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专辑名称:Appearing Nightly
歌手姓名:Carla Bley Big Band
唱片公司:WATT
发行日期:2008年01月08日
专辑流派:Jazz
专辑语言:英语
文件内容:mp3 vbr N/A MB
Bandleader and musical provocateur Carla Bley is
the Hector Berlioz of jazz. Her command of her
large ensembles is complete and potent. Her
composition, arrangement, and adaptation are
intelligent with a sophisticated sense of humor. A
superb pianist, Bley's true talent lies in her
ability to define and then guide an orchestra
through her arrangements without veering off into
parts unknown. Her relationship with big bands is
long lived, beginning in the late 1960s, including
the recordings Looking For America (ECM, 2003), The
Carla Bley Big Band Goes to Church (ECM, 1996), Big
Band Theory (ECM, 1993), and The Very Big Carla
Bley Band (ECM, 1990).
The centerpoint of Appearing Nightly is the
25-minute suite 揂ppearing Nightly at the Black
Orchid.?The suite extends the Berlioz comparison
by manifesting as 損rogram?jazz. Like Berlioz's
Symphonie Fantastique, 揂ppearing Nightly at the
Black Orchid?is a multiple-part composition that
tells a story with music. Section 1: ?0 on/20 off?
alludes to jazz artists playing 40 minute sets with
20 minute intermissions.
The section begins with an eccentric Bley survey of
jazz piano literature. The solo piano opening is a
dead ringer for 揗y Foolish Heart?with
interpolations of 揂s time Goes By.?This abruptly
gives way to a bassist Steve Swallow-drummer Billy
Drummond duet soon interrupted by a Bley hallmark:
low brass and reeds weaving in and out as if tuning
and in the process building toward a consonant
crescendo that leads into a spontaneous tenor
saxophone counterpoint and riffs, just as if the
listener had walked in the door mid-tune. From
there, the concert is in full swing.
Section 2: 揝econd Round?musically details the
evening in full swing with low brass conversation
dominated by a lengthy trombone solo, both Bley
touchtones. Bley likes the rasp of muted and full
bell 'bones and allows her collaborators full
reign. This is followed by a more full-throated
tenor saxophone solo that brings the section to a
silent end. Section 3: 揥hat Would You Like to
Here?takes on a 1930s Duke Ellington ambiance with
a plunger muted trumpet solo delivered over the
plush bed of the full horn section and then, Bley's
piano, which flows into her own solo.
Section 4: 揕ast Call?closes the suite on an
upbeat note. Swallow further reveals his importance
to the Bley big band sound with his high-register
playing. More raspy trombone peppers the piece over
muted, then open-bell brass, propels the piece to
its conclusion. The suite is slightly palandromic,
recalling motifs from Section 1 as the solo
instruments are given eight bars alternating into a
quote-heavy coda.
擜weful Coffee?sports a Julian Argu"elles baritone
saxophone solo that meanders all over the map,
introducing the piece. It is also a tunefest with
quotes from 揝alt Peanuts,?揧ou're the Cream in My
Coffee,?揥atermelon Man,?揕ife is Just a Bowl of
Cherries,?揌ey Pete, Let's Eat More Meat,?and
揟ea for Two?(note all having a food motif).
揋reasy Gravy?slows down the tempo to a strut
again featuring low reeds and brass in solos before
Bley takes things for a spin herself. Bley mixes
old and new arrangement forms on 揑 Ain't Had Nyone
Till You?and 揝omeone to Watch,?quoting the Great
American Songbook liberally and intelligently.
Comparisons of Bley's big band talents to Ellington
and Charles Mingus are not hyperbole. In a field
crowded with every measure of big bands, Carla
Bley's Big Band stands as one of the most inventive
and unique ensembles.
1. Greasy Gravy
2. Awful Coffee
3. Appearing Nightly At The Black Orchid
4. Someone To Watch
5. I Hadn't Anyone Till You |
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