#Michael Mantler

[jazzplusplus]

1984 - Carla Bley Band - poster promo pour l'album “Heavy Heart” (France) - ECM records

Carla Bley (org, synth), Steve Slagle (fl, sax), Hiram Bullock (g), Michael Mantler (tp), Gary Valente (tb), Earl McIntyre (tuba), Kenny Kirkland (p), Steve Swallow (b), Victor Lewis (dr), Manolo Badrena (perc)

Recorded September and October 1983 at Grog Kill Studio, New York

[jt1674]

Alto Saxophone – Jimmy Lyons Baritone Saxophone – Chris Woods Bass – Charlie Haden Bass Trombone – Jack Jeffers Clarinet – Perry Robinson Drums – Paul Motian Electric Guitar – John McLaughlin French Horn – Sharon Freeman Piano – Carla Bley Tenor Saxophone – Gato Barbieri Trombone – Roswell Rudd Trumpet – Michael Mantler Tuba – John Buckingham Voice – Linda Ronstadt Voice – Charlie Haden

[fredseibertdotcom]

THE WATT WORKS FAMILY [1990 catalog]

Download THE WATT WORKS FAMILY at Scribd

This WATT catalog is 35 years old, maybe in the age of the internet, their last one. 

Working with Carla Bley and Michael Mantler was one of the great inspirations of my young work life. Which is probably why I’ve posted a number times of some of their work, from the time I worked with them and afterwards too. 

Why am I so interested? Carla and Mike were perfect models of talent, sure, but also resilience, perseverance, determination, and blind, stupid, confidence. We first became acquainted after I crashed a recording session for Carla’s ‘operatic’ Escalator Over the Hill, which they financed themselves, and out of frustration, released and distributed themselves on JCOA Records. which eventually spawned the self determination of the New Music Distribution Service and WATT Works, a label for their continuing works. 

When I bumped into this 1990 catalog from THE WATT WORKS FAMILY (by then with bass/composer stalwart Steve Swallow, daughter/composer Karen Mantler [and her cat Arnold], and distributed internationally by ECM Records) I was struck, not only by the sheer volume of personal, completely –can I emphasize completely?– independent work, but also the sheer value of creating this work self sufficiently. It made me suddenly aware of why I felt they were so influential to me. 

Are there any other musical composers who’ve succeeded in getting their music recorded with no outside creative interference? Who, because of that complete independence, were able to experiment –often successfully, quite a few, not so much*– across such a wide range of the possibilities of their music? And think about it, what composers have you ever listened to who were completely unafraid of reaching beyond the box they were put in (’jazz’ in their cases) to artists that had the unique talents, and not for nothing, commercial possibilities? (Their records have spanned the Western world of contemporary music... from the jazz world, Don Cherry, Cecil Taylor, Pharaoh Sanders, Charlie Haden, Larry Coryell, Roswell Rudd, but also Linda Ronstadt, Jack Bruce, Robert Wyatt, Don Preston, Terry Adams, and of course, I’ve left out dozens of others.) 

Let me stress, it was unbelievably hard for them to hit those accomplishments,  no one can say that success is easy. But, it is their very independence that gave them room to try. You know what they say... “If at first you don’t succeed, try, try again.”

.....

From the introduction: 

Now the truth can be told. The WATT recording label is not the idealistic, uncompromising, visionary creation of two young revolutionaries. No, Michael Mantler and Carla Bley started WATT, almost 20 years ago, to make money. 

Like all musicians, they assumed that once the world got to hear their unique individual styles, fame and riches would follow. So they slaved over each new release, always sure that the latest one would sell millions.

Carla went through many phases. After realizing that no one was interested in hearing her zany capricious fantastic amazingly intricate concoctions for large assortments of weird and wonderful musicians, she tried to write simple little songs for small, boring groups of anonymous hacks. Mike, on the other hand, stuck firmly to his grandiose style, turning out gaunt tragic forlorn bleak emotionally distraught masterpieces, certain that someday his music would pay off. 

Finally giving up all thoughts of ever cashing in on their own efforts, they formed an·auxiliary company, XtraWATT, and started looking for young talent to exploit. The first sucker that they stumbled upon was Steve Weisberg. He was definitely young, and ready to work for nothing. It wasn't difficult to recruit 20 other desperate musicians to play on his album, I CAN'T STAND ANOTHER NIGHT ALONE (IN BED WITH YOU), by promising to pay them lots of money when it came out. 

Next to fall for the XtraWATT scam was young veteran jazz bassist Steve Swallow, who, desirous of getting his collection of overkeening faux-negre soul ballads recorded, handed over his life savings to Mantler·to cover "expenses", and even agreed to call the album CARLA.

But word of the racket got out, and no one else could be found who was willing to record for XtraWATT. In desparation, Mantler and Bley forced their own child, Karen, to learn a few chords and simple melodies. They even tried to train their cat to sing the resulting ditties. (Most of those efforts had to be replaced by unsuspecting teenaged humans, but the album was still called MY CAT ARNOLD, to avoid paying royalties.)  

In spite of Mantler's greedy misdoings (word has it that Bley is just a pawn in his game), his victims still adore him, having nothing to compare their music business experiences to. Even Weisberg, who has confessed that he has ambitions of someday graduating into the clutches of a big-time criminal at a real record company, is embarrassingly grateful.  

Naturally, the entire WATT/XtraWATT family was honored to go along with his latest plot. Hopefullly, some nice journalist or salesperson will notice how interesting and valuable the music is, and persuade the public to finally fork over those dollars! 

.....

*Some reviews, taken from the catalog: 

“…the finest examples of progressive large ensemble work written and recorded in America in 1975.” –Downbeat 

“This record is a real dog.”  

“It’s delightful.” –Melody Maker 

“…the least listenable record I have ever heard.” –Melody Maker 

“Everything Jesus Christ Superstar should have been and isn’t.” –Changes 

“This is a record which all rock musicians as well as general audiences should listen to with care.” –Rolling Stone 

[jazzdailyblog]

Exploring the Adventurous Sounds of Carla Bley's "Social Studies"

Introduction: Carla Bley’s album “Social Studies,” released in 1981, is a captivating exploration of avant-garde jazz that showcases Bley’s daring and imaginative approach to music. Recorded over several months in 1980 at the Grog Kill Studio in Willow, New York, the album features a nonet led by Bley herself on organ and piano, accompanied by a stellar lineup of musicians including Michael…

[nedison]

MANTLER / BLEY /

WYATT / COYNE /

SPEDDING / McCLURE

perform PINTER

[fredfilmsblog]

FredFilms loves Carla Bley!

FredFilms Postcard Series 4.5

Over the course of my life, I’ve learned from all kinds of artists. Animators and illustrators, sure. But also writers (natch!), engineers (they’re artists too) and, most of all, musicians.

Composers Carla Bley and Michael Mantler were my first creative bosses. First, when they had the audacity –and necessity!– to start their own record labels and distribution non-profit when no other place would give them a break. They hired me as a flunky, but boy did I get a lot from that gig. Where else would a young man meet Phillip Glass or Jimmy Garrison and learn about the breadth of artist produced music of the era? I was in heaven. And then, when 20 years into her composing career, Carla decided to take a big band out on tour, I was the sound guy and assistant road manager. As I’ve said before, a great chance to meet a bunch of misfit geniuses.

Carla (”jazz composer and provocateur”) passed away at 87 while this postcard was already in production. I was so honored to learn from her.

.....

From the postcard back:

Congratulations! You are one of 125 people to receive this limited edition FredFilms postcard!

www.fredfilms.com

FredFilms Great Artist Series

Carla Bley November 2015 Lugano Jazz Estival Lugano, Switzerland Photograph by Caterina di Peri

Series 4.5 [mailed out October 28, 2023]

[iggyinuit]

RIP Carla Bley

In 1981, Nick Mason released the album Fictitious Sports, with most titles sung by Robert Wyatt. A closer look at the credits though, revealed that all songs had been written by Carla Bley. Carla who?

URL: https://atagong.com/iggy/archives/2023/10/carla-bley-life-goes-on.html

[projazznet]

Carla Bley, Paul Haines – Escalator Over The Hill

Escalator over the Hill (or EOTH) is mostly referred to as a jazz opera, but it was released as a “chronotransduction”, with “words by Paul Haines, adaptation and music by Carla Bley, production and coordination by Michael Mantler”, performed by the Jazz Composer’s Orchestra.

[atesttumblr]

WATT

Download THE WATT WORKS FAMILY at Scribd

Now the truth can be told. The WATT recording label is not the idealistic, uncompromising, visionary creation of two young revolutionaries. No, Michael Mantler and Carla Bley started WATT, almost 20 years ago, to make money. Like all musicians, they assumed that once the world got to hear their unique individual styles, fame and riches would follow. So they slaved over each new release, always sure that the latest one would sell millions. Carla went through many phases. After realizing that no one was interested in hearing her zany capricious fantastic amazingly intricate concoctions for large assortments of weird and wonderful musicians, she tried to write simple little songs for small, boring groups of anonymous hacks. Mike, on the other hand, stuck firmly to his grandiose style, turning out gaunt tragic forlorn bleak emotionally distraught masterpieces, certain that someday his music would pay off. 

Finally giving up all thoughts of ever cashing in on their own efforts, they formed an·auxiliary company, XtraWATT, and started looking for young talent to exploit. The first sucker that they stumbled upon was Steve Weisberg. He was definitely young, and ready to work for nothing. It wasn't difficult to recruit 20 other desperate musicians to play on his album, I CAN'T STAND ANOTHER NIGHT ALONE (IN BED WITH YOU), by promising to pay them lots of money when it came out. 

Next to fall for the XtraWATT scam was young veteran jazz bassist Steve Swallow, who, desirous of getting his collection of overkeening faux-negre soul ballads recorded, handed over his life savings to Mantler·to cover "expenses", and even agreed to call the album CARLA. But word of the racket got out, and no one else could be found who was willing to record for XtraWATT. In desparation, Mantler and Bley forced their own child, Karen, to learn a few chords and simple melodies. They even tried to train their cat to sing the resulting ditties. (Most of those efforts had to be replaced by unsuspecting teenaged humans, but the album was still called MY CAT ARNOLD, to avoid paying royalties.)  

In spite of Mantler's greedy misdoings (word has it that Bley is just a pawn in his game), his victims still adore him, having nothing to compare their music business experiences to. Even Weisberg, who has confessed that he has ambitions of someday graduating into the clutches of a big-time criminal at a real record company, is embarrassingly grateful.  

Naturally, the entire WATT/XtraWATT family was honored to go along with his latest plot. Hopefullly, some nice journalist or salesperson will notice how interesting and valuable the music is, and persuade the public to finally fork over those dollars!

[carmenvicinanza]

Carla Bley

Carla Bley, grande protagonista dell’avanguardia statunitense degli anni Sessanta e Settanta, è stata compositrice, pianista e organista.

Viene soprattutto ricordata per l’album Escalator over the Hill, opera jazz-rock di un’ora e mezza.

Nata col nome Lovella May Borg a Oakland, California, l’11 maggio 1936, a sedici anni si è trasferita a New York. Lavorava nel celebre locale Birdland, quando ha conosciuto e poi sposato il pianista jazz Paul Bley, da cui prese il cognome che ha tenuto anche dopo il divorzio.

A partire dal 1960, le sue composizioni sono state eseguite da musicisti e musiciste di fama internazionale, che l’hanno consacrata come figura di riferimento del movimento free jazz.

Il lungo sodalizio musicale con il trombettista austriaco Michael Mantler, che ha sposato nel 1967, ha portato alla formazione della Jazz Composer’s Orchestra, inciso il primo disco, Communication, 1965, ha portato un lungo tour promozionale in Europa.

Il concept album Escalator over the Hill, prodotto tra il 1968 e il 1971, su tre dischi, suonato dalla Jazz Composer’s Orchestra, è un’opera, con parole e libretto, che spazia dal jazz al rock alla musica colta, ispirandosi alla tradizione delle big band. Ricordato come uno dei dischi fondamentali dell’avanguardia statunitense, ispirato ai testi del poeta surrealista John Haines, ha visto il coinvolgimento della figlia Karen Mantler, che ha partecipato a molti dei suoi successivi lavori in veste di tastierista e armonicista.

Nel 1973, insieme al marito, ha fondato l’etichetta discografica indipendente WATT Works.

Negli anni settanta ha fondato una big band che porta il suo nome con cui si è esibita sui palchi di tutto il mondo.

Ha collaborato con importanti musicisti e musiciste rock e continuato a lavorare agli arrangiamenti della Liberation Music Orchestra di Charlie Haden, leggendaria formazione che univa il jazz sperimentale alla musica politica folk e tradizionale.

Il suo ultimo disco è stato Life Goes On, del 2020.

È morta a Willow, 17 ottobre 2023, aveva 87 anni.

[sivavakkiyar]

Dental training mannequins

[sheetmusiclibrarypdf]

Remembering Carla Bley, the mother of modern jazz

Remembering Carla Bley, the mother of modern jazzBest Sheet Music download from our Library.Please, subscribe to our Library. Thank you!Carla Bley - The Lost Chords Find Paolo Fresu - FourBrowse in the Library:

Remembering Carla Bley, the mother of modern jazz

Revolutionary and brilliant, Carla Bley was creativity without limits, the synonym of music in any dictionary. “The Lost Chords find Paolo Fresu” . This is the title of the first Carla Bley album that fell into my hands. I have to admit that I bought an album practically blind, because although I was aware of the role that Carla Bley had played (and was still playing at that time) in the world of jazz, I had barely heard little or anything of what the world had offered this brilliant composer and pianist.

As luck sometimes accompanies the brave, I was completely right. The album that found Bley with the Italian trumpeter, included the inseparable Andy Sheppard and Steve Swalow , accompanied on this occasion by Billy Drummond on drums. Since that happy encounter, with Bley's records I follow the same method: I completely forget about their existence and let them be the ones who end up finding me. The last one, which responds to the name “Life goes on” ( 2020), is a trio miniature that is enjoyed with the same intensity as his great big band compositions. Accustomed to losing and losing ourselves, to inevitable defeats and to platform music that devours everything, his death on October 17 leaves us somewhat more orphaned. Few women have meant so much to avant-garde jazz and musical modernity. She, who at the age of 17 began working as a cigarette-girl at Birdland in New York, among other reasons to be able to hear Count Basie's Big Band live, would not take long to demonstrate her enormous capacity as a composer; first arranging songs for Paul Bley, whom she would marry in 1957, but a little later for the cream of jazz at the time, composing for names like Jimmy Giuffre, Art Farmer, Steve Lacy, Steve Kuhn and Attila Zoller. And not just composing. At the beginning of the 60s, it was common to see her on stage adding her piano to the band of names such as Don Cherry, Pharoah Sanders, Gato Barbieri, Paul Motian or Andrew Cyrille. That he was not going to settle for being next to, or accompanying, he would demonstrate in that same decade. Together with Michael Mantler , her second husband, she would launch the Jazz Composer Orchestra Association (JCOA) , an organization with which to give a voice to the avant-garde musicians of the moment. Under this label, he would begin to publish his first albums, giving free rein to his imagination in a collaboration with vibraphonist Gary Burton, “A genuine tong funeral” , published in 1967. Bassist Charlie Haden would request his services to arrange in 1969 that album that was so special for Spanish fans, “Liberation Music Orchestra”, since three songs on the album make reference to the losers of the civil war: “El Quinto Regimiento”, “ The Four Generals” and “Long live the Fifteenth Brigade”. Two years later she would probably publish the album for which she is most recognized, “Escalator Over The Hill” , a two-hour jazz opera, which also combines traditions such as Indian music, rock, disco music, more than 20 vocalists and anything else we can imagine, in a wonderful madness that transcends everything that had been done up to that point. To combat the lack of interest on the part of the recording industry when it comes to releasing music that challenges the status quo and wants to go a little further than what is “accepted and acceptable”, Carla and Michael launch their New Music Distribution Service , a new initiative that within JCOA served as a vehicle to distribute the records of the association's members to other labels interested in experimental and avant-garde music (and vice versa). 's NDE stood out Among these, Manfred Eicher . So while NMDS brought ECM's music to other American labels, Bley's records reached new markets under the European label, in a fruitful synergy that developed over 18 years. And not only: names like Philip Glass, Lauire Anderson, John Zorn, Sonic Youth, Gil Scott Heron and Keith Jarrett recorded for NMDS. Next to nothing. The experiment worked so well (within what “good” means for the world of jazz) that in 1972 the couple went one step further and founded “WATT”, their own label, which at that time was not common. Under his own label, Bley would record more than 30 albums (in 1974 “ Tropic Appetites” would be the first), finally deciding in 2012 that he no longer wanted to deal with everything that came with managing a company and signing exclusively for ECM. But if Michael was his life partner, his musical partner was bassist Steve Swallow , Gary Burton's sideman and veteran of the Stan Getz Quartet, who would join Bley's band in 1977 and never look back. Together they would do everything that can probably be done in the world of jazz, including a beautiful foray into the world of R&B in the mid-80s, which resulted in the publication of the albums “Heavy Heart” (1984), “Night -Glo” (1985) and “Sextet” (1987). At the end of that decade he began writing music for large ensembles, releasing some of the best-known albums of his career and taking his Big Band to tour the world for more than a decade, which together earned him three award nominations. Grammy and the Prix Jazz Moderne. Until not too long ago, he continued composing for other groups, such as the O'Farrill Afro Latin Jazz Orchestra, which published “Blue Palestine” in 2020 . In the 21st century he continued to grow, especially in intimate formations (duos and trios) with Swallow and saxophonist Andy Sheppard . We will miss her very much.

Carla Bley - The Lost Chords Find Paolo Fresu - Four

https://www.youtube.com/watch?v=6W74kvYHyF4 The Lost Chords find Paolo Fresu is an album by American composer, bandleader and keyboardist Carla Bley with Andy Sheppard, Steve Swallow, and Billy Drummond and Paolo Fresu recorded in Europe in 2007 and released on the Watt/ECM label. Read the full article

[jt1674]

[fredseibertdotcom]

Michael Cuscuna, photograph by Jimmy Katz

Michael Cuscuna

Michael Cuscuna, one of my great inspirations and sometime collaborator, passed away this weekend (April 19, 2024) from cancer. Being a cancer survivor  last year myself, when someone I’ve known and worked with for over 50 years it hit particularly hard.

Blue Cuscuna: 1999 promotional sampler from Toshiba-EMI [Japan]

Michael has been the most consequential jazz record producer of the past half century, a man who had not only a passion, but the relentlessness necessary to will the entire history of the music into being. Don’t believe it? Check out the more than 2600 (!) of his credits on Discogs. Substantial and meaningful he might have been, but to me, he was a slightly older friend who was always there with a helping hand. Hopefully, I was able to hand something back on occasion. 

As I said when he answered “7 Questions” eight years ago: “I first encountered Michael as a college listener to his “freeform,” major station, radio show in New York, and was fanboy’d out when a mutual friend introduced us at [an] open rehearsal for [Carla Bley’s and Michael Mantler’s] Jazz Composer’s Orchestra at The Public Theater (MC has a photographic memory: “It was Roswell [Rudd]’s piece or Grachan [Moncur III]’s. You were darting nervously around the chairs with your uniform of the time – denim jean jacket, forgettable shirt and jeans.”) By 1972 or 73, he’d joined Atlantic Records as a producer, and since that was my career aspiration, I’d give him a call every once in awhile. He’d patiently always make time for my rambling and inane questions, and I never forgot his kindness to a drifting, unfocused, fellow traveler. 

“...patiently always make time for my rambling and inane questions...” says a lot about Michael. His raspy voice could sometimes seem brusque, but ask anyone and they will tell you that he always made time to talk. Especially about jazz. 

I desperately wanted to be a record producer and Michael was one of the first professionals I encountered. He had already produced my favorite Bonnie Raitt LP when somehow or other I bullied my way into his Atlantic Records office, where he was a mentee of the legendary Joel Dorn. Over the next few years, Michael was often amused at some of the creative decisions I made, but he was always supportive and even would sometimes ask me to make a gig when he couldn’t. When I spent a year living in LA, he invited me over to the studio while he was mining the history of Blue Note Records that would define his life for the next half century. I completely failed to understand what the great service to American culture he was about to unleash. Along with Blue Note executive Charlie Lourie, Michael’s research resulted in a series of double albums (”two-fers” in 70s speak), but little did the world know what was on Michael’s and Charlie’s minds.

The Cuscuna/Lourie Blue Note “Two-Fers” that ignited Mosaic Records

“I don’t think it’s generally understood just how imperiled the musical and visual archives of Blue Note Records were at one point, and just how heroically Michael stepped in to make sure this unparalleled American music survived for future generations. If you like jazz, you owe the man.” –Evan Haga 

(Joe Maita does a great interview about Michael's career here.) 

Fast forward a few years. The air went out of my record producing tires, I became the first creative director of MTV, I quit MTV and along with my partner Alan Goodman started the world’s first media “branding” agency. Leafing through DownBeat one day I saw an ad that started a new relationship with Michael that would last, on one level or another, for the rest of his life: the “mail order” jazz reissue label Mosaic Records. 

Charlie Lourie & Michael Cuscuna at Mt. Fuji Jazz Festival, Japan 1987. Photograph by Gary Vercelli / CapRadio Music

Long story short, in 1982 Michael returned my check for the first two Mosaic  releases with a note asking for some help. Initially, Mosaic wasn’t the sure fire, instant success Michael and Charlie had hoped for, did I have any ideas? I did, but no time to do anything other than make suggestions, we were busy trying to get our own shop off the ground. This cycle repeated itself for another couple of years when this time when Michael called he said Mosaic was on death’s door. Fred/Alan was in better shape, so Alan and I, on our summer vacation, came up with the first Mosaic “brochure,” convinced the guys we knew what we were doing (I’d read a few paragraphs in a direct mail book in a bookstore) and, with nothing to lose, Charlie and Michael took the plunge with us. Success! 42 years later, the former Fred/Alan and Frederator CFO at the helm, Alan and I always answer any call from Mosaic.

The first Mosaic Record box set 1983

There aren’t many people in the world like Michael Cuscuna. The world’s culture will miss him. I will miss him. Most of all, of course, his wife and children will miss him. 

[jazzdailyblog]

Carla Bley: A Visionary in Jazz Composition

Introduction: In the kaleidoscope of jazz, there are figures who emerge not only as talented musicians but also as visionary composers who redefine the boundaries of the genre. Carla Bley, a pianist, composer, and bandleader, stands as a luminary in this realm. This blog post unravels the fascinating journey of Carla Bley, shedding light on her distinctive compositional style, eclectic…

[nedison]

RIP Carla Bley

It's funny(bird), I was just listening to Leo Kottke's hazy cover of CB's Jesus Maria the other day as well as a few scattered tracks from Escalator Over The Hill and marveling at what a music titan Carla had been.

Truly a creative force of nature, in addition to her astounding collaborative works released under her own name, she was also instrumental (ha) in producing some of my favorite LPs by other artists, including Kew. Rhone and Nick Mason's Fictitious Sports.

But tonight I'm spinning the appropriately titled Heavy Heart and continuing, as I always will, to marvel once again at her utter genius.