Bley's gentle subversion of established jazz practice in the mid-1960s on albums such as Closer on the ESP label appeared as a refreshing alternative vision of what jazz was and what it could become. It was never likely to turn into a gushing mainstream, but perhaps predictably ended up in one of the many small tributaries that contain the work of jazz's dissenting voices. Even so, his work continues to remain quietly influential despite its distance from the mainstream. Ever the quiet revolutionary, he sought a form of jazz that was free but beautiful. Bley debuted with ECM way back in 1970 with Paul Bley with Gary Peacock and between that and 1991's Solo in Mondsee Bley made several albums for the label as well as some half-dozen or so for the Soul Note label that gave voice to his restless experimentalism as well as reflecting his very personal approach to piano improvisation. This concert, recorded at the Oslo Jazz Festival in 2008, contains four originals plus ‘Pent-Up House’ by Sonny Rollins. Bley was then 76 and although it is difficult to discern signs of artistic growth – more a refinement of ideas often expressed by ‘playing’ silences – his solo concerts nevertheless remain rewarding as essences from the past consolidate in the present. Perhaps we expect too much of artists in their Third Age, especially so in Bley's case, since he has every right to pause to allow the rest of the world to catch up.