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Azure

Gary Peacock, Marilyn Crispell Audio CD
4.7 out of 5 stars  See all reviews (3 customer reviews)
Price: 19.83 & FREE Delivery in the UK. Details
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Product details

  • Audio CD (17 Jun 2013)
  • Number of Discs: 1
  • Label: ECM
  • ASIN: B00CA4S32G
  • Other Editions: MP3 Download
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Bestsellers Rank: 89,429 in Music (See Top 100 in Music)

Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
                                                                                                                                                                                                                                                                                                                                         

Samples
Song TitleArtist Time Price
Listen  1. PatternsGary Peacock & Marilyn Crispell 7:16Album Only
Listen  2. GoodbyeGary Peacock & Marilyn Crispell 6:180.99  Buy MP3 
Listen  3. LeapfrogGary Peacock & Marilyn Crispell 5:470.99  Buy MP3 
Listen  4. Bass SoloGary Peacock 3:080.99  Buy MP3 
Listen  5. Waltz After David MGary Peacock & Marilyn Crispell 9:23Album Only
Listen  6. LullabyGary Peacock & Marilyn Crispell 6:380.99  Buy MP3 
Listen  7. The LeaGary Peacock & Marilyn Crispell 2:430.99  Buy MP3 
Listen  8. BlueGary Peacock & Marilyn Crispell 5:420.99  Buy MP3 
Listen  9. Piano SoloMarilyn Crispell 2:270.99  Buy MP3 
Listen10. PuppetsGary Peacock & Marilyn Crispell 3:400.99  Buy MP3 
Listen11. AzureGary Peacock & Marilyn Crispell 6:030.99  Buy MP3 


Product Description

Product Description

Azure features beautiful duets by two great improvisers whose compatibility was proven long ago. Gary Peacock and Marilyn Crispell made outstanding music together in Marilyn's trio with the late Paul Motian on ECM albums including Nothing ever was, anyway and Amaryllis - each a modern classic - but their duo project also has an extensive history, until now undocumented on disc. With their shared sense of lyricism, their individual compositional styles and their profound background in free playing, Peacock and Crispell are exceptional musical partners.

The album contains pieces written by both Peacock and Crispell, and highly inventive, utterly absorbing piano and bass solos. Highlights range from the sublimely melodic (the Peacock-penned "Lullaby") and lyrically pensive (Crispell's "Goodbye") to the athletically bracing (Crispell's "Patterns") and folksong-like (Peacock's moving "The Lea"). Then there are the duo's freely improvised pieces of astonishing cohesiveness, including "Blue", "Leapfrog" and the entrancing title track, "Azure". That was named by Crispell, coming from "the sense of spaciousness I felt with the music," she says. "The image of an open blue sea or sky came to me."

Azure was recorded in upstate New York, home territory for both musicians. Along with their shared geography and longstanding musical ties, Crispell and Peacock have in common a certain life rhythm. "We have a connection via meditation and Buddhism," the pianist points out. "We have even meditated together while on tour."

Personnel: Marilyn Crispell (piano), Gary Peacock (double bass)

Product Description

ECM 2292; ECM RECORDS - Germania; Pop Jazz

Customer Reviews

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4.7 out of 5 stars
4.7 out of 5 stars
Most Helpful Customer Reviews
1 of 1 people found the following review helpful
4.0 out of 5 stars Resigned but emotional quality music 2 Aug 2013
Format:Audio CD
Like there are a great number of recordings called 'Azure' there must be almost equal number of songs called 'Blue'. Actually, that very song is, to me, the best in this good yet slowly unfolding ECM disc.

I divide the performances in this recording into three categories:

1) 5 stars: The pieces 'Leapfrog', 'Lullaby' and both the bass and the piano solo represent a highly expressive, imaginative and - more or less - strongly contoured body of work. The two firstly mentioned express just what the name implies, and do it very beautifully, yet the very Garrison-like bass solo and the tastefully modern piano solo consist of very clearly stated emotions, which make them so pleasing to listen to. 'Blue', despite its patchiness, is a most striking and rhythmic (in the context of the general resigned feeling) performance, with Peacock in one place playing highly expressive pedal point figures under Crispells most lively soloing. There is not much of truly fast playing on this disc, but Crispell shows in certain small portions of this piece that she is capable of that, too.

2) 4 stars: 'Waltz after David M', 'The Lea' and 'Puppets' are emotional and varied [except the firstly mentioned], and a pleasure to hear. These are also the most melodic pieces of the disc, but not just as interesting as the previously mentioned best five.

3) 3 stars: 'Goodbye' and 'Azure' are a bit bland, partly unimaginative, yet still somewhat expressive and [of course] well performed pieces. If this was the standard of this this disc, I wouldn't generally recommend it. Luckily, most of the music here is much better, and makes this record a good buy for many people.
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5.0 out of 5 stars Superb 19 Nov 2013
By art
Format:Audio CD|Verified Purchase
This is one of those cd's that you chance upon and it surpasses expectations. I have played it over and over and each time hear different nuances, the interplay between the piano and bass is extraordinary, the two of them were never better. At first listening there doesnt seem to be much variety between the tunes but repeated listenings reveal the subtleties, harmonics and spaces abound. This is not "in your face jazz" it doesnt beat you over the head, it is quiet and beautifully stated by two supremely gifted artists. Thoroughly recommended.
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5.0 out of 5 stars Azure 11 Aug 2013
Format:Audio CD|Verified Purchase
Listen to this when you are doing the ironing and there is time to concentrate and no distractions. A quiet, thoughtful moment.
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Amazon.com: 4.8 out of 5 stars  4 reviews
5 of 5 people found the following review helpful
5.0 out of 5 stars MORE THAN MUSIC 14 July 2013
By Manuel Grosso Galvan - Published on Amazon.com
Format:Audio CD|Verified Purchase
For me Marilyn Crispell is one of the greatest pianist of the last two decade. After three albums with Peacock and Motian in ECM here is a intensive and beautiful album only with Peacok. You can find in it from melodic themes, lyrically sounds or even folk songs. Every note have sense , every sound is important. Is more than only music, is a special feeling, a different way to understand music . Very deep, very essential, is like a spiritual guide to feel the sounds. Recorderd in Nevessa, near Woodstock , you can touch the silence and the interiors meaning of make real music. For me a real masterwork. Fragile, beautiful and contemporary. Not matter how you call it, jazz , folk, contemporary music... is real MUSIC, make by two giants, Crispell and Peacock, is a real pray between two master. Incredible work.
1 of 1 people found the following review helpful
4.0 out of 5 stars STILL IN A QUIET MODE--BUT WITH SOME OLD SURPRISES 15 Aug 2013
By Stuart Jefferson - Published on Amazon.com
Format:Audio CD|Verified Purchase
This set (recorded in 2011) follows some highly regarded trio recordings by Crispell, Peacock, and drummer Paul Motian, also on the ECM label. Unlike some ECM recordings which tend to sound sterile and a bit cool, this set leans more towards a warmer, more organic sound. Combined with the clean open sound ECM is known for, the sound is very good. This is somewhere between 3-4 "stars"--but closer to 4 depending on how you like Crispell's style.

If you're looking for more of Crispell's quiet, almost meditative, open-spaced recordings, this is a bit different. The first composition ("Patterns", one of seven with Crispell's name) is a good example of her style of playing spontaneous flurries of notes in a free-jazz sounding manner. Here her sound (and Peacock's) just hints at stepping over into the harder style she played with Anthony Braxton's band. The style that Cecil Taylor was so enamored of. But here she tempers it with a bit of her introspective style she has been known for, for the last few years.

The second track ("Goodbye", also by Crispell) is more like her fairly recent quiet, introspective work that sounds so beautiful (the albums "Storyteller", and especially "Amaryllis") and is in juxtaposition to her earlier fiery, emotional style. Peacock especially hangs back, letting Crispell set the mood--which has a calmness to it. "Leapfrog" (Crispell and Peacock) is a conversation between piano and double bass, with a quiet flirtation with free jazz-like passages.

"Bass Solo" has Peacock playing a warm and intelligent piece--you can hear why he's Crispell's choice on a number of her recordings. Has any other double bassist played better with Crispell? "Waltz After David M" (Crispell) is simply beautiful--no other words for it. This track harkens back to her "quiet" period at ECM. Beautiful playing by both musicians that conjures up quiet mental images--listen to Peacock's solo with Crispell's piano quietly backing him. Crispell too has a track all to herself--which echoes in part Peacock's playing.

The rest of the album is in a similar vein as the tracks described above. "Blue" and "Azure" are more good examples of this duo's writing and playing skills. Without a drummer (especially the fine Motian) Peacock is even more important, and the rapport between the two players is easily heard.

Crispell fans (like me) will probably want to check this set out. If you've only heard Crispell's ECM recordings of the last several years, this will be a slight departure. But the effort put into multiple listenings will have it's rewards. Crispell is (unfortunately) still having to prove that she is someone who needs to be taken seriously--more jazz/piano fans need to hear her work, both of late and with Braxton's group. This is another fine, (mostly) quiet set of tunes.
2 of 3 people found the following review helpful
5.0 out of 5 stars Dynamic 15 Aug 2013
By JT - Published on Amazon.com
Format:Audio CD|Verified Purchase
This is a very dynamic recording. I have solo discs by each, but they have a special groove when they play together. It's not quite avant-garde, but it can go from simply flowing to downright explosive in a single keystroke or a woody pluck. A typically great ECM recording. A must have.
0 of 1 people found the following review helpful
5.0 out of 5 stars WARM AND REWARDING MODERNIST JAZZ 27 Nov 2013
By David Keymer - Published on Amazon.com
Format:Audio CD|Verified Purchase
\Crispell and Peacock come to this duet love feast with impeccable musical credentials. Crispell was a member of Antony Braxton’s quartet for ten years and has graced other modernist groups, including ensembles led by Reggie Workman, Anders Jormin, Henry Grimes and Barry Guy. She has recorded twenty-three prior albums as leader or co-leader. I have only a few of them: her fine solo album, Plays Coltrane, 2000) her duets with Steve Lacy on his Five Facings (1996), and two trio albums with Peacock and Paul Motian, Nothing Ever Was, Anyway: Music of Annette Peacock (1997) and Amaryllis (2001). She can thunder with the best of the modernist piano players –distinctive enough but in the school of Cecil Taylor or perhaps Paul Bley. But this album highlights her melodic side, perhaps because she is playing with the virtuoso bassist Gary Peacock.

Peacock too has modernist credentials –what else can you call someone who played with such intelligence and brio on Albert Ayler’s harsh fiery trio album, Spiritual Unity (1964/5)?—but he is above all an intelligent player, who given the chance to play lyrically, rises to the challenge with strength and grace.

And that’s what happens here. On several of the cuts, notably “Goodbye,” “Waltz After David M,” “Lullaby” and “Azure,” this album sounds indebted to the great Bill Evans trio, only minus the drums. Crispell’s command of her instrument allows her to play romantically without losing muscle and Peacock sounds at times very much like Scott La Faro. (But playing with much deeper tones than La Faro usually got from his instrument –La Faro favored the top of the string bass bridge in both his solo work and his supporting lines.) These are two assured and creative artists --but the listener who enjoys the classic Bill Evans trio cuts from 1961 will be happy with these as well.

“Patterns” and “Leapfrog” show another side of the duo: briskly played phrases on piano, echoed and amplified by the bass, at times polyphony, at other times like trading fours (or twos [or ones]) but intently listening to what each other is playing. The album includes one solo piece each by Crispell and Peacock. Peacock, especially, is intelligently lyrical in his solo.

This album is a pleasure to listen to. It rewards both the ears (heart) and mind.
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