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Annette Peacock Edit search Phrase match

 
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Exact matches: 3
Exact matches1
CD, LP, Vinyl record album cover art
Annette PeacockX-Dreams ... LP
Tomato, 1979. Very Good ... $11.99
Pretty wild stuff from Annette Peacock – almost a "no wave" record at times, with lots of quirky art rock overtones next to the jazz vocal stylings that are more of her typical bag. The album's got lots of heavy guitars from rockers that include Mick Ronson, Chris Spedding, Bill Bruford, and Brian Godding – but it's also got a kind of cool approach to the music that goes for some nice faux-soulful takes on a few tracks, creating funk where we wouldn't expect it – and going for some warmer moments that soften Annette in ways that sound very nice. Our favorites are the cuts "This Feel Within", "Real & Defined Androgens", and "Questions" – and other titles include "Don't Be Cruel", "Dear Bela", and "My Mama Never Taught Me How To Cook". LP, Vinyl record album
(Original pressing. Cover has a cutout notch, light ring impressions, heavy edge wear, and a small mark from price sticker removal.)

Exact matches2
CD, LP, Vinyl record album cover art
Paul BleyPaul Bley Trios – Play Annette Peacock Revisited ... CD
Hat Art (Switzerland), Late 60s. New Copy ... $17.99 19.99
Early work from pianist Paul Bley – material that really shows his commitment to the songwriting strengths of the great Annette Peacock! The first two thirds of the set features European material recorded in Rome and Baarn in 1966 – Bley working alongside bassist Mark Levinson and drummer Barry Altschul, both of whom had joined Paul on the groundbreaking Blood album – and who work here in similar territory, but on shorter tracks that are still relatively free and open overall! The tracks represent key recordings of songs that Bley would rework later on – titles that include "Blood", "Touching", "Nothing Ever Was Anyway", "Kid Dynamite", "Mister Joy", "Albert's Love Theme", and "El Cordobes". The last third of the record features material from 1968, recorded in Seattle with a trio that features Gary Peacock on bass and Billy Elgart on drums – revisiting some of the same material, but with a very different vibe – on tracks that include "Mister Joy", "Touching", "Kid Dynamite", "El Cordobes", "Blood", and "Nothing Ever Was Anyway". CD

Exact matches3
CD, LP, Vinyl record album cover art
✨✧ Marilyn Crispell with Gary Peacock & Paul MotianNothing Ever Was, Anyway – Music Of Annette Peacock ... CD
ECM (Germany), 1997. Used 2 CDs ... Out Of Stock
A great ECM trio date – tracks include "Open, To Love", "Touching", "Albert's Love Theme", "Cartoon", "Blood", and the title track "Nothing Ever Was, Anyway". CD
 
Possible matches: 6
Possible matches4
CD, LP, Vinyl record album cover art
Paul BleyRamblin With Paul Bley (aka Ramblin) ... CD
Red (Italy), 1966. New Copy ... $16.99 19.99
Pivotal work from piano genius Paul Bley – an important recording done in Rome in the mid 60s, and one of those sessions that really helped Bley reinvent the sound of jazz piano at the time! The record's got this beautiful mix of free improvisation and group structure – a vibe that's very different than territory that Cecil Taylor was starting to explore, even though Bley can be relatively bold on the keys – with this sense of melody that lingers throughout, even on the more percussive passages – which feature superb work from a young Barry Altschul on drums, alongside bass from Mark Levinson, who is a subtle but powerful force in the proceedings! Titles include key tracks penned by Annette Peacock and Carla Bley – "Both", "Albert's Love Theme", "Ida Lupino", and "Touching" – plus a great take on Ornette Coleman's "Ramblin". CD

Possible matches5
CD, LP, Vinyl record album cover art
✨✧ Norma WinstoneEdge Of Time ... CD
Dusk Fire (UK), 1972. Used ... Out Of Stock
One of the greatest albums ever from vocalist Norma Winstone – a set that really helps bring her talents into sharp focus! Like Karin Krog, Annette Peacock, Sheila Jordan, and other female jazz singers of her generation, Winstone was always pushing the boundaries of her craft – taking a style that began with a simple jazz-based approach, and turning it into a whole new array of sounds and voicings! This landmark album from 1972, one of Winstone's first on her own (although she'd sung to great strength on some of Mike Westbrook's Deram sessions), features the singer moving into territory that has distinct touches of progressive jazz rock, but which also retains a mellow sense of melody – despite an easy temptation to get too overblown. Arrangements are handled by Neil Ardley, John Surman, and John Taylor – and titles include "Song Of Love", "Erebus", "Shadows", "Perkins Landing", and "Edge Of Time". CD
(Out of print.)

Possible matches6
CD, LP, Vinyl record album cover art
✨✧ Paul BleyBallads ... LP
ECM (Germany), 1967. Near Mint- ... Out Of Stock
Early ECM work from Paul Bley – a great example of the way that label helped Bley find a new voice in his music during the 70s! Although issued in 1971, the session was actually recorded a few years before – in 1967 – and done with a very spare, very open approach to the piano – one that was still extremely fresh at the time, and which is handled better by Bley than by most, especially on a few of the more dramatic moments. All tracks here are trio tracks – with Barry Altschul on drums, and either Gary Peacock or Mark Levinson on bass – and the three long tracks on the album were all composed by Annette Peacock, and include "Ending", "Circles", and "So Hard It Hurts". LP, Vinyl record album

Possible matches7
CD, LP, Vinyl record album cover art
✨✧ Paul BleyCopenhagen & Haarlem ... LP
Arista Freedom, 1965/1966. Very Good+ 2LP Gatefold ... Out Of Stock
A late 70s issue of two mid 60s live recordings of Bley's trio recorded in concert in Europe, with either Kent Carter or Mark Levenson on bass, and Barry Altschul on drums. Bley's playing in a mode that reflects ther influence of a number of the more progressive players of the same era, with a free flowing multi-linear improvisational approach, that still maintains a strong emphasis on melody and never gets too frenetic. Witha number of great Annette Peacock compositions, including "Cartoon", "Touching", "Start", "Closer", "Pablo" and lengthy takes on "Blood" and "Mister Joy". Features a rare photo of Bley without a pipe in his mouth inside the gatefold too! LP, Vinyl record album

Possible matches8
CD, LP, Vinyl record album cover art
✨✧ Paul BleyImprovisie (limited numbered edition) ... CD
America/Verve, 1972. Used ... Out Of Stock
Incredible work from Paul Bley – and a record that captures him in his excellent electric period, working in a different setting than we've heard him elsewhere! The group on the set is a trio – one that matches Bley's work on electric piano and synthesizer with percussion from Han Bennink and vocals, piano, bass, and additional synthesizer from a young Annette Peacock! Peacock is especially restrained on the record – especially if you only know her later, straighter work – and her contribution here is wonderfully subtle and extremely lovely. Side one features the track "Improvisie", a free improvisation with Bley on electric piano and synthesizer – and tonalities are as "out" as the playing, which is generally quite spacious and dynamic – though hardly quiet. The second side features a Peacock tune titled "Touching" that's a bit more intense – very much in the spirit of the work on the first side, and a unique slice of magic from this one-off session! CD

Possible matches9
CD, LP, Vinyl record album cover art
✨✧ Paul BleyRamblin' (Affinity pressing) ... LP
Affinity, 1966/1969. Near Mint- ... Out Of Stock
Pivotal work from piano genius Paul Bley – an important recording done in Rome in the mid 60s, and one of those sessions that really helped Bley reinvent the sound of jazz piano at the time! The record's got this beautiful mix of free improvisation and group structure – a vibe that's very different than territory that Cecil Taylor was starting to explore, even though Bley can be relatively bold on the keys – with this sense of melody that lingers throughout, even on the more percussive passages – which feature superb work from a young Barry Altschul on drums, alongside bass from Mark Levinson, who is a subtle but powerful force in the proceedings! Titles include key tracks penned by Annette Peacock and Carla Bley – "Both", "Albert's Love Theme", "Ida Lupino", and "Touching" – plus a great take on Ornette Coleman's "Ramblin". LP, Vinyl record album
 
 
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