270

William Parker Trio: Painter's Spring

AAJ Staff By

Sign in to view read count
William Parker Trio: Painter's Spring Call me biased, but I have yet to come across a William Parker recording I didn't like. The bassist has a unique talent, among players in the free jazz scene, of being able to bring together musicians from varying backgrounds and create a coherent sense of unity. Painter's Spring presents no exceptions to the "Parker Rule." The pared-down instrumentation on this record catches Chicago drummer Hamid Drake, a monster powerhouse with amazing breadth, along with New York saxophonist Daniel Carter, a quirky and capable player in his own right.

To extract meaning from the title of Painter's Spring, one must understand William Parker's unusual and well-developed philosophy of music and life, which draws distinct parallels between color, musical expression, and emotion. To Parker, neither color nor music is dispensable for a fully realized identity. (For more insight, consult his three volumes of poetry, including 1995's Music And The Shadow People.)

While Parker records often tend toward fiery self-expression, Painter's Spring makes frequent and ironic use of the walking bass line, swinging drum accompaniment, and linear melodicism. The striking feature of this record is that the musicians display more obvious "organization" than might be found on their other records (witness Parker's first solo record, 1995's Testimony, for a beautiful example of the latter). It's as if the trio is often holding back on the intensity it brings to the arena, though occasionally the fire burns free (eg. track four, "Flash"). As a result, Painter's Spring reflects superficially reserved emotional expression—but to the astute listener, that's just another mode for the communication of artistic freedom. Reserved intensity can be just as potent as the fully unleashed sort.

The beauty of this record is that it bears obvious appeal to free jazz newbies, or listeners coming from more traditional contexts. Hopefully this vehicle will transport many listeners into the depth of musical expression that is William Parker. It's certainly among the greatest pieces of work he's put out.


Track Listing: Foundation #1, Come Sunday, Blues for Percy, Flash, There is a Balm in Gilead, Foundation #4, Foundation #2, Trilog.

Personnel: William Parker: bass; Daniel Carter: alto and tenor saxophone: Hamid Drake, drums.

| Record Label: Thirsty Ear Recordings | Style: Modern Jazz


Shop

More Articles

Read Road to Forever CD/LP/Track Review Road to Forever
by Jack Bowers
Published: February 27, 2017
Read Avenida Graham CD/LP/Track Review Avenida Graham
by Edward Blanco
Published: February 27, 2017
Read TAI Fest #1 (Vol.1&2) CD/LP/Track Review TAI Fest #1 (Vol.1&2)
by Nicola Negri
Published: February 27, 2017
Read Goat Man & The House of the Dead CD/LP/Track Review Goat Man & The House of the Dead
by Dave Wayne
Published: February 27, 2017
Read Backlog CD/LP/Track Review Backlog
by James Nadal
Published: February 27, 2017
Read Acceptance CD/LP/Track Review Acceptance
by Tyran Grillo
Published: February 26, 2017
Read "Musings" CD/LP/Track Review Musings
by Budd Kopman
Published: June 22, 2016
Read "Nessuno" CD/LP/Track Review Nessuno
by Karl Ackermann
Published: December 30, 2016
Read "American Tunes" CD/LP/Track Review American Tunes
by Jakob Baekgaard
Published: July 1, 2016
Read "Argonautica" CD/LP/Track Review Argonautica
by Troy Collins
Published: November 14, 2016
Read "You'll See" CD/LP/Track Review You'll See
by Chris Mosey
Published: June 27, 2016
Read "Narrante" CD/LP/Track Review Narrante
by Mark Sullivan
Published: July 7, 2016

Post a comment

comments powered by Disqus

Sponsor: Jazz Near You | GET IT  

Support our sponsor

Support All About Jazz's Future

We need your help and we have a deal. Contribute $20 and we'll hide the six Google ads that appear on every page for a full year!

Buy it!