Personnel: Carla Bley (piano, organ); Charlie Haden (vocals, bass); Linda Ronstadt (vocals); Roger Jannotta, Steve Slagle (soprano saxophone); Wolfgang Puschnig, Carlos Ward (alto saxophone); Andy Sheppard, Peter Hurt, Christof Lauer, Tony Dagradi, Jim Pepper, Dewey Redman (tenor saxophone); Julian Arguelles, Roberto Ottini (baritone saxophone); Lew Soloff, Guy Barker, Claude Deppa, Steve Waterman, Jens Winther, Michael Mantler (trumpet); Don Cherry (pocket trumpet); Frank Lacy, Sharon Freeman (French horn); Ashley Slater (trombone, bass trombone); Jack Jeffers (trombone, tuba); Gary Valente, Richard Edwards, Annie Whitehead, Roswell Rudd (trombone); Joe Daley (euphonium); Bob Stewart, Earl McIntyre, John Buckingham (tuba); Alison Hayhurst (flute); Sara Lee, Perry Robinson, Jimmy Giuffre (clarinet); Daniel Beaussier (oboe); Steve Morris (violin); Andrew Byrt (viola); Emma Black (cello); Chris Wells (vibraphone); Larry Willis, Paul Bley (piano); Larry Goldings, Karen Mantler (organ); Hiram Bullock, John McLaughlin (guitar); Steve Swallow, (bass); Victor Lewis, Dennis Mackrel, Buddy Williams, D. Sharpe, Paul Motian (drums); Don Alias (percussion).
Producers: Carla Bley, Steve Swallow, Manfred Eicher, Michael Mantler,
Recorded in Norway, Denmark, England, Germany and the United States between 1961 and 1999. Includes liner notes by Carla Bley.
Personnel: Carla Bley (piano, organ); Charlie Haden (vocals, double bass); Linda Ronstadt (vocals); Hiram Bullock, John McLaughlin (guitar); Steve Morris (violin); Andrew Byrt (viola); Emma Black (cello); Alison Hayhurst (flute); Jimmy Giuffre, Perry Robinson, Sara Lee (clarinet); Daniel Beaussier (oboe); Roger Jannotta, Steve Slagle (soprano saxophone); Jimmy Lyons, Wolfgang Puschnig, Carlos Ward (alto saxophone); Christof Lauer, Dewey Redman, Gato Barbieri, Pete Hurt, Jim Pepper, Andy Sheppard , Tony Dagradi (tenor saxophone); Chris Woods, Roberto Ottini, Julian Argelles (baritone saxophone); Steve Waterman, Jens Winther, Lew Soloff, Michael Mantler, Guy Barker, Claude Deppa (trumpet); Don Cherry & Ed Blackwell (pocket trumpet); Frank Lacy, Sharon Freeman (French horn); Ashley Slater (trombone, bass trombone); Jack Jeffers (trombone, tuba); Gary Valente, Annie Whitehead, Richard Edwards , Roswell Rudd (trombone); Joe Daley Trio (euphonium); Earl McIntyre, John Buckingham, Bob Stewart (tuba); Paul Bley (piano); Karen Mantler, Larry Goldings (organ); Chris Wells (vibraphone); Steve Swallow (double bass); Paul Motian (drums, percussion); Dennis Mackrel, Victor Lewis, David Sharpe , Buddy Williams (drums); Don Alias (percussion).
Liner Note Author: Carla Bley.
Recording information: Copenhagen, Denmark (08/1961-07/1999); Europe (08/1961-07/1999); London, England (08/1961-07/1999); Ludwigsburg, Germany (08/1961-07/1999); New York, NY (08/1961-07/1999); Oslo, Norway (08/1961-07/1999).
Photographers: Herb Snitzer; W. Patrick Hinely; Ralph Quinke.
Without a hint of compromise, pianist Carla Bley--inspired by bebop, jazz's avant-garde, Charles Ives, and Kurt Weill--carved a unparalleled niche for herself by contributing thoughtful compositions to others' bands (Gary Burton, ex-husband Paul Bley, even rockers NRBQ). Bley also led groups ranging from trios to orchestras, formed her own record label, and, like Duke Ellington, wrote and arranged in accordance with her collaborators' skills. This edition of the RARUM series presents a fascinating, diverse cross-section of her decade-spanning work, including a tune performed by an early-1960s Jimmy Giuffre Trio.
While some jazz artists can exude a notable seriousness, Bley is possessed by an impish sense of fun and irreverence--note the endearingly satirical "Baseball" and "More Brahms." But Bley also combines beauty and humor ("Fleur Carnivore," for big band), is more than capable of writing abstract and cerebral ("Ictus"), and mixes art-song with pop and folk ("Why," sung by Linda Ronstadt). As a bonus, this set features appearances by many jazz greats--including Charlie Haden, Don Cherry, Steve Swallow, and John McLaughlin--who have contributed to Bley's unique vision.
JazzTimes (p.82) - "[I]t's a useful introduction to a composer who someday will be belatedly hailed as Waller and Monk once were."
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