This is the first comprehensive treatment of the remarkable music
and influence of Carla Bley, a highly innovative American jazz
composer, pianist, organist, band leader, and activist. With
fastidious attention to Bley's diverse compositions over the last
fifty years spanning critical moments in jazz and experimental
music history, Amy C. Beal tenders a long-overdue representation of
a major figure in American music. Best known for her jazz opera
"Escalator over the Hill," her role in the Free Jazz movement of
the 1960s, and her collaborations with artists such as Jack Bruce,
Don Cherry, Robert Wyatt, and Pink Floyd drummer Nick Mason, Bley
has successfully maneuvered the field of jazz from highly
accessible, tradition-based contexts to commercially unviable,
avant-garde works. Beal details the staggering variety in Bley's
work as well as her use of parody, quotations, and contradictions,
examining the vocabulary Bley has developed throughout her career
and highlighting the compositional and cultural significance of her
experimentalism.
Beal also points to Bley's professional and managerial work as a
pioneer in the development of artist-owned record labels, the
cofounder and manager of WATT Records, and the cofounder of New
Music Distribution Service. Showing her to be not just an artist
but an activist who has maintained musical independence and
professional control amid the profit-driven, corporation-dominated
world of commercial jazz, Beal's straightforward discussion of
Bley's life and career will stimulate deeper examinations of her
work.
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