Jazz Articles about Evan Parker

like 298

Evan Parker: September Winds

by Richton Guy Thomas
January 17, 2003

Evan Parker is among Europe's most innovative and intriguing saxophonists. Parker's solos and playing style are distinguished by his creative use of circular breathing and false fingering. He's one of the few players not only willing but anxious to demonstrate his affinity for late-period of John Coltrane. September Winds was recorded in an empty water reservoir on the Zürichberg (which is located in Zurich, Switzerland)...built in 1922 and standing empty for nearly thirty years. The acoustics are ...

like 146

Evan Parker & Paul Lytton: Collective Calls

by Derek Taylor
January 5, 2003

The duo of Parker and Lytton lodges readily under the canopy of other like-minded partnerships in creative improvised music. Think Lyons and Taylor or Cherry and Coleman. In a region of music that is nary a half century old, it’s a special thing for players to span the decades together and have an active union of ideas still survive.

This particular snapshot is rescued from a time early in their association. Spliced into a series of industrial-organic ...

like 390

Evan Parker: Six of One

by Derek Taylor
December 4, 2002

Steve Lacy may hold the Gold for most solo soprano saxophone albums, but Evan Parker, his counterpart on the other side of the Atlantic, comes in a natural second in the fictional competition. Curiously enough the British improvisor’s tenor has been far less served in such a solitary settings, with only one entry thus far (see Chicago Solo ) in his vast catalog to its credit. Still, the logistics of the soprano and Parker’s seemingly effortless ease at conjuring seemingly ...

like 103

Evan Parker-Phil Wachsmann-Teppo Hauta-aho: The Needles

by Glenn Astarita
September 21, 2002

The first disc represents the trio’s collaboration during a performance at “The 9th International Kerava Jazz Festival” at “Keuda House,” “Kerava Hall, Finland. While disc two was recorded at London’s infamous “Gateway Studios.” Ultimately, these improvising masters spread their wings in exuberant fashion! Many of these pieces feature the artists’ ability to mimic and counterbalance one another’s micro-motifs. On “Swans Apiece,” violinist Phil Wachsmann and bassist Teppo Hauta-aho execute a series of jabs and flurries, marked by surreal elements, as ...

like 199

Evan Parker: Lines Burnt In Light

by Mark Corroto
March 1, 2002

I pity the Evan Parker completist. Like David Murray fans of the 1990s or Anthony Braxton collectors before that, keeping up with the output of Mr. Parker can be taxing. I count five new releases in the first month of this year!

Luckily if you had to buy just one Evan Parker disc this year, without a doubt find a copy of Lines Burnt In Light. This solo soprano saxophone recording, just over one hour of music, was from a ...

like 242

Evan Parker: Lines Burnt In Light

by John Eyles
February 1, 2002

This is the most significant Evan Parker for quite a while, for several reasons, some musical, some commercial. Firstly, Psi is Parker's own record label (via Emanem). He has total artistic control, something he has not had since his days at Incus (if then?), which ended in the 80s. This CD is the label's first release, but Parker promises that Psi will release plenty of music, old and new, including his duo with George Lewis, and Parker/Guy/Lytton material. The choice ...

like 289

Evan Parker: Lines Burnt in Light

by AAJ Staff
January 1, 2002

Let's get the facts out up front: Lines Burnt in Light is pure insane genius. Evan Parker, for decades a master of the saxophone in various contexts, steps up about three levels on his new solo disc. As the inaugural release on his new Psi label, this is going to be a hard act to follow. Parker insistently pursues a high-level spiritual energy on these three extended improvisations for solo soprano saxophone. And he does not relent. Lines Burnt in ...