Having played on several original vintage 1960s Fender Jazz Bass models, and then on newer reissues made in that tradition, I think this bass satisfactorily replicates the original. While I’ve yet to purchase the vintage instrument of my dreams, I recently acquired the Fender Vintera Jazz Bass, and it’s great. As an electric bassist, I keep things straightforward - a four-string Fender gets the job done for me. Greg: “When it comes to musical instruments, I’m the last person to identify as a gearhead. "The National Anthem: OG Can UC?/Flags/Whose Broad Stripes?/Anthem/Keep It Spangled," from Carla Bley's Looking For America (2003)."On the Stage in Cages," from Carla Bley's Big Band Theory (1993)."Why?" from Carla Bley's Escalator Over the Hill (1971)."Ida Lupino," from Paul Bley's Closer (1966)."Vashkar," from Paul Bley's Footloose! (1963)."Bent Eagle," from George Russell's Stratusphunk (1961).And we’ll hear a few choice quotes from Bley herself, including a line about the jazz pianist she wishes she could be. We’ll talk about what makes her such a standout composer, and touch on a few of her triumphs - like Escalator Over the Hill, the unclassifiable jazz opera she released in 1971, with contributions from librettist Paul Haines and vocalists Jack Bruce and Linda Ronstadt, among others. So in this episode of Jazz United, as we bear down on Carla Bley’s 85th birthday, we’re celebrating her genius. Likewise Bley's work with the Liberation Music Orchestra, whose baton she has continued to carry since the death of its founder, bassist Charlie Haden. In truth, we could have devoted a whole episode to her mind meld with bassist and life partner Steve Swallow their most recent collaboration is Life Goes On, an album by their trio with British saxophonist Andy Sheppard. With her own label, WATT, she built a body of work that defies easy categorization and welcomes myriad interpretations. Record companies spurned this both-sidedness for years, but her outsider stature proved a creative boon. WBGO Carla Bley conducting the Liberation Music Orchestra in 2015.īley’s compositions were equally at home within an emerging avant-garde and in the tradition.
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