [Serie Dirigee Par] – Jean-Louis Ginibre Written-By – Carla Bley (tracks: A2, A4, B1, B3, B4), Paul Bley (tracks: A3, B2) Notes Tracks A1, A2 and A4 recorded at Medallion Studios, Newark, NJ, August 17, 1962. Tracks A3, B1 to B4 recorded at Medallion Studios, Newark, NJ, September 12, 1963. Made in France Barcode and Other Identifiers Matrix / Runout (Side A runout, hand-etched): BYG 529 114 A. Matrix / Runout (Side B runout, hand-etched): BYG 529 114 B Rights Society: BIEM Other versions Category Artist Title (Format) Label Category Country Year MG-12182 Paul Bley Footloose (LP, Album) Savoy Records MG-12182 US 1963 Footloose (CD, Album, CY-78987 Paul Bley Savoy Jazz CY-78987 Japan 1995 RE, RM, Pap) Footloose (CD, Album, COCB-50603 Paul Bley Savoy Jazz COCB-50603 Japan 2001 RE, RM, Pap) Footloose (LP, Album, COJY-9050 Paul Bley Savoy
    [Show full text]
  • MMDG Pepperland Program Insert.Indd
    The Company MICA BERNAS, originally from Manila, Philippines, received performing Skylight, a classic work by choreographer Laura Dean. He debuted her training at the Cultural Center of the Philippines Dance with MMDG in 2007 and became a company member in 2009. Estrada would School. She later joined Ballet Philippines as member of the like to thank God, his family, and all who support his passion. corps de ballet, performing as a soloist from 2001-2006. Since moving to New York in 2006, Bernas has worked with Marta COLIN FOWLER (music director, organ/harpsichord) began Renzi Dance, Armitage Gone Dance, Gallim Dance, Barkin/ his musical study at the age of 5 in Kansas City and went on to Selissen Project, and Carolyn Dorfman Dance (2007-2013). She study at the prestigious Interlochen Arts Academy. He contin- was a guest artist with the Limón Dance Company, performing ued his education at The Juilliard School, where he received his at the 2013 Bienal Internacional de Danza de Cali in Bogotá, Colombia; Lincoln Bachelor of Music in 2003 and his Master of Music in 2005. Center’s David H. Koch Theater; and at The Joyce Theater for the company’s 70th While at Juilliard, he studied piano with Abbey Simon, organ Anniversary in 2015. Bernas also teaches at the Limón Institute and has been with Gerre Hancock and Paul Jacobs, harpsichord with Lionel on the faculty for BIMA at Brandeis University since 2011. She joined MMDG Party, and conducting with James dePriest and Judith Clurman. as an apprentice in January 2017 and became a full time company member in A versatile musician and conductor, Fowler works in many areas of the music August 2017.
    [Show full text]
  • Paul Bley / NHØP Mp3, Flac, Wma
    Paul Bley Paul Bley / NHØP mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Paul Bley / NHØP Country: Netherlands Released: 1979 Style: Free Jazz, Avantgarde MP3 version RAR size: 1268 mb FLAC version RAR size: 1533 mb WMA version RAR size: 1487 mb Rating: 4.7 Votes: 814 Other Formats: VOC MP1 ADX AC3 APE VQF MPC Tracklist Hide Credits Meeting A1 6:03 Composed By – Paul Bley Mating Of Urgency A2 3:51 Composed By – Paul Bley Carla A3 4:21 Composed By – Paul Bley Olhos De Gato A4 5:33 Composed By – Carla Bley Paradise Island B1 2:20 Composed By – Paul Bley Upstairs B2 3:07 Composed By – Paul Bley Later B3 5:23 Composed By – Paul Bley Summer B4 4:06 Composed By – Paul Bley Gesture Without Plot B5 5:33 Composed By – Annette Peacock Credits Acoustic Bass – Niels-Henning Ørsted Pedersen Design – Václav Blažek Photography By – Ib Skovgaard Piano – Paul Bley Producer – Nils Winther Notes A1 to A3, B3 to B5 recorded in Copenhagen June 24, 1973 and A4, B1, B2 recorded in Copenhagen July 1, 1973. Made in Holland on labels. Other versions Category Artist Title (Format) Label Category Country Year Paul Bley, NHØP* - Paul Bley, SCS 1005 Paul Bley / NHØP (LP, SteepleChase SCS 1005 Denmark 1973 NHØP* Album) Paul Bley / NHØP* - Paul Bley / Inner City IC 2005 Paul Bley . NHØP (LP, IC 2005 US 1976 NHØP* Records Album) Paul Bley, NHØP* - Paul Bley, UPS-2158-S Paul Bley / NHØP (LP, SteepleChase UPS-2158-S Japan 1982 NHØP* Album, RE) Paul Bley, NHØP* - Paul Bley, SCS 1005 Paul Bley / NHØP (LP, SteepleChase SCS 1005 Denmark Unknown NHØP* Album) Paul Bley, NHØP* - Paul Bley, 15PJ-2006 Paul Bley / NHØP (LP, SteepleChase 15PJ-2006 Japan 1973 NHØP* Album) Related Music albums to Paul Bley / NHØP by Paul Bley Paul Bley - Synth Thesis Paul Bley - Alone, Again Paul Bley - Footloose Carla Bley - The Best Of Big Band Paul Bley & Scorpio - Paul Bley & Scorpio Paul Bley - Turns Paul Bley Trio - The Nearness Of You Jimmy Giuffre Trio With Paul Bley & Steve Swallow - Carla Paul Bley - Paul Bley Paul Bley - Open, To Love.
    [Show full text]
  • Paul Bley Fonds
    Library and Archives Canada Music Section THE PAUL BLEY FONDS Numerical List By David Fraser Ottawa, 2005 ISBN 0-662-41669-4 Cat. no. SB4-4/2005E-PDF 1 PAUL BLEY FONDS “Basically, the body of music that exists is like a river meeting a dam – constantly accumulating. It’ll find the weakest spot, and finally it will break through and continue – but it will still be a river. The music is inevitable, and it cannot stand still; it never has been able to stand still. It will change, and it will flow, but the seeds of the solution always exist in the music itself.” Paul Bley, quoted by Don Heckman in Down Beat, 12 March 1964. 2 TABLE OF CONTENTS INTRODUCTION............................................................................................................... 5 ABBREVIATIONS AND ACRONYMS ........................................................................... 6 ABOUT THE FONDS ........................................................................................................ 7 DESCRIPTION OF THE FONDS.................................................................................... 11 MUS 297/A Biographical Records and Scrapbooks ......................................................... 11 MUS 297/B Personal and Professional Correspondence .................................................. 15 MUS 297/C Business Records .......................................................................................... 17 MUS 297/C1 Geographical Files .......................................................................... 17 MUS 297/C1/1
    [Show full text]
  • Annette Peacock Porta in Scena La Sua Carriera Da Outsider
    A N N E T T E PEACOCK A VOLTE RITORNANO I concerti della compositrice free jazz americana sono ormai avvenimenti più unici che rari. A Londra, Annette Peacock porta in scena la sua carriera da outsider. di Giuseppe Zevolli 034 035 musica erso la metà degli anni 70, si nar- palesa alle sue rare esibizioni dal vivo e il ra, David Bowie avvicinò Annette cronico, imperdonabile ritardo, con cui la VPeacock al termine di un suo live, critica e il pubblico si accorgono della sua proponendole di suonare per lui il sinte- arte. “Sono stufa di fare uscire dischi da tizzatore in tour. Peacock, che in coppia pioniera che vengono apprezzati solo 20, con Paul Bley fu la prima a introdurre lo 40 anni dopo”, ammette. strumento in ambito jazz, rispose: “Te lo Che sia il jazz sperimentale, furibondo di S o n o s t u f a compri e impari a suonartelo da solo”. I’m The One (ristampato solo tre anni fa), i Anni prima dell’uscita di I’m The One suoi sensuali rap ante-litteram, l’uso anti- (1972), a oggi il suo lavoro più conosciuto, convenzionale della voce o le provocazioni d i f a r e Annette si era recata di persona da Ro- dei suoi poemi in musica, la ricezione delle bert Moog con l’obiettivo di convincerlo sue opere sembra procedere a scoppio ritar- a regalarle uno dei primissimi esemplari dato. Non solo early adopter del sintetizza- u s c i r e d i s c h i del leggendario synth modulare.
    [Show full text]
  • Recorded Jazz in the 20Th Century
    Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana
    [Show full text]
  • Autumn Leaves" in the 1960S
    Outside Forces: "Autumn Leaves" in the 1960s By Keith Waters Is there a problem of form in the jazz tradition? Does the reliance upon repeated 32-bar frameworks create an unavoidable formal, harmonic, and metric redundancy? How do jazz improvisers transcend or evade this cyclic regularity? These are crucial questions. Jazz players have extended privilege to the 32-bar AABA and ABAC song form (along with 12-bar blues structures) since at least the 1930s, when the 32-bar song form replaced the 16-bar sectional forms of ragtime and early jazz. Yet repeated cycles of thirty-two bars result in a hypermetric consistency on several levels: single measures group into four-measure units, which then combine into eight measure sections; the four eight-measure sections comprise the 32-bar form, which becomes repeated, normally for the duration of the composition.! In the Western European tradition (with the occasional exception of the theme and variations genre and dance forms) form is typically not generated by regularly repeating structures, structures that are consistently built from measure groups of 4, 8, 16, and 32 bars. Yet this formal model, with its foursquare regularity and its repeated harmonic and metric organization, has been one of the primary vehicles for jazz improvisers and composers. Historically, jazz players have kept the structure, merely renovating it peri­ odically through stylistic change. Thus, while stylistic development and evolution has rapidly taken place in the area of instrumental technique, harmony, and rhythm, the domain ofform has remained relatively static.2 The manner in which improvisers overcome the limitations of a peri­ odic structure varies, and players have developed a variety of strategies to mask this regularity.
    [Show full text]
  • PERPETUAL MOTION BEBOP EXERCISES © Jason Lyon 2007
    PERPETUAL MOTION BEBOP EXERCISES © Jason Lyon 2007 www.opus28.co.uk/jazzarticles.html Bebop is much more than just one particular style, it is pretty much the “grammar” of modern jazz, and bebop “licks” are not so much cliches as essential elements of speech within the jazz language. Players such as Chick Corea, McCoy Tyner, Cecil Taylor, Paul Bley and the like all developed original styles that seem far removed from the sound of bebop. But if you take a close look at what they’re playing, you’ll find it’s saturated with bebop principles. There’s a good reason for this. The early bebop players developed a system that made it easier to improvise strong solo lines. There’s nothing arbitrary in this system, the “rules” are there for sound logical and musical reasons. The key elements of bebop are: a) Consistent addition of certain passing tones to scales so that the strong chord tones coincide with the strong beats. b) Use of encircling gestures to creatively delay the arrival of any given tone. c) Strong chord tones are approached smoothly across the bar by whole-step, half-step or by extending an arpeggio. d) Balance between the use of arpeggios and scales. e) Balance between the use of upward and downward motion. f) Notes are often doing more than one job – eg, appearing as part of an arpeggio and also as part of an extended encircling gesture that follows. g) Notes used at the point of change between chords either anticipate the chord that follows or work over both chords.
    [Show full text]
  • Paul Bley Solo in Mondsee Mp3, Flac, Wma
    Paul Bley Solo In Mondsee mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Solo In Mondsee Country: US Released: 2007 Style: Avant-garde Jazz, Contemporary Jazz MP3 version RAR size: 1641 mb FLAC version RAR size: 1221 mb WMA version RAR size: 1350 mb Rating: 4.3 Votes: 772 Other Formats: WMA AC3 WAV XM MOD MP2 MP3 Tracklist Mondsee Variations 1 I 6:36 2 II 5:01 3 III 2:04 4 IV 8:42 5 V 3:41 6 VI 8:10 7 VII 7:37 8 VIII 4:35 9 IX 3:08 10 X 5:37 Companies, etc. Distributed By – Universal Music Distribution Manufactured By – Universal Music Classical Marketed By – Universal Music Classical Phonographic Copyright (p) – ECM Records GmbH Copyright (c) – ECM Records GmbH Recorded At – Schloss Mondsee Credits Design – Sascha Kleis Engineer – Jan Erik Kongshaug Photography By [Cover Photos] – Roberto Masotti Photography By [Liner Photos] – Luca d'Agostino Piano [Bösendorfer Imperial], Music By – Paul Bley Producer – Manfred Eicher Notes Recorded April 2001, Schloss Mondsee, Austria. An ECM Production. Mfd. for BMG Direct ℗ 2007 ECM Records GmbH © 2007 ECM Records GmbH Other versions Category Artist Title (Format) Label Category Country Year ECM 1786, 170 Paul Solo In Mondsee ECM Records, ECM 1786, 170 Germany 2007 9775 Bley (CD, Album) ECM Records 9775 ECM 1786, Paul Solo In Mondsee ECM Records, ECM 1786, US 2007 B0009491-02 Bley (CD, Album) ECM Records B0009491-02 Related Music albums to Solo In Mondsee by Paul Bley Tomasz Stanko - From The Green Hill Tord Gustavsen Ensemble - Restored, Returned Paul Bley - Open, To Love John Surman - Free And Equal Paul Bley & Scorpio - Paul Bley & Scorpio Mark Turner Quartet - Lathe Of Heaven Schmiedlechner-Sextett - Mondsee-Lied / Wo Stolze Felsen Türmen Paul Bley With Gary Peacock - Paul Bley With Gary Peacock.
    [Show full text]
  • Make It New: Reshaping Jazz in the 21St Century
    Make It New RESHAPING JAZZ IN THE 21ST CENTURY Bill Beuttler Copyright © 2019 by Bill Beuttler Lever Press (leverpress.org) is a publisher of pathbreaking scholarship. Supported by a consortium of liberal arts institutions focused on, and renowned for, excellence in both research and teaching, our press is grounded on three essential commitments: to be a digitally native press, to be a peer- reviewed, open access press that charges no fees to either authors or their institutions, and to be a press aligned with the ethos and mission of liberal arts colleges. This work is licensed under the Creative Commons Attribution- NonCommercial- NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/ by-nc-nd/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, California, 94042, USA. DOI: https://doi.org/10.3998/mpub.11469938 Print ISBN: 978-1-64315-005- 5 Open access ISBN: 978-1-64315-006- 2 Library of Congress Control Number: 2019944840 Published in the United States of America by Lever Press, in partnership with Amherst College Press and Michigan Publishing Contents Member Institution Acknowledgments xi Introduction 1 1. Jason Moran 21 2. Vijay Iyer 53 3. Rudresh Mahanthappa 93 4. The Bad Plus 117 5. Miguel Zenón 155 6. Anat Cohen 181 7. Robert Glasper 203 8. Esperanza Spalding 231 Epilogue 259 Interview Sources 271 Notes 277 Acknowledgments 291 Member Institution Acknowledgments Lever Press is a joint venture. This work was made possible by the generous sup- port of
    [Show full text]
  • Frank Kimbrough Frank Kimbrough Solstice SOLS T ICE
    PRESS CONTACT: PIROUET Records Grünwalder Weg 30 · 82041 Oberhaching · Germany Steffen Mayer press release www.pirouet.com · [email protected] phone: +49-89-55 077674 Spritzenplatz 12 22765 Hamburg Germany phone: +49-40-8817288-6 [email protected] www.herzogpromotion.com frank kimbrough Frank Kimbrough Solstice SOLS T ICE Frank Kimbrough · piano Jay Anderson · bass Jeff Hirshfield · drums Release date: November 25, 2016 Pirouet Records · PIT3097 Distribution: 1. Seven 2. Here Come the Honey Man 3. Solstice USA, Canada, Europe (except GB): NRW Distribution 4. The Sunflower 5. Albert’s Love Theme Digital: Believe Digital 6. Question’s the Answer 7. From California with Love 8. El Cordobes 9. Walking by Flashlight Press release Frank Kimbrough: Solstice 1 Release: November 25, 2016 Pirouet Records · PIT3097 PRESS CONTACT: PIROUET Records Grünwalder Weg 30 · 82041 Oberhaching · Germany Steffen Mayer press release www.pirouet.com · [email protected] phone: +49-89-55 077674 Spritzenplatz 12 22765 Hamburg Germany phone: +49-40-8817288-6 [email protected] www.herzogpromotion.com Solstice: exploring the boundaries of darkness and light Frank Kimbrough counts among a handful of New York-based pianists who have been refining and expanding the language of ensemble playing over the last few decades (this November he marks 35 years in New York and his sixtieth birthday). Declared a “a near-visionary whose piano-improvising, composing, and band-leading skills seek out the dark corners of untrod jazz terrain” by The New Yorker, Kimbrough is noted for his exquisite ensemble, trio and solo recordings as well as his duo work with Lee Konitz, Scott Robinson, Joe Locke and Paul Bley, his work as a sideman in Dewey Redman’s quartet, and his long-term involvement with the Jazz Composers Collective and the Maria Schneider Orchestra.
    [Show full text]