The trio of Paul Bley, Gary Peacock and Paul Motian only misses the distinction of being regarded one of the great piano/bass/drums trio in the history of jazz because they rarely recorded together. A couple of mid-sixties dates didn’t even appear until the 70s and though Bley has invariably performed with Peacock and Motian and several other sessions, the three didn’t record again as strictly a trio until 1998’s Not Two, Not One. That ECM record release rekindled a trio that could have made more history had they been so inclined, but it can argued that each was too busy making jazz history in other ways.
Nevertheless, this act did take their show on the road and one of those gigs performed not long after Not Two, Not One was captured on tape, not to be released until 2019. When Will The Blues Leave is a souvenir from Lugano’s Aula Magna in Switzerland and very indicative of what these three, like-minded giants were capable of doing when each are pushed by the others to play up to their vast abilities.
Gently pushed, actually. Merely being in the presence of other icons of jazz musicians who always took unconventional approaches to their craft was enough to make everyone feel quite comfortable in their own skin. Followers of Bley, Peacock or Motian will find their distinct personalities shining brightly all through this Swiss date.
The album is aptly headlined by all of the musicians, as Paul Bley is immediately generous in directing spotlight at his all-world rhythm section: Paul Motian and then Peacock strut their stuff in their unmistakable personalities for “Mazatlan” but Bley coyly stays playfully laid back, setting up for the frisky ending. “Dialogue Amour” is the only tune also found on Not Two, Not One; given the delicate, intimate setting of the prior year’s studio version, it would be hard to foresee how a live version could match it on those aspects, but it does and then some. “Longer” is one of the more engaging three-way improvising performances of that evening, especially the freely flowing middle segment that’s lighthearted, laid-back and even witty as much as it is cerebral.
A contemporary of Bill Evans, Paul Bley wields his own identity of heartfelt piano during “Flame,” and Gary Peacock is performing as an equal partner in this conspiracy of beauty. Bley blends a childlike sing-song lilt to “Told You So” with subtle sophistication, a song that he performs on his own.
The spotlight often moves to Peacock, who launches “Moor” with a funky aside assisted by Motian’s high-hat. Sensing Bley’s entry, the bassist switches gears to herald a brief, gamesome run by the pianist followed by a pensive downshift, as Bley’s signature outside technique is always melodically sensitive. Though it’s hardly a blues, Ornette Coleman’s “When Will The Blues Leave” features Peacock’s extensive bass-walking and an old-fashioned drum solo by Paul Motian (as opposed to his constant improvising), as well as some playful jousting between Blew and Peacock.
Though Paul Bley can sometimes abstract the tar out of a classic tune, there’s no mistaken it when he first introduces George Gershwin’s gorgeous classic “I Loves You, Porgy.” But that doesn’t keep the restless pianist from wringing more, revelatory grace out of the melody to conclude the show.
If you have room for only one 2019 ECM release, this one recorded twenty years earlier should be strongly considered. Both Pauls are gone now, and there’s no better remember how their brilliance together exceeded the sum of their contributions, as well as that of the still-thriving Gary Peacock.
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