This November 22nd sees a rare appearance in the UK of Carla Bley performing as part of a concert at London's Barbican Centre playing the music of Nina Rota. Along with Carla is, Nitin Sawhney, Mike Gibbs, Karen Mantler, John Etheridge, and it has to be said in this company, the unexpected figure of Marc Almond, Still, that can only be a good experience for the pop singer. A challenge it should be.
Carla Bley, is more than use to challenges, she'll always be remembered here for the titanic project she put into action with jazz composer Paul Haines back in 1971. Such was the enormity of their concept 'Escalator Over The Hill' it had some 150 credits to those involved. Although baffling was the inclusion of "Mice" and "Worms" and "Fish" plus a few disembodied additions like "First Viola Trousers" and "House", but then nothing surprised once you saw this box-set such was the impossible balminess of 'Escalator Over The Hill'.
It consisted of 3 vinyl albums and was one of the first box-sets to be published in the 70's, and although it was issued under the JCOA label (Jazz Composers Orchestra Association Inc.) the Opera, as it was known, but was actually called in typical abstract fashion "A Chronotransduction by Carla Bley and Paul Haines" had some outstanding musicians from rock, blues and jazz and could as easily be described as 'progressive' as any other genre. One look at the above photo of Carla Bley laughing at Jack Bruce's vocal delivery as only he could also shows what shear joy they had in being let loose on the music.
The seemingly impossible job of recording so many people for 'Escalator Over The Hill' began in 1968 and ended in 1971 and the logistics of the operation amounted to sending the tapes around the world to where the involved artists were to contribute their parts and passed on to the next until they were finally mixed back in New York where the whole thing had begun. And remember in those days no internet so this was all passed by hand.
You have to shudder at the idea of moving the cargo of these artists work on something as flimsy as recording tape. One step near an unexpected electric current and you've just damaged or lost the content.
But arrive in New York it did and once there Carla Bley and Michael Mantler began mixing and editing the whole lot together. Along with photographs from the many recording sessions a complete copy of all the lyrics for the songs and the players parts, like a film script would be, the booklet was compiled. The end result looked like a less flashy theatre programme, fitting in to the 12 x 12inch box.
It was intriguing to say the least. The musical contents to this 'play' was something way beyond mainstream listeners and to this day is not for the uneducated ear.
Resembling something more like a modern Kurt Weill 'Threepenny Opera' the music twisted and turned in unexpected and challenging ways. Jazz critics were just plain confused, and then condemned it. Rock critics were confused and then scared to even interpret what was going on in case they sounded complete idiots, then condemned, or ignored it. After all if you don't understand something the best option is stick your head in the sandbox and it might go away. The music press more or less did this.
What they missed though was a unique experiment of musical freedom and way ahead of it's time in practice and concept. It was world music in every sense. It seemed to have no boundaries and limitations. It was a truly progressive music.
So here is the second track from side 5, most sides only consisted of only two or three separate tracks, some sides played all the way through as one.
In this piece 'Rawalpindi Blues' the musicians featured are Jack Bruce - vocals and bass, Carla Bley - piano and organ, Paul Motian - drums, and possibly one of the most ferocious guitar solos ever recorded by John McLaughlin.
The shear machine gun ferocity played by McLaughlin at or near his peak, combined with the power of Jack Bruce's rapid counter bass playing is simply a jaw dropping moment of two musicians in full flight. It very nearly makes the whole thing worth owning for that alone, if you can find a copy that is.
The second part of "Rawalpindi" and the band transforms into, as it's described the 'Desert Band' and is led by the improvisations of Don Cherry, trumpet, and the violin of Leroy Jenkins. Two master of their art.
"Escalator Over The Hill" is music that probably couldn't exist today just by the logistics alone. These recordings should not be buried in time. It was and is unique in every way.
