Aus Ethan Iversons Text über Gary Peacock:
While Bley wasn’t going to be influenced by Bill Evans pianistically, the interactive trio style pioneered by Evans with Scott LaFaro and Paul Motian was obviously worth developing. Bley’s previous bassists Charlie Haden and Steve Swallow were fabulous, but what about somebody to take LaFaro’s in-your-face virtuosity in an Ornette-ish direction? Eventually the rambunctious 1963 tape of Bley, Peacock, and Motian jamming together on standards would be purchased by Manfred Eicher for his new label, ECM. Bley was not always generous, but in this case he gave credit: The album was called Paul Bley with Gary Peacock.
(Verve producer Creed Taylor didn’t like the way Peacock and Motian played on Bill Evans’ Trio 64, causing tension at the session. Evans biographer Peter Pettinger is similarly dismissive, calling the style of the LP “fragmentary.” I personally find Trio 64 to be Evans’ most exciting studio trio album.)
https://jazztimes.com/features/columns/chronology-how-gary-peacock-sparked-the-avant-garde/
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #152: Enja Records 1971-1973 – 14.05., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba