Photo: Carla Bley | © Klaus Muempher. All Rights Reserved by photographer.
Program note: we’re in a new weekly Tuesday night slot from 10-12 midnight!
The next show will air on Tuesday March 12, 2019 from 10:00 PM – 12 Midnight Eastern Standard Time on WBAI, 99.5 FM in the NYC metro area or streaming online at wbai.org.This broadcast features an interview with pianist Carla Bley.
Post-bop jazz has produced only a few first-rate composers of larger forms; Carla Bley ranks high among them. Bley possesses an unusually wide compositional range; she combines an acquaintance with and love for jazz in all its forms with great talent and originality. Her music is a peculiarly individual type of hyper-modern jazz. Bley is capable of writing music of great drama and profound humor, often within the confines of the same piece. As an instrumentalist, she makes a fine composer; she plays piano and/or organ with most of her bands, and while her playing is always quite musical, it’s clear that her strengths lie elsewhere. Bley’s asymmetrical compositional structures subvert jazz formula to wonderful effect, and her unpredictable melodies are often as catchy as they are obscure. In the tradition of jazz’s very finest composers and improvisers, Bley has developed a style of her very own, and the music as a whole is the better for it.
Born Carla Borg, Bley learned the fundamentals of music as a child from her father, a church musician. Thereafter, she was mostly self-taught. She moved to New York around 1955, where she worked as a cigarette girl and occasional pianist. She married pianist Paul Bley, for whom she began to write tunes (she also wrote for George Russell and Jimmy Giuffre). In 1964, with her second husband, trumpeter Michael Mantler, Bley formed the Jazz Composer’s Guild Orchestra, which a year later became known simply as the Jazz Composer’s Orchestra. Two years later, Bley helped found the Jazz Composer’s Orchestra Association, a nonprofit organization designed to present, distribute, and produce unconventional forms of jazz.
In 1967, vibist Gary Burton’s quartet recorded Bley’s cycle of tunes A Genuine Tong Funeral, which brought her to the attention of the general public for the first time. In 1969, Bley composed and arranged music for Charlie Haden’s Liberation Music Orchestra. In 1971, she completed the work that cemented her reputation, the jazz opera Escalator Over the Hill. In the ’70s and ’80s, Bley continued to run the JCOA and compose and record for her own Watt label. The JCOA essentially folded in the late ’80s, but Bley’s creative life continued mostly unabated. For much of the past two decades, she’s maintained a midsized big band with fairly stable personnel to tour and record. She’s also worked a great deal with the bassist Steve Swallow, in duo and in ensembles of varying size.
Bley wrote the music for the soundtrack to the 1985 film Mortelle Randone. She also contributed new compositions to the Liberation Music Orchestra’s second incarnation in 1983. All through the ’80s, ’90s, and into the new millennium, Bley continued releasing albums through ECM, ranging from duets with bassist Steve Swallow to the Very Big Carla Bley Band. In 2013, Bley returned with Trios, featuring Swallow and saxophonist Andy Sheppard; the album marked the very first time that the pianist recorded for ECM proper instead of WATT, which had been her home for over 40 years.
[(Bio adapted from Allmusic)
This program is hosted, engineered, produced, and edited by Joyce Jones. Listen for our On the Bandstand segment with NYC metro area appearances of Suga’ guests at the end of the first hour with Associate Producer Hank Williams.
Carla Bley will make a rare New York appearance at the Jazz Standard on March 19-20 leading a trio including longtime collaborator Steve Swallow.
Web Extras:
Watch Bley and Steve Swallow in this live version of “Lawns.”
Hank Williams is assistant producer for Suga’ in My Bowl and produces the weekly “On the Bandstand” segment as well as running the show’s website and blog, where he has reviewed several jazz festivals. His writing has also appeared in Left Turn magazine and American Music Review. He teaches at Lehman College in the City University of New York system.
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