By Mike Brannon
Paul Bley is an enigma. Possessing the duality of a genuine Gemini, pinning
Bley down is like trying to nail Jello to a tree. He prefers to be a solo
act in spirit, even within an ensemble. In performance, Bley tempers stellar
musical statements with his studied personal distance.
Like quarks, the subatomic particles omnipresent in our universe, turning the
unseen and heard into the experienced, Bley resists letting you know exactly
where he is at any time. Preferring to respond to inquiries with impediments,
crypitisicms, sideways 'humor', darting and dodging, referring, subjectively
re-routing, defensiveness, (under) estimations and what attempts passage as
challenged wit with only the seeming goal of merely exercising the intellect
and leaving the curious more confused than they started. Somewhere a
political career's loss was a bandstand's gain.
Though Bley's recorded with everyone from Jaco and Metheny (on "Jaco" DIW
1974) to Bill Frisell (on "Paul Bley") and each recording stands as a
completely original experience, one of singular voice and beauty, his name
has never become a household word. Its a mystery.
And just in case you can't tell, he'd really like us all to read his book,
"Stopping Time".
MB - One of my favorite recordings is "The Paul Bley Quartet" with (Bill)
Frisell,
(John) Surman and (Paul) Motian. This is a truly intuitive group. How much
of it was improvised and how did that lineup come about? Was it a working
group at the time?
PB - All of my ECM bands are chosen by the producer, Manfred Eicher
(ECM's founder), except for "4:00" (the charts) it was all improvised. The
CD was recorded after a European tour.
MB - Interesting method. Most bands choose their own members. Many of us
aren't
that flexible... has that even been a problem?
PB - It's never been a problem.
MB - What made that disc different? Why the need for charts?
PB - Not sure if there are charts on that record. I'd have to listen to
the CD to answer that question.
MB - The cover's cool too. At first you see a reflection that appears to
be possibly the silhouette of an 'alien', then you realize its the reflection
the photographer's tripod, then you see that its superimposed on someone's
face. Very esoteric and somehow reflective of the type music on the disc. Do
you get involved at all in the visual aspects of your music's presentation?
PB - I am a registered alien. I try not to speak to audiences or to
photographers.
MB - What was that experience like...working with Jaco and Metheny on that
particular music?
PB - You should read the book. It has a great Jaco story. Talk to me
after you read it.... because all of this is redundant for me.
MB - You have a very personal approach to the piano, like Jarrett or Cecil
Taylor. What do you experience when you're improvising and does it
change...that zone that's reached?
PB - First of all, it's not a piano. If you agree that it's a piano, then
you are forced to embrace piano literature - which I no longer read.
MB - How does it affect you differently: playing with a rhythm section and
playing solo?
PB - It's much easier to play solo. All you have to do is give away all
your solo piano records.
MB - Do you consciously play differently?
PB - Only when I'm conscious.
MB - Would that include now? What challenges you most?
PB - What challenges me most is getting paid.
MB - Where is your music going?
PB - Http://www.improvart.com/bley/performance.htm
MB - What do you try to say with it?
PB - I'm looking for the lost chord.
MB - You and Alan Holdsworth. Do you have an affinity for guitarists?
PB - I'm a great admirer of Alan. Check my discography (in "Stopping
Time").
MB - Who have been your influences...not necessarily just musicians?
PB - (Video artist/photographer) Carol Goss has been my greatest influence.
MB - What do you tend to listen to these days?
PB - Lots of musicians send me their CDs. I teach 2 days a month at the
New England Conservatory. I charge $200 over the internet for a
consultation: http://www.improvart.com/bley/ or bley@improvart.com or fax me at
(607) 264-3476.
MB - Do you ever go to the performances of others?
PB - No never.
MB - How do you go about composing new music...are there specific
techniques or do you just hear it all first?
PB - A composer is a lame improviser. Music is a 2 way street.
Composition is a solitary act. If you were caught talking to yourself in a
room, they'd put you in a straight jacket. Music is conversation.
MB - Guess that makes it tough, being a 'solo' performer, especially when
performing w/ others. Wonder where that leaves Bach, Mozart, Miles, Bill
Evans and even Gil Evans: those who have both composed and improvised. Do you
draw inspiration for composition and improv from sources other than music?
PB - Since we don't use any written music in performance, the inspiration
comes from the sound of the piano, the sound of the hall, the sound of the
language group and the weather.
MB - What led you to the piano as your instrument...and do/did you play
anything else before?
PB - My autobiography was recently published: "Stopping Time: Paul Bley
and the Transformation of Jazz" ISBN 55065-111-0
MB - Can you talk about some of your latest projects and anything coming
up?
PB - My next project is to be more in love with my wife and children and
less in love with images of myself.
MB - That's as great a goal as I can imagine and quite a challenge I'm
sure. Good luck. Thanks for your time.
ECM Records will be recording Paul's solo piano concert at the Centro
Cultural de Belem, Lisbon, Portugal on October 20, 2000.
Regarding up & coming gigs for Paul Bley, go to this URL for performance
dates: http://www.improvart.com/bley/performance.htm or www.ecm.com
