Amaryllis is an album by pianist Marilyn Crispell, bassist Gary Peacock, and drummer Paul Motian recorded in 2000 and released on the ECM label.[1]
Amaryllis | ||||
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Studio album by | ||||
Released | 2001 | |||
Recorded | February 2000 | |||
Genre | Avant-garde jazz | |||
Length | 55:04 | |||
Label | ECM | |||
Producer | Manfred Eicher | |||
Marilyn Crispell chronology | ||||
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According to Crispell, four of the pieces on the album were improvised.[2] In an interview, she recalled: "The title piece, 'Amaryllis,' sounds completely written, but it's not at all. Gary started a bass line, I came in with something, and we ended up playing the same lines at the same time. That's a very intimate thing. Something that I think is not as easy to pull off in a performance. It can be done, but the intimacy of the recording studio was particularly conducive to complete improvisation."[2]
Review scores | |
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Source | Rating |
AllMusic | ![]() ![]() ![]() ![]() ![]() |
The Penguin Guide to Jazz Recordings | ![]() ![]() ![]() ![]() |
Tom Hull – on the Web | B+[5] |
The Guardian | ![]() ![]() ![]() ![]() ![]() |
The AllMusic review by Thom Jurek awarded the album 4 stars stating: "on Amaryllis, Crispell, Peacock, and Motian have established a new yet authoritative voice in melodic improvisation for the jazz trio".[3]
The authors of the Penguin Guide to Jazz Recordings awarded the album 4 stars, calling it "a lovely set, intense and languid by turns and full of wonderful invention," and stated: "The piano tone is gorgeous and Peacock is playing with a fuller voice than ever. A record to absorb yourself in many times over."[4]
In an article for The Guardian, John Fordham commented: "Like running into a relative of somebody you know well, this probing set betrays a gesture here, a mannerism there, a certain chime to a laugh or intensity of glance that is at once familiar and new... This set has Crispell investigating a more lyrical and less awesomely pianistic music... Not all the music is reflective... on the fast, liquid 'Rounds' Crispell plays a devastating solo of tidal energies and hurtling precision. Maybe it is too close to contemporary classical music... for some jazz listeners, but this represents the continuing evolution of a remarkable force, in an ideal context."[6]
Writing for The New York Times, Adam Shatz stated: "Amaryllis is less rarefied than her previous record, suffused with a romanticism that Nothing Ever Was, Anyway hinted at but ultimately held in check. It's also a record by a mature woman who knows something of solitude: sorrowful yet finally affirmative, in the way that Joni Mitchell can be."[7]