![]() I think my music, which may or may not be jazz, inevitably contains some reference to the music I first encountered as an impressionable child. Are you able to dig a bit deeper in that thought? I remember hearing you explicate that Jazz and Church Music are not so far from each other. I would of course assume if I were to hear that phrase that it would be in reference to someone else. People wisely avoid calling me a “Grande Dame” to my face. Nostalgia is strictly forbidden, and melancholy is best avoided.Ĭoming from the same critical-reflective perspective: How does it feel to be called “Grand Dame des Jazz“ for you personally? Do you remember hearing this for the first time – what did you think? Are you a person willing to be from time to time melancholic and nostalgic or are those feelings artisticly forbidden? That asked we are already a bit on the memory lane. The music the trio played in 2008 was very much of its time, and today’s trio music is particular to this year and this tour. The original club, on Broadway and 52nd Street, was long gone by 2008, and so were almost all my memories of it. The club we played in 2008 was the same club – in which I was, many years before, a cigarette girl – in name only. Long way into, so, the question would be: How free of such memories is one in a place like that? Or, asked differently, did the vibrations of your life have an impact on that sets at Birdland? In 2008 the three of you gave a five nights stand (labeled as „Songs with Legs“) at the legendary New York Jazz institution Birdland, the place it kinda all started for you – as the legends goes – when you worked there as a so called cigarette girl and your later husband Paul Bley talked you up and into composing for him. I count on Steve and Andy to remind me that to write a song is not enough – the song must be played with the same care with which it was written. I’m a composer who also plays piano, and I sometimes feel I should wear a sign on stage saying “She Wrote The Music.” My pen is my voice – Andy speaks through his saxophones.Īre they challenging (like in motivating) you as a musician in a special way? What do you look for in the musicly interaction with them. Andy’s role in the trio is crucial, as his playing defines our message. I have known Steve Swallow and his playing for so long (since 1959), and so well, that I take him for granted. Mentioning Steve Swallow and Andy Sheppard – can you tell me a bit what you valuate musicly about each of them the most? ![]() The trio’s performances diverge wildly from night to night, depending upon the mood of the moment, what we’ve eaten for dinner, countless other circumstances. We will likely play a similar program on both nights but, despite our best efforts, I’m sure the music we play each night will be radically different. How different will those sets feel for someone joining you three for both nights? You gonna be playing two nights in a row at Stadtgarten in Cologne together with Steve Swallow on bass and Andy Sheppard on the saxophone. Luckily, I failed to find any.Ĭarla Bley & Steve Swallow (Photo by Hyou Vielz) Or also in between, like in a moments of doubts and darkness?Īt a point early in my career I despaired of succeeding as a composer, and sought work as a seamstress. ![]() But, for better or worse, I had more talent as a musician. Has there ever been a different ambition than becoming a musician yourself in your life?Īs a teenager I wanted to be a roller skating champion, and I worked hard at it. I’ve since learned this is not true.Ĭoming from your artistic upcoming. As a very young child I assumed everyone was a musician. I began learning music before I was able to walk, and I was surrounded by music at home from as early as I can remember. Do you remember your first musical memory? As both of your parents where musicians, I guess it must have been at home, right? ![]() Beforehand the us-american musician was so kind to answer Thomas Venker some questions regards her long lasting career and the upcoming concerts at Stadtgarten. On 24th and 25th of May Carla Bley returns to the Stadtgarten, Cologne, a venue she has “a long, rich history together” and that feels to her like “we’re birds of a feather”.
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