Introduction

In the 60's through mid '70s, while pursuing 'New Jazz' movement, Paul Bley recorded many Annette Peacock compositions (along with Carla Bley's). In my opinion, they were the quintessential Paul Bley albums. Whether from jazz or classical angles, they delineated piano music in the highest veneration. Annette's compositions were remarkably organic and sensual (in contrast with Carla's clever phrasing) which blended with Bley's unyieldingly stoic persuasion confirmed what the piano music was.

Biography

Born in Montreal. Started playing violin at five, at nine started taking piano lessons as well as harmony, composition, solfeggio. The first public performance at twelve. He was the replacement in trio at age seventeen when Oscar Peterson left to US. Entered Juilliard. At age twenty one, Charles Mingus observed him, recorded his debut Introducing Paul Bley with Charles Mingus and Art Blakey (Debut Records). In '55, moved to West-coast with Carla Borg who married Bley that year, formed quintet with Ornette Coleman, Don Cherry, Charlie Haden and Billy Higgins -- the archetype of the Ornette Coleman Quartet. In the early '60s, backed to NY, involved in 'New Jazz' movement along with George Russell, Jimmy Giuffre, Don Ellis (Bley was president of "The New Jazz Society of Greater New York" for two years before moved to West-coast). In '64, participated the "October Revolution" of the Jazz Composer's Guild with a quintet which comprised Marshall Allen (altist of Sun Ra). In '67, "Electric Revolution" with Annette Peacock, established himself as a multi-keyboard performer -- acoustic piano upon which were, RMI and Fender-Rhodes electric pianos, Arp synthesizer. In the '70s, concentrated on acoustic piano, recorded sober and lyrical improvisations. In the '80s, reverted to his root, be-bop. He has been vigorously releasing numerous albums in the be-bop style although occasionally there are recordings of his alter identity -- the advanced style jazz.

10/23/89. I was thrilled to see Paul Bley first time at Knitting Factory, NYC. He canceled show in the last minute!! due to the place didn't have a GRAND piano (only upright back then). Nothing else to do at the bar. In a total discreet manner how cool him was, Paul Bley sipping scotch few glasses away from me! He was graciously obliged autograph on my Open to Love.

 

Autobiography

STOPPING TIME: Paul Bley and the Transformation of Jazz/Paul Bley with David Lee (Vehicule Press/ISBN: 1-55065-111-0 Paperback 179 pages) "This essential book featuring many b&w photographs consists of Bley's lucid insights into the art of improvising music, and a fascinating account of the ups and downs of a long life in jazz. Persons appearing in the pages include Charlie Parker, Mingus, Ornette Coleman, Carla Bley, Sonny Rollins, Jaco Pastorius and many others. Annette Peacock is often mentioned in the years from the mid-sixties to the early-seventies (and is in one photograph, familiar from the Dual Unity sleeve)." -- David Teledu