(Free Jazz, Avant-Garde Jazz) Borah Bergman - Upside Down Visions - 1985, FLAC (tracks+.cue) lossless

Exact Audio Copy V0.99 prebeta 5 from 4. May 2009
EAC extraction logfile from 9. December 2010, 9:24
Borah Bergman / Upside Down Visions
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REM GENRE Avant-Garde
REM DATE 1984
REM DISCID 4E0A1006
REM COMMENT "ExactAudioCopy v0.99pb5"
CATALOG 0000000000000
PERFORMER "Borah Bergman"
TITLE "Upside Down Visions"
FILE "01 - Upside Down Visions.wav" WAVE
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    TITLE "Upside Down Visions"
    PERFORMER "Borah Bergman"
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FILE "02 - Uncharted Rivers Flow Forever.wav" WAVE
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FILE "03 - Spirit Song.wav" WAVE
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FILE "04 - Poignant Dream.wav" WAVE
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Early in his career, it was typical for jazz critics to compare the extraordinary free jazz pianist Borah Bergman to Cecil Taylor. Lately, however, critics now regularly point out the folly in such comparisons, perpetuating the very same juxtaposition, instead of listening to Bergman abstracted from such concerns. Though Bergman himself claims Tristano, Monk, and Powell as influences, he rates comparison with nobody, so singular is his ability as an improvising pianist. Bergman has perhaps the most comprehensive technique of any jazz musician on any instrument. His facility is nonpareil with both hands. Bergman can improvise spontaneous free counterpoint at unfathomable speeds and with remarkable precision. His utterly personal style is due in no small part to his own technical innovations; no pianist in the history of jazz has ever developed more speed and agility in his left hand. Additionally, Bergman has refined a technique of playing with crossed hands that augments his fluency to an even greater degree. Bergman's greatest attributes are, however, the staggering quality and quantity of his ideas, and the ineffable intensity with which he executes those ideas. Bergman is of a kind with the very greatest jazz musicians in terms of originality and inspiration. The only reason now to weigh him against Cecil Taylor is to place the two artists on the same level of creative accomplishment.
Bergman played clarinet as a child, but didn't begin on piano until in his twenties. Bergman determined right away that he wanted to develop an individual voice. As he told the writer Francis Davis, "I knew there was no point in sounding almost as good as Bud Powell." The right-handed Bergman worked for years in strengthening his left hand. For a time, he practiced playing left-handed almost exclusively. Eventually -- as a pianist, at least -- he became ambidextrous. Bergman began recording late as well. His first four albums were solo efforts; the first, Discovery, was released in 1975 on the Chiaroscuro label. Three more would follow, including 1983's A New Frontier and 1985's Upside Down Visions, both on Soul Note. In 1992, the pianist began a series of successful duo collaborations. The first was Inversions on the Muworks label, with the young free-bop altoist Thomas Chapin. Following that came a pair of Soul Note albums that cemented Bergman's reputation, 1993's The Human Factor with drummer Andrew Cyrille and 1994's The Fire Tale with soprano saxophonist Evan Parker. The latter album was especially powerful, matching as it did two of the most formidable improvisers in jazz. His albums from this period include a duo/trio recording with saxophonist Roscoe Mitchell and vocalist Thomas Buckner, a trio with saxophonists Peter Brötzmann and Thomas Borgmann, and another trio with Brötzmann and Cyrille. As the '90s drew to a close, Bergman's recorded output continued to rise substantially, as did his profile as one of the music's major contributors. That didn't diminish as the 21st century opened, with Bergman staying active, releasing several live sets and 2003's Meditations for Piano and 2009's Luminescence, both on Tzadik Records.

Borah Bergman is a volatile free jazz pianist who also plays with a fractured lyricism whenever he turns thoughtful (which is often--see "Poignant Dream"). Keeping the listener spinning even more, Bergman is ambidextrous, so his left hand can be just as busy as the right throughout these relentless improvisations. None other than John Zorn recorded Bergman in a deliberately slower cantorial mode on MEDITATIONS for Zorn's own Tzadik label. And while that album is an good place to start for the uninitiated, this fresh 1985 solo piano outing on the Italian Soulnote label is also highly recommended.

Borah Bergman - piano