snobb This collection of acoustic strings duets from two jazz greats, bassist Gary Peacock and guitarist Ralph Towner, was released on the prestigious German ECM label (in Germany, US and Japan) in 1994 and never reissued. As one can expect from an ECM release, it contains quite comfortable chamber jazz, still a bit more lively than the label's regular "atmospheric" albums. Both Peacock and Towner are ECM regulars, (Peacock - most significantly as a Keith Jarrett trio member, Towner - as leader, and partially leading his Oregon band),but they never played as a duo until this recording. Nine duo originals, each written by Peacock or Towner, are meditative, melancholic in moments, but contains some sparks and even groove, and generally are more vibrant than what some might expect from ECM recordings. Still, the main attraction is the virtuosity of both of this duo's members. Towner plays unusual for jazz, a classic guitar, which sounds surprisingly in place here. He even adds some Indian elements in some tunes. Minimalist strings-only duo's slow/mid tempo music can't avoid some lack of variety going from piece to piece, but the album, with no doubt contains lots of pleasure for fans of both artists, as well as fans of ECM label aesthetics.

Steve Wyzard A CRYING SHAME (LITERALLY)

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.

snobb 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.

snobb 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.

J-Man 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.