In the continuing story of My Record Collection, Alphabetically, up next is Carla Bley.

I have a bunch more of her CDs, so even though this list is only a small portion of her discography, I have quite a few more on CD.  My introduction to her music, like the music of so many other musicians, came initially from history books and liner notes.  I kept noticing that there was this Carla Bley person who – allegedly – wrote great music, and so when The Very Big Carla Bley Band record came out, I bought it, and I loved it.  Many, many other recordings followed, and I love the fact that there are still a few releases that I don’t have – something to look forward to.  But, insofar as LPs in my collection are concerned:

• Escalator Over the Hill – This “jazz opera” blew my mind the first time I heard it (circa 1995), so much so that I honestly didn’t know what to do with it.  The second time I heard it (around 2001), I thought to myself “Yes, this is as amazing and inexplicable as I remember it.”  This time, I found myself fixated on the music, nearly from beginning to end.  I stumbled across a score – Bley’s imagination is incredible.  Her melodic concept is so lovely, and so unpredictable (except when she’s trying to be predictable!).  Her harmonic concept is…amazing.  And her arranging!  There is this incredible gimmick that she sometimes uses, which is so freaking cool – she writes the sound of a skipping record.  It happens on the Music Mechanique record, too (I think), but in this case it’s on the tune “Holiday in Risk.”   The cast is amazing, with people like Charlie Haden (during my favorite period in his fantastic career), Paul Motian (same), John McLaughlin, Jack Bruce, Sheila Jordan Jeanne Lee, Don Preston(!), Gato Barbieri (sounding absolutely amazing – see my previous post about him, too), Roswell Rudd, and Linda Ronstadt.  Ronstadt was the shocker for me.  I think she sounds incredible on this.  In fact, I was so amazed by her singing on “Why” that, in a rush to drop the needle at the beginning of the tune, I flung the needle at the record and managed to scratch the middle of “Why” while adding a few nice skips throughout the rest of the side.  I’m really bummed out about this.  In addition to “Why,” I’m a gigantic fan of “Little Pony Soldiers.”  I really, really need to get a new LP copy of this, now that I have a terribly scratched copy.  Also, since I borrowed the score from the library, and sadly have to return it, time to run out and buy one.
• Tropic Appetites – a sort of follow up to Escalator Over the Hill.  It’s not quite as mind blowing for me, although I love a few things about it.  One is that Dave Holland plays double bass, electric bass and cello on it.  Another is that Gato Barbieri still sounds amazing.  Still another is the “Funnybird Song,” which I always liked.  When I met Howard Johnson last year (he sings on it), I told him that it was among my favorite recordings of his.  He laughed and said (of course), “I like to flock a lot.”
• Live – Reviews of this point in her career are somewhat uncomplimentary.  I disagree.  Yes, there seem to be a different set of production values, but just because the record sounds different doesn’t mean the music actually is.  There is still the same incredible sense of melody, amazing harmonic sense, and incredible arranging.  The playing is still extraordinary.  Forget about the reviews.  Get the records and decide for yourself.  I love “Song Sung Low” on this one.
• Heavy Heart – Lovely.  Kenny Kirkland plays his ass off.
• Night-Glo – When I first got this record, I agreed with the critics.  I don’t agree anymore.  And Steve Swallow is a genius.

I really, really like her music, but it looks like I’ll have to take it upon myself to play it.  She will always work with Steve Swallow (for obvious, great reasons), and if not him, then there is always Charlie Haden.

Best, R.