{"id":3090,"date":"2009-04-29T17:12:00","date_gmt":"2009-04-29T15:12:00","guid":{"rendered":"http:\/\/www.tomajazz.com\/web\/?p=3090"},"modified":"2016-11-13T19:51:11","modified_gmt":"2016-11-13T18:51:11","slug":"veteranos-en-la-brecha-i-i-paul-bley","status":"publish","type":"post","link":"https:\/\/tomajazz.com\/web\/veteranos-en-la-brecha-i-i-paul-bley\/","title":{"rendered":"Veteranos en la brecha (I-I): Paul Bley"},"content":{"rendered":"<div>\n<a href=\"http:\/\/www.tomajazz.com\/clubdejazz\/conciertos\/bley.gif\"><img decoding=\"async\" src=\"http:\/\/www.tomajazz.com\/clubdejazz\/conciertos\/bley.gif\" alt=\"\" border=\"1\" title=\"\"><\/a>\u00abLuego le toc\u00f3 el turno a  Paul Bley, que avanz\u00f3 hasta el piano a duras penas, encorvado y arrastrando los pies, con una sonrisa dibujada en la cara. Todav\u00eda sin haberse sentado en la banqueta, comenz\u00f3 a tocar un sencillo motivo de cinco notas con la mano izquierda. Y nos regal\u00f3 en solitario una sinfon\u00eda en miniatura durante la cual visit\u00f3 todos los  paisajes de la improvisaci\u00f3n, desde el <span>ragtime <\/span>a las formas m\u00e1s libres, aderezado con un romanticismo arrebatado que a m\u00e1s de uno le record\u00f3 a Keith Jarrett (aunque hay que indicar que fue Bley quien influy\u00f3 en Jarrett y no al rev\u00e9s).\u00bb\n<\/div>\n<p>Texto: \u00a9 <a href=\"http:\/\/nadarenlaambulancia.blogspot.com\/\" target=\"_blank\" rel=\"noopener\">Diego S\u00e1nchez Cascado<\/a>. Fotograf\u00eda: \u00a9 Guillermo Navarro<br \/>Extraido de la <a href=\"http:\/\/www.tomajazz.com\/clubdejazz\/conciertos\/lee_konitz_paul_bley_duo.htm\" target=\"_blank\">rese\u00f1a del concierto de Paul Bley a d\u00fao con Lee Konitz en Madrid en 2002.<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u00abLuego le toc\u00f3 el turno a Paul Bley, que avanz\u00f3 hasta el piano a duras penas, encorvado y arrastrando los pies, con una sonrisa dibujada en la cara. Todav\u00eda sin haberse sentado en la banqueta, comenz\u00f3 a tocar un sencillo motivo de cinco notas con la mano izquierda. Y nos<span class=\"more-link\"><a href=\"https:\/\/tomajazz.com\/web\/veteranos-en-la-brecha-i-i-paul-bley\/\">Contin\u00faa leyendo<\/a><\/span><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":true,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[17862,1],"tags":[],"class_list":["entry","author-pachi","post-3090","post","type-post","status-publish","format-standard","category-diego-sanchez-cascado","category-uncategorized"],"jetpack_featured_media_url":"","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":28741,"url":"https:\/\/tomajazz.com\/web\/365-razones-para-amar-el-jazz-un-trio-jimmy-giuffre-paul-bley-y-steve-swallow-21\/","url_meta":{"origin":3090,"position":0},"title":"365 razones para amar el jazz: un tr\u00edo. Jimmy Giuffre, Paul Bley y Steve Swallow [21]","author":"Tomajazz","date":"21 enero, 2017","format":false,"excerpt":"Un tr\u00edo: Jimmy Giuffre - Paul Bley - Steve Swallow Seleccionado por Diego S\u00e1nchez Cascado.","rel":"","context":"En \u00ab*_Diego S\u00e1nchez Cascado\u00bb","block_context":{"text":"*_Diego S\u00e1nchez Cascado","link":"https:\/\/tomajazz.com\/web\/category\/diego-sanchez-cascado\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2017\/01\/Jimmy-Giuffre-3-with-Paul-Bley-and-Steve-Swallow_Bremen-and-Stuttgart-1961_Emanem_2016-e1484514496992.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":29031,"url":"https:\/\/tomajazz.com\/web\/365-razones-para-amar-el-jazz-una-composicion-ida-lupino-carla-bley-38\/","url_meta":{"origin":3090,"position":1},"title":"365 razones para amar el jazz: una composici\u00f3n. \u201cIda Lupino\u201d (Carla Bley) [38]","author":"Tomajazz","date":"7 febrero, 2017","format":false,"excerpt":"Una composici\u00f3n: \u201cIda Lupino\u201d de Carla Bley Seleccionada por Diego S\u00e1nchez Cascado Charlie Haden, Paul Bley y Paul Motian: The Montreal Tapes\u00a0(Verve, 1989)","rel":"","context":"En \u00ab*_Diego S\u00e1nchez Cascado\u00bb","block_context":{"text":"*_Diego S\u00e1nchez Cascado","link":"https:\/\/tomajazz.com\/web\/category\/diego-sanchez-cascado\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.tomajazz.com\/web\/wp-content\/uploads\/2017\/01\/Charlie-Haden-with-Paul-Bley-and-Paul-Motian_The-Montreal-Tapes_Verve_1998-200x199.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":12681,"url":"https:\/\/tomajazz.com\/web\/paul-bley-play-blue-oslo-concert-ecm-2014-2\/","url_meta":{"origin":3090,"position":2},"title":"Paul Bley: Play Blue. Oslo Concert (ECM, 2014)","author":"Tomajazz","date":"10 junio, 2014","format":false,"excerpt":"Siempre estuvieron ah\u00ed, escondidas en su nombre y apellido, un juego de palabras que podr\u00eda resumir una vida. \u201cPlay Blue, Paul Bley...\u201d El referencial pianista, situado en un concreto podio de modernidad que completar\u00edan Bill Evans y Keith Jarrett, es de los tres, a trav\u00e9s de un mensaje mel\u00f3dico personal\u2026","rel":"","context":"En \u00ab*_Jes\u00fas Gonzalo\u00bb","block_context":{"text":"*_Jes\u00fas Gonzalo","link":"https:\/\/tomajazz.com\/web\/category\/jesus-gonzalo\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2014\/05\/Paul-Bley-Play-Blue.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":8932,"url":"https:\/\/tomajazz.com\/web\/entrevista-con-paul-bley-el-pianista-integral-primera-parte\/","url_meta":{"origin":3090,"position":3},"title":"Entrevista con Paul Bley: el pianista integral, primera parte","author":"Sergio Cabanillas","date":"1 mayo, 2009","format":false,"excerpt":"Paul Bley es uno de los pianistas m\u00e1s importantes de la historia del Jazz. Agust\u00ed Fern\u00e1ndez lo introduce con su escrito El pianista integral. \u00c9ste art\u00edculo encabeza la primera parte de la entrevista al pianista canadiense que el pasado 28 de octubre de 2008 realizaron Ken Weiss (Jazz Improv Magazine)\u2026","rel":"","context":"En \u00ab*_Fernando Ortiz de Urbina\u00bb","block_context":{"text":"*_Fernando Ortiz de Urbina","link":"https:\/\/tomajazz.com\/web\/category\/fernando-ortiz-de-urbina\/"},"img":{"alt_text":"Ilustraci\u00f3n: \u00a9 Naiel Ibarrola, 2009","src":"https:\/\/i0.wp.com\/www.tomajazz.com\/web\/wp-content\/uploads\/2013\/10\/bley_paul_ilustracion.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":8944,"url":"https:\/\/tomajazz.com\/web\/entrevista-con-paul-bley-el-pianista-integral-segunda-parte\/","url_meta":{"origin":3090,"position":4},"title":"Entrevista con Paul Bley: el pianista integral, segunda parte","author":"Sergio Cabanillas","date":"1 mayo, 2009","format":false,"excerpt":"Segunda parte de la entrevista a Paul Bley que el pasado 28 de octubre de 2008 realizaron Ken Weiss (Jazz Improv Magazine) y Nobu Stowe (Jazz Tokyo). El cuestionario fue realizado con aportaciones de Nobu Stowe, Ken Weiss, Kenny Inaoka (Jazz Tokyo) y Pachi Tapiz (Tomajazz). Un agradecimiento especial a\u2026","rel":"","context":"En \u00ab*_Fernando Ortiz de Urbina\u00bb","block_context":{"text":"*_Fernando Ortiz de Urbina","link":"https:\/\/tomajazz.com\/web\/category\/fernando-ortiz-de-urbina\/"},"img":{"alt_text":"\u00a9 Hirohiko Kamiyama, 2008","src":"https:\/\/i0.wp.com\/www.tomajazz.com\/web\/wp-content\/uploads\/2013\/10\/bley_1.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":3144,"url":"https:\/\/tomajazz.com\/web\/sobre-la-composicion-y-la-improvisacion\/","url_meta":{"origin":3090,"position":5},"title":"Paul Bley: sobre la composici\u00f3n y la improvisaci\u00f3n","author":"Tomajazz","date":"12 noviembre, 2008","format":false,"excerpt":"\"Hay una diferencia realmente simple entre composici\u00f3n e improvisaci\u00f3n. Consiste en que no hay diferencia. La composici\u00f3n y la improvisaci\u00f3n son ambas \u201chacer m\u00fasica\u201d y si hay alguna diferencia se debe a la falta de capacidad por parte del ejecutante. Uno deber\u00eda estar componiendo cada vez que toca m\u00fasica... es\u2026","rel":"","context":"En \u00ab*_Fernando Ortiz de Urbina\u00bb","block_context":{"text":"*_Fernando Ortiz de Urbina","link":"https:\/\/tomajazz.com\/web\/category\/fernando-ortiz-de-urbina\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.tomajazz.com\/perfiles\/bley_paul-time_will_tell.png?resize=350%2C200","width":350,"height":200},"classes":[]}],"_links":{"self":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts\/3090","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/comments?post=3090"}],"version-history":[{"count":2,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts\/3090\/revisions"}],"predecessor-version":[{"id":27486,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts\/3090\/revisions\/27486"}],"wp:attachment":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/media?parent=3090"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/categories?post=3090"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/tags?post=3090"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}