Gary Peacock shares front-cover billing with Paul Bley on this 1970 session, but drummer Paul Motian is also present on the first five tracks. (Billy Elgart replaces Motian on the remaining three.) There's a curiously straight-ahead, tempo-driven feel to this short and sweet disc, quite unlike the free aesthetic that Bley, Peacock, and Motian put forward when they returned to ECM as a trio on 1999's Not Two, Not One.
This trio date is dedicated to the music of Annette Peacock, former wife of both pianist Paul Bley and bassist Gary Peacock. While Bley is the undisputed leader on this date (as he has recorded many of these pieces before), it is flügelhorn and trumpet player Franz Koglmann who arranged them in such an exquisite manner. The majority of the pieces included here were originally composed as songs. They were vehicles for expressing the interior, haunted world that Ms. Peacock inhabits and featured her lilting, edgy voice, which slips and slithers through her deceptively simple melodies before erupting into a shriek of ecstasy or pain.
Pianist Paul Bley was touring Scandinavia with a quartet made up of longtime associate Gary Peacock on bass and two brilliant British musicians, drummer Tony Oxley and John Surman on baritone saxophone and bass clarinet, when they made this Oslo recording in 1991. Rather than a conventionally organized quartet session, the CD consists of seven largely improvised solos, three duets, and two tracks–the collectively improvised "Interface" and Surman's "Article Four"–with the full quartet. Even more unusual is the frequent emphasis on bass frequencies and slow, even solemn, tempos. Only extraordinary musicians could keep such a format interesting, and these four do, exploring room resonance with almost ceremonial levels of concentration.
More conventional straight jazz set, with some Afro-Latin and Brazilian flavor by Toninho Horta, this time paired with bassist Gary Peacock and drummer Billy Higgins for trio sessions. Horta's playing is competent and sometimes exciting, but it's the interaction of Peacock and Higgins that hold things together.
Reissue with the latest DSD remastering. Comes with liner notes. One of the hippest albums ever recorded by bassist Gary Peacock – one of his rare Japanese-only sessions, and a date that beautifully mixes his bass with acoustic and electric piano from Masabumi Kikuchi! The sound is often somewhat dark – building up slowly from the bottom on long, contemplative lines from Peacock's bass – as Kikuchi fills things in with some slightly sharp edges, but never too much so. The rest of the group features twin drums from Masahiko Togashi and Hiroshi Murakami – although each player drops out for a number apiece. Titles are all originals by Gary – and include "Hollows", "Bonsho", "Ishi", "Voice From The Past", "Requiem", and "Ae Ay".
Reissue with the latest DSD remastering. Comes with liner notes. One of Gary Peacock's rare Japanese-only albums for Columbia – really dynamic trio work that's a lot more powerful than the bassist's later sides for ECM! Gary's working here with Masabumi Kikuchi on piano and Hiroshi Murakami on drums – in a mode that's got the open-ended, long flowing energy that would emerge most strongly in Japanese trio sessions a few years later – a style that's exploratory, but never too free – and perfectly suited to the tonal colors that Peacock's always brought to his work on bass. The set is sophisticated, yet never full of itself – with a great juxtaposition of lyrical and modern moments, carved out here with a heck of a lot of power!