Post Bop / Avant-Garde Jazz / 21st Century Modern / Post-Fusion Contemporary • United States
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A subtle but adventurous bassist, Gary Peacock's flexibility and consistently creative ideas have been an asset to several important groups. He was originally a pianist, playing in an Army band while stationed in Germany in the late '50s. Peacock switched to bass in 1956, staying on in Germany after his discharge to play with Hans Koller, Attila Zoller, Tony Scott, and Bud Shank. In 1958 he moved to Los Angeles where he performed with Barney Kessel, Don Ellis, Terry Gibbs, Shorty Rogers, and (most importantly) Paul Bley, among others. After moving to New York in 1962, Peacock worked with Bill Evans (1962-1963), the Paul Bley trio, Jimmy Giuffre, Roland Kirk, and George Russell. In 1964, after a brief stint with Miles Davis, Peacock started an association with Albert Ayler in Europe, also playing with Roswell Rudd and Steve Lacy. Peacock alternated between Ayler and Paul Bley for a time and read more...
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GARY PEACOCK Discography

GARY PEACOCK albums / top albums

GARY PEACOCK Eastward album cover 3.33 | 2 ratings
Post Bop 1970
GARY PEACOCK Voices album cover 0.00 | 0 ratings
Avant-Garde Jazz 1971
GARY PEACOCK Tales of Another album cover 3.98 | 4 ratings
Tales of Another
Post Bop 1977
GARY PEACOCK December Poems album cover 4.00 | 1 ratings
December Poems
Avant-Garde Jazz 1979
GARY PEACOCK Shift In The Wind album cover 4.00 | 1 ratings
Shift In The Wind
Avant-Garde Jazz 1980
GARY PEACOCK Voice From the Past - Paradigm album cover 4.00 | 2 ratings
Voice From the Past - Paradigm
Avant-Garde Jazz 1982
GARY PEACOCK Guamba album cover 4.00 | 1 ratings
Post Bop 1987
GARY PEACOCK Gary Peacock, Masahiko Satoh, Masahiko Togashi : Wave II album cover 0.00 | 0 ratings
Gary Peacock, Masahiko Satoh, Masahiko Togashi : Wave II
Post Bop 1988
GARY PEACOCK Gary Peacock & Bill Frisell : Just So Happens album cover 0.00 | 0 ratings
Gary Peacock & Bill Frisell : Just So Happens
Avant-Garde Jazz 1994
GARY PEACOCK Oracle (with Ralph Towner) album cover 0.00 | 0 ratings
Oracle (with Ralph Towner)
Post Bop 1994
GARY PEACOCK Gary Peacock & Marc Copland : Insight album cover 0.00 | 0 ratings
Gary Peacock & Marc Copland : Insight
Post Bop 2009
GARY PEACOCK Azure (with Marilyn Crispell) album cover 2.55 | 2 ratings
Azure (with Marilyn Crispell)
Post-Fusion Contemporary 2013
GARY PEACOCK Now This album cover 0.00 | 0 ratings
Now This
21st Century Modern 2015
GARY PEACOCK Tangents album cover 0.00 | 0 ratings
21st Century Modern 2017


GARY PEACOCK live albums

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

GARY PEACOCK re-issues & compilations

GARY PEACOCK Tales Of... Gary Peacock album cover 0.00 | 0 ratings
Tales Of... Gary Peacock
Post Bop 2006

GARY PEACOCK singles (0)

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


GARY PEACOCK Tales of Another

Album · 1977 · Post Bop
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Steve Wyzard

This is a good Gary Peacock album, but not a great album generally speaking. After the opening track, the excellent "Vignette", all of the others are buried beneath Keith Jarrett's moaning and screeching. And I don't mean for short periods or occasional intervals but for LONG stretches of time. Jarrett's vocalizations appear on most of his albums, but this is his only ECM recording I've heard where it becomes a major distraction. Whenever there is any discussion about this album, EVERYBODY mentions the unintentional histrionics, unless they pre-determine to not mention it out of respect for Jarrett.

It's really too bad that Gary Peacock's performances and compositions are not given their due, because with exception of the experimental "Tone Field", this would be a great jazz piano trio album. Peacock's playing on "Trilogy II" is especially outstanding. Jack DeJohnette plays with his usual brilliance, although from time to time he seems perplexed by the discordant directions the material sometimes takes. The group's headlong rush to the finish of "Trilogy III" is a true highlight on an album that doesn't provide as many as the all-star line-up might promise. This trio would go on to perform mostly standards for 30+ years, so to hear them play newly-composed material is greatly appreciated. Be forewarned about Jarrett's singing, however.


Album · 1970 · Post Bop
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One of most respectable among living jazz bass legends,Gary Peacock quite surprisingly released his debut as leader in Japan, in 1970. After almost decade of playing in US as session musician and seven years after his recording debut (with trumpeter Don Ellis quartet), Peacock recorded "Eastward" in Japan,where in 1969 he stayed for two years for (non-musical) studies and investigation of Zen Buddhism.

Two other trio's members are still almost unknown local musicians pianist Masabumi Kikuchi and drummer Hiroshi Murakami. After very few month Kikuchi will rich his probably most successful point of musical career releasing series of Miles Davis-influenced fusion albums, but for the day of recording "Eastward" he was just rising young pianist with a few recordings behind.

Seven album's compositions are all rooted in post-bop (mostly because of quite straight drummer Murakami beat),but Kikuchi advanced piano playing and Peacock deep physical and quite free bass both push the music towards more modern sound than just ordinary mainstream jazz of the time.

Initially released in Japan only as vinyl LP, this album was true obscurity,but re-issued on CD in 2015 (in Japan only as well)now it is easier available for both Peacock and Kikuchi fans. Reissue sound quality and mix are excellent (as almost any Japanese jazz recording coming from 70s)and it's really a pleasure to hear how well this music sounds now, after 45 years.

Starting from his very first Japanese recordings and up to current time Peacock developed his signature Zen jazz sound - that unique atmosphere of calmness,well controlled passion and melodic meditativeness. He will play with Kikuchi and other Japanese jazz musicians quite often during his long career, and will co-found some successful projects with Paul Motian who's music fits perfectly under same aesthetic umbrella.

On his debut Peacock (and all trio) shows still very first,but already significant signs of musical style he will become famous for. Excellent example of creative modern jazz of early 70s, comparing with Peacock later more matured works for ECM music here is less chamber,less polished and more lively.

GARY PEACOCK Tales of Another

Album · 1977 · Post Bop
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Acoustic bassist Gary Peacock's "Tales Of Another" album is significant in many senses. First of all, it's his first ever album as leader released in Western world(two previous Peacock releases come from Japan where they were recorded with local artists in early 70s). Than,it is first ever recorded evidence of his trio with pianist Keith Jarrett and drummer Jack DeJohnette (what later will become known as "Jarrett Standards trio" - his second best band after "American quartet").

"Tales Of Another" is Peacock's debut on ECM, the beginning of his long lasting collaboration with world's most prestigious jazz label and one of representative example of what is known as legendary "ECM sound".

Six Peacock originals are played by trio of equal greats,each has enough space and freedom for his improvisations. Peacock already played with DeJohnette and Jarrett before,and it's obvious how good communication have all three of them. Musically album contains characteristic for early ECM sophisticated mix of (still) groovy tuneful straight jazz,free improvisations and European chamber aesthetics. It doesn't sound as Jarrett American quartet raw recordings from early 70s, but has much more life and groove comparing with his European quartet music (and many other recordings of North European artists on ECM of that time). Peacock and DeJohnette are generally quite muscular rhythm section and Jarrett still doesn't sound as arrogant and formal as on series of his later albums(he "sings" a lot here though what can destroy good impression from this music for some his "singing" haters).

For Peacock,who didn't record lot as a leader,this album is probably one of his best works ever. For Jarrett-Peacock-DeJohnette trio it was a start of long-lasting successful career which still continues. ECM improved their once-found stylistic exclusivity exploring (and over-exploring) once-found formula for decades to come.For jazz fans interested in early (still advanced) label's music it is a good example that ECM hasn't always been the home of safest jazz in the world.

GARY PEACOCK Azure (with Marilyn Crispell)

Album · 2013 · Post-Fusion Contemporary
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For those well-versed in more modern styles of jazz (particularly recordings released on the ECM label), bassist Gary Peacock and pianist Marilyn Crispell probably aren't unfamiliar names. Both have put out a wealth of material as band leaders and, especially in the case of Peacock, have participated in multiple projects under the leadership of other world-renowned players. After having their paths cross on two previous ECM records with Paul Motian (namely 1997's Nothing Ever Was, Anyway and 2001's Amaryllis), these two seasoned jazz players have finally decided to make an album as a duo with 2013's Azure.

Although this album is an interesting document of Peacock and Crispell's musical collaboration, it isn't a particularly memorable listen (to my ears, at least). The free, highly improvised compositions are clearly the product of skilled musicians - both players frequently echo ideas back and forth, making for an intriguing close listen - but they feel too esoteric to really leave a lasting impression. Without a strong melodic foundation or rhythmic backdrop, music this improvisational can easily fall into the background and lose my attention. Especially considering the album's hour-long playing time, it can become seriously challenging to tell the tunes apart without paying very close attention. Although I'm sure that Azure's mellow sense of introversion will have an atmospheric effect on some listeners, I find my mind wandering far too often to give this more than a passive recommendation.

Azure is an album that I really wanted to click with me, but it feels too laid back and loose to ever catch fire. Although it serves as a cool document of two fantastic musicians playing together, Azure is not one of the most impressive jazz releases I've heard in 2013. This is only recommended to dedicated fans of free jazz or either of the musicians involved.


Album · 1970 · Post Bop
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Sean Trane
While studying Eastern philosophy in Japan in the later-60’s, long after getting out of the army (where he was a jazz musician stationed in Germany), then playing on scene with the Paul Bley and Shorty Rogers in California then the more avant-garde Rashaan and Ayler in NYC, contrabassist Gary Peacock participated in some recording sessions in Tokyo around the turn of the decade and made his first album under his own name, namely Eastward. Here formed as a piano-led trio with two local jazzmen such as pianist Kikuchi and drummer Murakami, they explore the rather-standard vein of jazz, which might have seemed a tad dated, compared with the more-actual and challenging releases of the times. All the compositions are penned by the leader Peacock, bar Little Abi, which is written by the pianist.

Don’t expect Eastward to venture in anything else than very familiar grounds, but it’s got its own share of charm, most notably the lengthy and engaged Changing and One Up, but they’re definitely nothing groundbreaking either. If you’re expecting the 14-mins title track to take you to uncharted territories, you can not be anything else than deceived, thiough, as it is a just a riff endlessly repeated with too little variations to make it interesting. Kikuchi’s sonwriting on Abi doesn’t change much he album’s tranquil course, just as the closing Moor will not ruffle many feathers, even though it’s the flipside’s highlight.

Of course, Gary is also known to have married the lovely Annette Coleman and helped kick-start her career, and later on would move on to ECM-type of jazz with Jarrett and Garbarek, but here we’re still in a very trad jazz, which might be a tad of a deception, when knowing his Ayler antecedents. Still worthy of a spin, though.

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