Paul Bley
“
Although most tracks clock-in between three and five minutes, subtleties in technique, texture and dynamics gradually reveal themselves with repeated listening. It is one of Bley’s most interesting, if untypical, solo recordings and as a result is a valuable addition to his not inconsiderable discography.
„
Stuart Nicholson
«In this solo date, show-case Bley as a latter-day, modernized Bill Evans. In every setting, be it blues, tango, ballad or free improvisation, he lusts after melody, stating a theme in a manner that subtly but emphatically mints its beauty and then continually referring and refashioning it. Bley, as did Bill Evans in his best recordings, become s one with the piano and the music, pursuing and yelding to the byways improvisation that forever unfold. Undeniably modern, Bley’s music is attractive for its swing and lyricism and his “Solo mio” is a breathtaking impressionistic revision of “Willow Weep for Me” a true moment of jazz perfection».
Jules Epstein, The Philadelphia Tribune
«His elaborations of the piano-bass-drums formula constitute the logical link between Bill Evans and Keith Jarrett or Chick Corea. This record – made in a trio with double bass player Mark Levinson emulating Charly Haden, and with the fantastic drummer Barry Altschul, faithful collaborator of Bley – photographs his mature activity and exemplary shows the variety of his interests». Ramblin’
Claudio Sessa, Musica Jazz
Paul Bley
“
Although most tracks clock-in between three and five minutes, subtleties in technique, texture and dynamics gradually reveal themselves with repeated listening. It is one of Bley’s most interesting, if untypical, solo recordings and as a result is a valuable addition to his not inconsiderable discography.
„
Stuart Nicholson
«In this solo date, show-case Bley as a latter-day, modernized Bill Evans. In every setting, be it blues, tango, ballad or free improvisation, he lusts after melody, stating a theme in a manner that subtly but emphatically mints its beauty and then continually referring and refashioning it. Bley, as did Bill Evans in his best recordings, become s one with the piano and the music, pursuing and yelding to the byways improvisation that forever unfold. Undeniably modern, Bley’s music is attractive for its swing and lyricism and his “Solo mio” is a breathtaking impressionistic revision of “Willow Weep for Me” a true moment of jazz perfection».
Jules Epstein, The Philadelphia Tribune
«His elaborations of the piano-bass-drums formula constitute the logical link between Bill Evans and Keith Jarrett or Chick Corea. This record – made in a trio with double bass player Mark Levinson emulating Charly Haden, and with the fantastic drummer Barry Altschul, faithful collaborator of Bley – photographs his mature activity and exemplary shows the variety of his interests». Ramblin’
Claudio Sessa, Musica Jazz