Few barriers remain in jazz. Certainly not geographical or generational. Even genre does not present insurmountable obstacles. Were it needed, further confirmation arrives in the shape of a meeting between two distinctive stylists: American pianist Matthew Shipp and English saxophone iconoclast Evan Parker. Far from being their first encounter, the pair know each other well, having waxed Abbey Road Duos (Treader, 2007), collaborated during the saxophonist's October 2010 residency at the Stone in New York City, and appeared in duet at the 2011 Vision Festival. What's more piano/saxophone duets form a significant strand in the Shipp's discography (Rob Brown, Roscoe ...read more
Evan Parker, John Edwards, John Russell The VortexLondon November 21, 2013 Outside the Vortex a man turned to me and said, Well, I was expecting something, you know, a bit radical but nothing quite like this!" I knew just what he meant. We had just come outside for some air after the first half of improvised music played by Evan Parker (saxophones), John Edwards (bass) and John Russell (guitar) and I had to agree with the guy--I was expecting something radical but nothing quite like the sounds delivered by the trio inside. This ...read more
After twenty one recordings there may not be too much more to say about the superlative English threesome of saxophonist Evan Parker, bassist Barry Guy and drummer Paul Lytton. Some 30 years on since their debut Tracks (Incus, 1983), they converse in a language entirely of their own making, which relies on a staggering density of ideas, chops to burn and a preternatural responsiveness. Live At Maya Recordings Festival, captured at Winterthur, Switzerland in 2011 forms another top notch entry into an already distinguished discography.Nowadays operating as an occasional unit rather than a regular touring ensemble, they nonetheless ...read more
Love or hate it--digital technology has allowed for the reissue of long out- of-print LPs. Once only the province of collectors, Evan Parker's early solo saxophone LP recordings have been reissued as CDs on his Psi label for the past decade. The British saxophonist, a champion of the extended solo improvisation remains a vital voice today. These reissues shed light on his experimental and innovative sound.Indubitably, the next step in this process is to release unearthed concert recordings.This live disc is a first-class recording, captured at Western Front--a Canadian artist-run- center for contemporary art and new ...read more
Evan Parker Electroacoustic EnsembleHasseltPsi2012Although Evan Parker Electro-Acoustic Ensemble had recorded five albums for ECM since 1997, in 2009 saxophonist Parker's Psi label released SET under his own name; the album was effectively by the Electro-Acoustic Ensemble, sharing its personnel, instrumentation and working methods. At the time, it seemed as if it might have been released under Parker's name for contractual reasons. Now, with the release of Hasselt, the plot thickens; it is credited to Evan Parker Electroacoustic Ensemble (note the--significant?--absence of the hyphen and the capital A) and the personnel includes founder ...read more
Imagine for a moment that the average jazz enthusiast is similar to a competent swimmer: safe within the confines of their local pool they're comfortable, perhaps a little brash.Individual lanes silently determine your path whilst lifeguards monitor your tempo with their special brand of overprotective nonchalance. Even the reassuring sting of chlorine serves as a constant reminder, protection from the unpleasant, the random.Now pluck this unsuspecting musical metaphor from the familiar embrace of the community pool and cast it into the unpredictable seas of free improvisation. Once sustained by common devices, the swimmer is now buffeted ...read more
Why, you might ask, does Evan Parker perform free jazz in trio, a format more identified with rhythm-based jazz? The answer is quite evident on At Somewhere There, a 40-minute improvisational interaction with two new partners.This trio's rhythm is supplanted by energy, animation, and a certain verve; but then, Parker has been at this for many years. Beginning with late-1960s noisy free jazz, he has developed his own language of saxophone virtuosity that includes circular breathing and extended techniques, all creating a new vocabulary for the horn. His many interests include electro-acoustic ensembles, large formats, solo performances, and ...read more
Join our growing community ofwriters, musicians, visual artists and advocates.