Stopping Time: Paul Bley and the Transformation of Jazz

Rating:
Summary: Great stuff from a great player
Review: Although Paul Bley isn't given anywhere near the recognition he deserves in America, his influence on contemporary players is deep and profound, going from Chick Corea and Keith Jarrett through to nearly any younger jazz piano player today who is worthwhile. His lasting contribution is his demostration of what can be done with total freedom now that all the rules have been broken. You don't have to stay inside or outside with tonality or rhythm, being free means being able to go to either direction or any place in between.

This highly entertaining book tells his complete story from gigging in Canada to the present day. Some of the most compelling stories come from the exciting days of the October Revolution of 1964 and the formation of the the Jazz Composers Guild. There's also some great stuff on his involvement in the birth of performance synthesizers. But there's lots of great little stories including how Lucille Ball saved his life!

Rating:
Summary: get it
Review: bley is as brilliantly understated in words as he is in music, and anyone familiar with his music or the many musicians he has played with (or anyone at all into jazz) will find a lot of stories in this book -- candid, funny, and illuminating. he never stays in one place for long, but always seems to end up somewhere interesting, which is why it's impossible to stop reading. not to mention the incredible photographs. the book may be too short by half, but you get the picture...

Rating:
Summary: GREAT PLAYER! SERIOUS OMISSION!
Review: From the years 1968-1976, I was working, playing acoustic bass, under the name of Richard Youngstein. In Paul's very hip, very open book, he refers to playing a cool gig in Boston at the (long defunct) Jazz Workshop for one week with his long time drummer, Barry Altschul (whom I went to high school with in the Bronx) and "some bass player." Obviously Paul didn't remember my name, even though I recorded half an album with him on Polydor, called "The Paul Bley Synthesizer Show," produced by Orin Keepnews, and another album with his ex-wife, Annette Peacock, for French Polydor, that I heard had two titles, "Blood," and "Revenge." If anyone has a copy of either LP PLEASE let me know -I never got one & never heard it! Anyway, I also recorded under that name with Carla Bley & JCOA on "Escalator Over The Hill." I was very active in those years, playing w/Ros Rudd, Bill Dixon, Robin Kenyetta, Karl Berger, etc. I moved to LA late in 1976 and switched careers kind of, and names. I got my doctorate and license in psychology(like my late mentor, the great bassist David Izenzon)and have been in the healing field ever since. I had a trio/quartet "Erotic Zone," for some years and played periodically. Anyway, I am the same person, whether the old Richard Youngstein or the more recent Dr. Noah Young. Just thought I'd give a name to "some bass player" on the Jazz Workshop gig with mssrs. Bley and Altschul. And....Paul's book is awesome. Truly one of the giants of jazz and a priviledge to have made music with.(Write me at: [e-mail])