Carla bley on twitter8/30/2023 ![]() I think I'd like to say now that so I'm forced to keep going back to the stage. I just couldn't make money composing for a long time, but I could make money playing. What exactly appeals to you about interrupting your compositional work, which is also a kind of destiny, and performing your music yourself again and again?ĬB: I have to go back a little bit. But materially, the reward for writing is not worth this effort. Simply in order to be able to write as much, or better: to write music as intensively as at all possible. She has a tremendous concentration and seriousness in her work. She never gets up and drinks her coffee at the kitchen table. Because I'm not really a stage musician at all. And why do you perform? Because you want to play what you write.ĬB: Yes, that's right. You spend most of the of the year writing music, plus performing maybe a month or two a year. SW: Actually, I think that's what you still are: a full-time composer. And I did that, actually, for many years. Have you never tried to work exclusively as a composer?ĬB: That would have been my dream. There was and is basically no real substantial audience for this kind of jazz in the States. SW: Yes, and when it was, it was always pretty unpleasant. I didn't actually work in America, or hardly at all. At that time, I sometimes heard such uplifting sayings as "Go home and do the dishes," for example in Italy, as I still remember well. That's right, it was really only at the very beginning. (Both laugh.) Seriously, all that didn't last very long, as far as I know. ![]() Steve Swallow: I'm guessing he didn't play very well that night. Only my drummer I once had to persuade him with the tongues of angels to come back on stage, because he, of all people, got the tomatoes every time, for whatever reason. What I found amazing is that the musicians didn't jump out on me about it. I can even still tell you which ones: There were apples, peaches, beer bottles flying, lots of bottles, even full ones. At that time, people threw objects at me on stage.ĬB: But yes. The unfriendliness that hit me there in the truest sense of the The unfriendliness that hit me there, in the truest sense of the word, was physically palpable in a way that was sometimes quite painful. With the exception of the very early days, perhaps. I really haven't had any bad experiences. And what's most important to me is that the musicians I've worked with have always loved what we've done. Everyone has always been very accommodating. ![]() I can hardly believe that this music has been with me all my life now, that I'm allowed to do this. Would you say that you have always received the respect that you and your work deserve?ĬB: In fact, I've always been given more respect than I deserve. Nevertheless, it is well known that it was and is not always easy for you to break through with your music. ![]() The influence that you exert with your music, especially on young leaders of larger ensembles, is enormous. Swallow actually only wanted to listen, but. In addition to music, the two also share a unique form of humor and esprit. Carla Bley brought her partner, bassist Steve Swallow, with her. A very special conversation, as was soon to become apparent. On the occasion of a trio concert at Enjoy Jazz 2013, the opportunity arose for a conversation. Compare Standard and Premium Digital here.Īny changes made can be done at any time and will become effective at the end of the trial period, allowing you to retain full access for 4 weeks, even if you downgrade or cancel.Carla Bley is one of the most important female composers in jazz history. You may also opt to downgrade to Standard Digital, a robust journalistic offering that fulfils many user’s needs. If you’d like to retain your premium access and save 20%, you can opt to pay annually at the end of the trial. If you do nothing, you will be auto-enrolled in our premium digital monthly subscription plan and retain complete access for $69 per month.įor cost savings, you can change your plan at any time online in the “Settings & Account” section. For a full comparison of Standard and Premium Digital, click here.Ĭhange the plan you will roll onto at any time during your trial by visiting the “Settings & Account” section. Premium Digital includes access to our premier business column, Lex, as well as 15 curated newsletters covering key business themes with original, in-depth reporting. Standard Digital includes access to a wealth of global news, analysis and expert opinion. During your trial you will have complete digital access to FT.com with everything in both of our Standard Digital and Premium Digital packages.
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