Paul Bley, CM (November 10, 1932 – January 3, 2016) was a jazz pianist known for his contributions to the free jazz movement of the 1960s as well as his innovations and influence on trio playing and his early live performance on the Moog and ARP synthesizers. His music has been described by Ben Ratliff of the New York Times as "deeply original and aesthetically aggressive". Bley's prolific output includes influential recordings from the 1950s through to his solo piano recordings of the 2000s. Early life Bley was born in Montreal, Quebec, on November 10, 1932. His adoptive parents were Betty Marcovitch, an immigrant from Romania, and Joseph Bley, owner of an embroidery factory, who named him Hyman Bley. However, in 1993 a relative from the New York branch of the Bley family walked into the Sweet Basil Jazz Club in New York City and informed Bley that his father was actually his biological parent. At age five Bley began studying the violin, but at age seven, after his mother divorced his father, he decided to switch to the piano. By eleven he had received a junior diploma from the McGill Conservatory in Montreal. At thirteen he formed a band which played at summer resorts in Ste. Agathe, Quebec. As a teenager he changed his name to "Paul," thinking that girls would find it more attractive. Also as a teenager, he played with touring American bands, including Al Cowan's Tramp Band. In 1949, when Bley was starting his senior year of high school, Oscar Peterson asked Bley to fulfill his contract at the Alberta Lounge in Montreal. The next year Bley left Montreal for New York City and Juilliard. Bley lived in the United States for his entire adult life, but never renounced his Canadian citizenship. 1950s In 1951, on summer break from Juilliard, Bley returned to Montreal where he helped organize the Montreal Jazz Workshop. In 1953 Bley invited the bebop alto saxophonist and composer Charlie Parker to the Jazz Workshop, where he played and recorded with him, making the record "Charlie Parker Montreal 1953". When Bley returned to New York City he hired Jackie McLean, Al Levitt and Doug Watkins to play an extended gig at the Copa City on Long Island. From the early 1950s until 1960 Bley did a series of trios with Al Levitt and Peter Ind; recordings of this trio in 1954 were included