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#Gary Peacock
jt1674 · 4 days
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postpunkindustrial · 1 year
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New York Eye and Ear Control
1964 · DIRECTED BY Michael Snow
34 mins  
A cutout of a woman’s silhouette is displayed in many locations while a free jazz soundtrack is heard. The jazz musicians will pose later for the camera in a studio.
Literally no credits title card has ever gone harder than:
Michael Snow - Film
Albert Ayler - Tenor Sax
Don Cherry - Trumpet
John Tchicai - Alto Sax
Roswell Rudd - Trombone
Gary Peacock - Bass
Sonny Murray - Drums
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Wayne Shorter Quartet - The Village Vanguard (or Slugs?), New York City, May 1965
Another great one gone — Wayne Shorter passed away this week, and the world is a lesser place for it. A truly brilliant musician, and judging from various interviews I've read a truly brilliant mind.
"It's no great mystery about why things are the way they are," Shorter told Ben Ratliff. "Doubt, denial, fear, trepidation reinforce the artificial barriers to the real, the barriers that keep us from going into the real adventure of eternity. If you don't believe we have eternity, it doesn't matter; it's there. You'll never be bored. I think you'll always be you, and I'll always be me. When you say 'what is life?' — well, life is the one time you have an eternal adventure. Sounds like a contradiction. The one time you have an eternal adventure. I like that! It rubs against itself; it makes sparks. To me those sparks are fuel."
Yeah! Anyway, listen to some Wayne Shorter music today. There's a lot of it! I always go back to those mid-60s Blue Note sessions, which in many ways are the gold standard Blue Note sessions to me. Adventurous, soulful, experimental, groovy. And weird! Fellow musicians fondly called Wayne "Mr. Weird" — a nickname Shorter apparently liked so much that he had it stenciled on his instrument case. Here's a little rarity from that fertile period, featuring his Second Great Quintet compadres Herbie Hancock and Tony Williams, plus bassist Gary Peacock taking us into the eye of the hurricane. The Plosin site calls the recording quality "execrable" but it's not actually that bad. So long to the Newark Flash!
Photo: Francis Wolff
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de-salva · 1 year
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Personnel:
Keith Jarrett  - piano Gary Peacock - double bass Jack DeJohnette - drums
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topoet · 4 months
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Upright Peacock Jazz
Gary Peacock was a very busy session player for decades with the likes of Keith Jarret. On a lp to cd transfer I have his December Poems (1979) a mostly solo bass with Norwegian saxophonist Jan Garbarek added on two selections. His upright bass sound is sweet, his arrangements aren’t challenging & the music is sublime and not overly ‘romantic’ or emotional. I love solo upright bass. With this I…
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jazzdailyblog · 20 days
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Exploring the Musical Depths of Marilyn Crispell
Introduction: Marilyn Crispell is a pianist whose name is synonymous with innovative, boundary-pushing jazz. Born seventy-seven years ago today on March 30, 1947, in Philadelphia, Pennsylvania, Crispell’s journey into the world of jazz started early in her life. Showing a remarkable affinity for music, she began taking classical piano lessons at the age of seven. Her introduction to…
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thenewgothictwice · 1 year
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"Don's Dawn"
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takmiblog · 2 months
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Keith Jarrett
Gary Peacock
Jack DeJonette
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tejedac · 6 months
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Gary Peacock & Marilyn Crispell
Azure, 2013 · https://spoti.fi/2Zeu5k4
Gary Peacock (bass) & Marilyn Crispell (piano)
Recorded January-February 2011, Nevessa Production, Saugerties, NY.
ECM 2292 * Lp info
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donospl · 7 months
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MUZYCZNE REKOMENDACJE: Francois Carrier Ensemble feat. Mat Maneri/Tomasz Stańko/Gary Peacock/Michel Lambert “Openness”
Fundacja Słuchaj, 2023 Gwiazdkowy prezent w środku lata [wprawdzie to połowa września, temperatury mamy jednak tropikalne, więc można zaryzykować takie określenie] sprawiła miłośnikom muzyki improwizowanej oraz fanom muzycznych odkryć Fundacja Słuchaj. Jej nakładem ukazał się właśnie trzypłytowy album  z archiwalnymi, koncertowymi nagraniami gwiazdorskiego ensemble’u Francois’a Carrier’a.…
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ivorywork · 1 year
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Paul Bley - Great American Music Hall, San Francisco, California, August 20, 1976 / December 16, 1976
Sometimes you just have to listen to Paul Bley all damn day. These two 1976 performances in San Francisco will help you reach this elevated plane. The August date features the pianist in a trio setting, with bassist Gary Peacock and drummer Barry Altschul providing sensitive, searching (and occasionally searing) accompaniment. The December date is nothing but Bley — two-plus hours of Mr. Joy bringing some wonderful solo explorations to O'Farrell Street.
Paul says: So much of the music is improvised that the line between improvisation and composition pretty much disappear, so that the goal in improvising is to sound like it is composed. From the audience's point of view, they are not really supposed to know whether it's written or improvised, so what you're really talking about is spontaneous composition, which is often called improvisation. The audience responds not so much to composition or improvisation, they respond to the individual players and what they respond to with the player is pretty much the timbre and tone of the player and the passion of a player. That's what engages an audience.
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frenchublog · 1 year
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🦚Kung fu Panda 2
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nerdyperday · 6 months
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Day 2599 Crosstober 26: Lord Shen as Count Dracula
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jazzdailyblog · 5 months
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Paul Bley: The Maverick of Modern Jazz
Introduction: Paul Bley, an influential figure in the world of modern jazz, left an indelible mark on the genre through his innovative approach to piano playing and fearless exploration of musical boundaries. Born ninety-one years ago today on November 10, 1932, in Montreal, Canada, Bley’s musical journey spanned over six decades. From his early days as a precocious pianist to his later years as…
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crarb · 1 year
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First batch of 6 fanarts from Instagram requests
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