ANNETTE PEACOCK

Vocal Jazz / Avant-Garde Jazz • United States
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Annette Peacock's work as a vocalist, pianist, and composer is austere, cryptic, laconic, minimalistic, and relentlessly individual. Her dry delivery and penchant for stark, stripped-down musical "environments" have made her something of a cult figure and an icon of the avant-garde. An early participant (1961-1962) in Dr. Timothy Leary's psychedelic culture experiments and a longtime adherent of Zen Macrobiotics, Peacock has been releasing albums since 1968. But her career has been marked by fairly long periods of silence; this partly explains her relative obscurity. Aside from a brief period of formal study at Juilliard during the 1970s, Peacock is entirely self-taught. Born in Brooklyn, she began composing by the time she was five. Her first professional association was with saxophonist Albert Ayler, with whom she toured Europe in the 1960s. She soon began to write in an idiom she calls the "free-form song," which emphasizes the use of space in contrast read more...
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ANNETTE PEACOCK Discography

ANNETTE PEACOCK albums / top albums

ANNETTE PEACOCK I'm the One album cover 3.17 | 3 ratings
I'm the One
Vocal Jazz 1972
ANNETTE PEACOCK X-Dreams album cover 3.50 | 1 ratings
X-Dreams
Vocal Jazz 1978
ANNETTE PEACOCK The Perfect Release album cover 3.50 | 1 ratings
The Perfect Release
Vocal Jazz 1979
ANNETTE PEACOCK Sky Skating album cover 0.00 | 0 ratings
Sky Skating
Vocal Jazz 1982
ANNETTE PEACOCK Been in the Streets Too Long album cover 0.00 | 0 ratings
Been in the Streets Too Long
Vocal Jazz 1983
ANNETTE PEACOCK I Have No Feelings album cover 4.00 | 1 ratings
I Have No Feelings
Vocal Jazz 1986
ANNETTE PEACOCK Abstract-Contact album cover 0.00 | 0 ratings
Abstract-Contact
Vocal Jazz 1988
ANNETTE PEACOCK An Acrobat's Heart album cover 0.00 | 0 ratings
An Acrobat's Heart
Vocal Jazz 2000
ANNETTE PEACOCK 31:31 album cover 0.00 | 0 ratings
31:31
Vocal Jazz 2006
ANNETTE PEACOCK 4 Emilia-Romagna W/lv album cover 0.00 | 0 ratings
4 Emilia-Romagna W/lv
Avant-Garde Jazz 2007

ANNETTE PEACOCK EPs & splits

ANNETTE PEACOCK live albums

ANNETTE PEACOCK Annette & Paul Bley : Dual Unity album cover 0.00 | 0 ratings
Annette & Paul Bley : Dual Unity
Avant-Garde Jazz 1972
ANNETTE PEACOCK Live in Paris album cover 0.00 | 0 ratings
Live in Paris
Vocal Jazz 1981

ANNETTE PEACOCK demos, promos, fans club and other releases (no bootlegs)

ANNETTE PEACOCK re-issues & compilations

ANNETTE PEACOCK The Collection album cover 0.00 | 0 ratings
The Collection
Vocal Jazz 1982
ANNETTE PEACOCK My Mama Never Taught Me How to Cook: the Aura Years 1978-1982 album cover 0.00 | 0 ratings
My Mama Never Taught Me How to Cook: the Aura Years 1978-1982
Vocal Jazz 2004
ANNETTE PEACOCK I Belong To A World That's Destroying Itself album cover 3.50 | 1 ratings
I Belong To A World That's Destroying Itself
Avant-Garde Jazz 2014

ANNETTE PEACOCK singles (0)

ANNETTE PEACOCK movies (DVD, Blu-Ray or VHS)

ANNETTE PEACOCK Reviews

ANNETTE PEACOCK I'm the One

Album · 1972 · Vocal Jazz
Cover art Buy this album from MMA partners
Sean Trane
Annette’s discography is a pretty unusual and eclectic one, ranging from jazz to rock realms (or should I say Blues-rock) and this seminal 70’s release is one of the more extreme of her albums that I’m aware of. Despite some typical jazz names on the roster (hubby Bley and Stu Woods, just to name those), this album is definitely more of a blues affair, but the pictures in the reissued Cd’s booklet would indicate more of a rock attitude as some of these pics of her are very raw/baren and there is little doubt of Annette’s sensuality in her fairly undressed attires. If I speak of the rock idiom, it’s because there is a fair bit of electric guitar ((Tom Cosgrove) and some electric bass (Glenn Moore on Blood), but some electric keyboards as well (organ and synths) as well.

Certainly the album opening title track is one of the more challenging tracks and the least bluesiest of all, but if you listen behind the melodic bizarreries, you’ll definitely hear it. Most of the following tracks are also blues, sometimes a bit disguised (the excellent 6-mins+ Pony) and sometimes very traditional (the short Been & Gone). Nowhere is the hard-line more audible than on the 6-mins full electric One Way track, which could be on a Savoy Brown or Chicken Shack album. Unfortunately, the mood is directly broken with the extremely-weird (but not pleasantly so) Elvis Love Me Tender cover, which is sandwiched on the other side by the extreme Without Plot and its negligible afterthought Did You Hear Me Mommy?.

Despite Annette’s undeniable jazz affiliation, don’t look for much (or any) of it in the present album, but it’s also a fairly good hint of what kind of musical crea tions she would indulge in the following 10 years. Hardly essential, unless you lust after Annette’s then-generous features and voice.

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