muzycy:
Sonor [84]
Paul Bley: piano
George Cross McDonald: percussion


Tango Palace [85]
Paul Bley: piano


Hot [86]
Barry Altschul: drums
Paul Bley: piano
Steve Swallow: electric bass
John Scofield: electric guitar


Notes [88]
Paul Motian: drums
Paul Bley: piano


Mindset [97]
Gary Peacock: bass
Paul Bley: piano


Live at Sweet Basil [91]
Red Mitchell: bass
John Abercrombie: electric guitar
Barry Altschul: drums
Paul Bley: piano


Memoirs [90]
Paul Motian: drums
Charlie Haden: bass


Conversations with Goose [96]
Jimmy Giuffre: soprano saxophone, tenor saxophone, clarinet, flute
Paul Bley: piano
Steve Swallow: electric bass


Chaos [98]
Tony Oxley: drums, percussion
Furio Di Castri: bass
Paul Bley: piano


Not To Be A Star [93]
Keshavan Maslak: alto saxophone, clarinet, poetry
Paul Bley: piano

Editor's info:
This nine-disc box featuring piano star Paul Bley's work for Italy's Black Saint and Soul Note labels between 1983 and 1992 is part of a wider collection of CamJazz compilations led by Europhile Americans including David Murray, Andrew Cyrille, Oliver Lake and Art Farmer. The unaccompanied 1985 piece Tango Palace is a testament to what a majestically self-sufficient pianist Bley can be (in straightish song-interpreting mode, and in the process turning But Beautiful into completely new music), and the same year's quartet set with John Scofield, Steve Swallow and Barry Altschul has a joyous long account of Ornette Coleman's When Will The Blues Leave? with Swallow's springy bass guitar walk and Scofield's bebop articulacy matching the pianist's drive. The Notes duo with drums genius Paul Motian and 1992's Mindset with bassist Gary Peacock are both fascinatingly fine-detailed conversations, and Live at Sweet Basil finds guitarist John Abercrombie in coolly soulful form on the swinging Blues Waltz, with Bley in that idiosyncratic free fall in which he trusts his remarkable powers of harmonic navigation on My Old Flame and My Foolish Heart. Bley's name might not be as big as Jarrett's, Hancock's, Tyner's or Mehldau's, but he's a uniquely powerful force in jazz piano, and this box (short only in background information) contains plenty of proof of that.

Opis wydawcy:
Kanadyjski pianista i kompozytor Paul Bley współpracował z włoskimi oficynami Black Saint / Soul Note w latach 1983-1992. Cześć z nich zresztą nie była sygnowana wyłącznie jego nazwiskiem. To właśnie płyty z tego okresu jego twórczości uznawane są przez krytyków za najciekawsze i wartościowe. I właśnie one sprawiły że nazwisko Paula Bleya wymienia się dziś wraz innymi gifgantomi jazzowego fortepianu: Jarretta, Hancocka, Tynera czy Mehldau. Wszystkie płyty zawierają oryginalną grafikę a całość zapakowana jest estetycznie w kartonowy box.
Płyta zawiera także jeden dysk bonusowy – duet z Keshavanem Maślakiem Not To Be A Star.


Editor's info:
This nine-disc box featuring piano star Paul Bley's work for Italy's Black Saint and Soul Note labels between 1983 and 1992 is part of a wider collection of CamJazz compilations led by Europhile Americans including David Murray, Andrew Cyrille, Oliver Lake and Art Farmer. The unaccompanied 1985 piece Tango Palace is a testament to what a majestically self-sufficient pianist Bley can be (in straightish song-interpreting mode, and in the process turning But Beautiful into completely new music), and the same year's quartet set with John Scofield, Steve Swallow and Barry Altschul has a joyous long account of Ornette Coleman's When Will The Blues Leave? with Swallow's springy bass guitar walk and Scofield's bebop articulacy matching the pianist's drive. The Notes duo with drums genius Paul Motian and 1992's Mindset with bassist Gary Peacock are both fascinatingly fine-detailed conversations, and Live at Sweet Basil finds guitarist John Abercrombie in coolly soulful form on the swinging Blues Waltz, with Bley in that idiosyncratic free fall in which he trusts his remarkable powers of harmonic navigation on My Old Flame and My Foolish Heart. Bley's name might not be as big as Jarrett's, Hancock's, Tyner's or Mehldau's, but he's a uniquely powerful force in jazz piano, and this.......
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